newsgroups: RHIZOME_RAW date: Wed, 6 Jul 2005 21:11:22 -0700 message-id: <200507070411.j674bm6v027087@idx164.idx.net> references: no_parent from: Paul Steven Ray subject: RHIZOME_RAW: Psychelounge Events July 9th 3:00pm Paul Steven Ray and Eli Fountain perform experimental improvisations in this Time-Released Duet. -e. guitar,laptop, percussion $5 4:30pm Sapphryn Follicle Audio- turntables,electronics $5 @Spoken Words Cafe 226 4th Ave. Brooklyn, NY(near Union St.) 718-596-3923 R train to Union + -> 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, 07 Jul 2005 10:30:22 +0200 message-id: <20050707103022.72afd133.eede604@127.0.0.1> references: no_parent from: [feature06] subject: RHIZOME_RAW: =?ISO-8859-1?Q?Project=20Features:=20spotlight=20on=20Marc=20Lee? "Project Features" http://features.nmartproject.net is happy to present during July/August 2005 its 6th feature: ---> Marc Lee (Switzerland) and his interactive netart piece, entitled: "Loogie.net News" . Project statement . "We Report - You Decide." «Loogie.net News» is a personalized real-time online news magazine. It presents the results of individual queries as if 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 für Bildende Kunst (NGBK), Berlin, Germany Switch Award 2004, Museum for Communication, Bern, Switzerland "News, i'm Lovin it", Foyer of the TV Productioncenter (TPC), Zürich, Switzerland Garage 2004 Festival, Stralsund, Germany Wozownia Art Gallery, Presented from the Transmediale Festival, Torun, Poland Virtually Swiss, Presentiert von [plug_in] Forum für neue Medien Basel für 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 Zürich, 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, 07 Jul 2005 21:43:49 +1000 message-id: <6.0.1.1.1.20050707214050.022f6980@pop.hotkey.net.au> references: no_parent from: ][mez][ subject: RHIZOME_RAW: _terr[.wh]or[e].i[(me)dea.{L}|c|o{ndon}logy]sm_ S*igh*M*edia* S+M S+M_E.dia[gramattical]_wrapping.emotionalised.10drills_round[911]+round[MADrid]+rOund[ba9w0li].we.a[no]gain.go -- _va[E]mpiric.net.work.scrabbling.with.ego.trading.+.data.blood.leaks.down.the.limping.wire[les]s(creaming) _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, 07 Jul 2005 12:17:02 +0000 message-id: <42cd1d3e.7040109@pallit.lhi.is> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: image from London underground this morning http://www.flickr.com/photos/qwghlm/24230239/in/pool-74918957@N00/ -- _______________________________ Pall Thayer artist/teacher http://www.this.is/pallit http://pallit.lhi.is/panse Lorna http://www.this.is/lorna _______________________________ + -> 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, 7 Jul 2005 09:18:14 -0400 message-id: <380-22005747131814802@m2w092.mail2web.com> references: no_parent from: melissa@reelvenus.com subject: RHIZOME_RAW: 3rd Annual Reel Venus Film Festival Tickets Are Now On Sale for the 3rd Annual Reel Venus Film Festival July 20, 21 & 22 2005 at Symphony Space in the Leonard Nimoy Thalia Theater 2537 Broadway @95th St - NYC All Screening Programs start at: 6:30 PM Three One Hour Screening Programs per Evening 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, 7 Jul 2005 06:21:38 -0700 message-id: <200507071321.j67dlc1f028056@idx164.idx.net> references: no_parent from: Ana Carvalho subject: RHIZOME_RAW: Re: Re: VJTheory book - Call for participation What we are asking from all contributors at the moment is a 500 word synopsis of the proposed article. The deadline for the synopsis is the 30th of September. As a collective or individually (depending on how you would like to collaborate) you could give us a rough idea of the area of theory you would be using. A proposal from you would be very welcome. I am not sure though if this answered your questions or not. if you need any further information please let me know, I'll be more than happy to continue this conversation. For contact through e-mail: vjtheory@yahoo.co.uk Best regards Ana JustA Pixy wrote: > Hi Ana! > On behalf of the AVit retreat 2005, we would certainly like to be a > part of this project. > I have worked with Lara, and know Paul, and know of their commintment > to exploring this subject. > > The AVit retreat conscept has elements of what you seek! > We are in the process of compiling "collaborative" works, accomplished > @ this years AVit Retreat 2005. > > Where and What do we as a 'Collaborative Project' (AVit Retreat 2005) > need to do to get started? > > Great idea BTW mate! > > cheers > > Pixy > > > > > > > Ana Carvalho wrote: > > > VJ Theory > > Philosophy and cultural theory of vjing and realtime interaction > > > > 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 rise. > > > > 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 > > > > > > > > > > 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 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, 7 Jul 2005 09:54:25 -0700 message-id: <200507071654.j67gspoq021859@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Art of Programming - by a programmer Warning - the following article is quite possibly a waste of time for the more erudite amongst us ;) That being said: I found this article rehashing the age old question as to whether programming is art, from the perspective of a programmer, interesting (and easy to read). http://www.onlamp.com/pub/a/onlamp/2005/06/30/artofprog.html Sorry for the repost - it did not make it online since I used an apostrophe in the subject line. 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 07 Jul 2005 19:27:27 +0100 message-id: <42cd740f.9080808@furtherfield.org> references: <42cd1d3e.7040109@pallit.lhi.is> from: marc subject: RHIZOME_RAW: New Reviews on Furtherfield.org (July 05) *New Reviews on Furtherfield.org (July 05)* http://www.furtherfield.org Scream(v0.1) by Amy Alexander. Following a theme found in several of Amy Alexander's previous works, Scream blurs the traditional distinctions between work and play. The effects of computers on our leisure time - and vice versa - is an important and still relatively under explored area in the analysis of our current social and political realities, despite the fact that "it's hard to tell work from play anymore. We seem always to be working - even when we're playing. Reviewer: Chris Joseph. Direct link: http://www.furtherfield.org/displayreview.php?review_id=149 Grafik Dynamo by - Kate Armstrong Michael Tippett, on Turbelance.org. When I first encountered Kate Armstrong and Michael Tippett's Grafik Dynamo after reading a brief description on the Turbulence website, it made me think of the concept referred to as the "Internet Hive Mind." While I don't subscribe to this concept as such, my initial thought when viewing Grafik Dynamo was, "is this an example of what collective consciousness looks like?" Reviewer: Alison Coleman. Direct links: http://www.furtherfield.org/displayreview.php?review_id=152 House Gymnastics by Harrison&Ford. Whilst discussing about boredom with each other in the upstairs hallway, fed up with everything, wanting something different, fresh and alive. They both realized that they had both reached a crossroads regarding the context of their creativity. An important era was born, and out of this meeting they busted their first moves. The Brace was conceived and perfected that one afternoon and several experimental versions of moves followed. Reviewer: Joachim Desarmenien. Direct link: http://www.furtherfield.org/displayreview.php?review_id=150 Why Rock? by Annie Abrahams & Clément Charmet, at Turbulence.org. As part of the guest curator's season at Turbulence.org, Annie Abrahams and Clement Charmet have brought together a variety of digital artists perhaps more well known for their visual arts than musical explorations. Under the banner of Why Rock? The pieces presented offer an intriguing exploration of digital music's potential. One that is more aligned to ideas of DIY punk than what we imagine the current music scene to be. Reviewer: Mark R. Hancock. Direct link: http://www.furtherfield.org/displayartist.php?artist_id=205 Call 1 800 interact... by Martha Carrer Cruz Gabriel. Bringing together voice and image to build a visual mosaic of users chosen colours, Voicemosaic allows us to hear the voices of people dropping by and saying a few words (mostly in Portuguese, and English) 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, 7 Jul 2005 11:56:14 -0700 message-id: <200507071856.j67iuekz002344@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Application Deadline R&D Fellowship at Open Lab at Eyebeam Eyebeam R&D seeks inaugural fellows to work on creative technology projects in the Eyebeam Open Lab. The fellowship is a unique opportunity to participate in a new kind of research environment and contribute to the public domain. The Open Lab is dedicated to public domain R&D. We are seeking artists, hackers, designers and engineers to come to Eyebeam for a year to develop pioneering work. The ideal fellow has experience creating innovative creative technology projects, a love of collaborative development, and a desire to distribute his or her work as widely as possible .Participation in the R&D Fellows program includes: - One year fellowship - 4 days/week commitment - $30,000 annual stipend + health insurance Application: 
Please submit your application by August 15th; fellowships will begin in the Fall of 2005 (flexible start date). Applications can be completed at R& D website at Eyebeam: http://eyebeam.org/production/production.php?page=rdfellows For further information on Open Lab and prior Eyebeam R&D projects: http://eyebeam.org/production/production.php?page=randd Contact/ Questions: openlab@eyebeam.org Eyebeam 540 West 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 -> 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, 7 Jul 2005 12:41:44 -0700 message-id: <200507071941.j67jfivh007304@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: anOTHER T.SHIRT COMPETITION New York Collective for the Arts presents... anOTHER T. SHIRT COMPETITION June 21st, 2005 to September 25th, 2005 OVERVIEW anOTHER T.SHIRT COMPETITION, is a NYC-based competition/ exhibition/ limited-edition sale of "work of art" t-shirts submitted by graphic designers and artists from all over the world, and juried by a select group of professionals who represent the design, fashion, and gallery world. The COMPETITION is a reinterpretation of the traditional t-shirt competition. Using a t-shirt as medium/raw-material or a jumping off point, we are looking for submissions which extend the boundaries of what a t-shirt is and what graphic design is. We are seeking entries that bring us into the world of inventive, playful, unconventional design. New York Collective is now accepting entries for the contest portion of this event (as of 6.21.05) Submissions must be received by Midnight GMT of August 13th, 2005. A total of eight winning submissions will be selected by our judges. Those winning entries will be shipped to New York (by NYCollective) and featured at a NEW YORK COLLECTIVE flash environment; a temporary exhibition space/store. Open from September 13th—September 25th, 2005, during NYC fashion week, it will be kicked off by a DJ'd opening night party (9.13.05), and will also include the sale of winning artists' entries in limited edition multiples produced by NEW YORK COLLECTIVE. JURY PANEL: Rachel Comey – Fashion Designer- Rachel Comey Adam Glickman – Publisher/Creative Director - Tokion Magazine Peter Hahn – CoFounder - Turntable Lab John Hobbs – Courator - Riviera Gallery Toshiki Okazaki – Director - Zakka Corp Isa Saalabi – CoFounder - Nom de Guerre CONTEST GUIDELINES Anyone 18 or over is eligible to enter anOTHER T.SHIRT COMPETITION. You may enter as many times as you wish. Please visit design.nycollective.org for entry key, submission form, and complete contest details. SUBMISSION PROCEDURE: There is a $5 submission fee per entry for this competition. Upon payment, artist will receive an entry key with which they then may upload and submit up to three (3) jpg images of submission. Artist will also be asked for contact information, media used, and other details relevant to their project. Only one submission per entry key. These images and information provided will be the sole deciding factor in judging this contest. ENTRY REQUIREMENTS: All entries must start with a t-shirt. Artist may alter, develop or build upon it anyway they wish. Entries must be limited in size to 2' x 3' x 5' and weigh under 8lbs (US). All materials must be your original work. Winners will be notified no later than September 1, 2005. The decision of the judges and of NEW YORK COLLECTIVE is final. ABOUT NEW YORK COLLECTIVE FOR THE ARTS NEW YORK COLLECTIVE FOR THE ARTS is a 501(c)(3)(pending) non-profit organization whose mission is to create programs in the arts that provide opportunities for the development of talent and promotion of artistic culture in New York. Our members are diverse individuals who have the common goal of providing artists a platform for their work through events and collaborations with NEW YORK COLLECTIVE. + -> 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, 7 Jul 2005 13:49:39 -0700 message-id: <325f9dc93c9ab2431b0ade73c51f2380@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Job Opening for Festival Director Begin forwarded message: > From: Big Sky Documentary Film Festival > Date: July 7, 2005 11:33:41 AM PDT > To: Big Sky Documentary Film Festival > Subject: Job Opening for Festival Director > > Job Opening - > Big Sky Documentary Film Festival Seeks Director > The Big Sky Documentary Film Festival is accepting applications for > the position of Festival Director.  The position involves planning, > promoting, and facilitating the annual event (February 16-22), > coordinating sponsorships, grant writing and other fundraising > activities, supervising volunteers, and handling administrative > tasks.  Applicants must be available to begin work in Missoula, > Montana no later September 1, 2005.  This is a full-time, year-round > position with a seven-month initial commitment.  Excellent > communication and organizational skills a must.  Knowledge of the > documentary film and video industry will be very helpful.  Salary > $18-24k (+ benefits) depending on experience. > > Email a resume (.pdf, .doc or email text) and short letter of interest > to .   PLEASE, NO PHONE CALLS OR > APPLICATIONS BY MAIL.  We will contact applicants by phone or email to > schedule an interview. > > > ***************** > Doug Hawes-Davis > Festival Programmer > Big Sky Documentary Film Festival > 131 South Higgins Avenue, Suite 201 > Missoula, Montana 59802 > (406) 541-FILM > bigsky@highplainsfilms.org > www.bigskyfilmfest.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, 07 Jul 2005 23:43:16 +0000 message-id: <42cdbe14.5050409@pallit.lhi.is> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: wierd image of airplane with reflection on google maps http://maps.google.com/maps?q=Montreal+to+Kingfield,+ME&ll=43.824549,-69.703735&spn=0.004495,0.007502&t=k&hl=en -- _______________________________ Pall Thayer artist/teacher http://www.this.is/pallit http://pallit.lhi.is/panse Lorna http://www.this.is/lorna _______________________________ + -> 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, 7 Jul 2005 18:29:10 -0700 (PDT) message-id: <20050708012911.3694.qmail@web31009.mail.mud.yahoo.com> references: no_parent from: britzel vasquez subject: RHIZOME_RAW: Are you a Puerto Rican Artist?? I am interested in building a list of contemporary Puerto Rican Artists who are involved in creating innovative works with a social context. If this is you, please send your information (cv+brief description of work) to britzelva@yahoo.com Gracias! Britzel Vasquez __________________________________________________ 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: Thu, 7 Jul 2005 18:31:01 -0700 (PDT) message-id: <20050708013101.43980.qmail@web31002.mail.mud.yahoo.com> references: no_parent from: britzel vasquez subject: RHIZOME_RAW: Are you a Puerto Rican Artist?? I am interested in building a list of contemporary Puerto Rican Artists who are involved in creating innovative works with a social context. If this is you, please send your information (cv+brief description of work) to britzelva@yahoo.com Gracias! Britzel Vasquez ____________________________________________________ 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: Thu, 7 Jul 2005 18:31:07 -0700 (PDT) message-id: <20050708013107.53728.qmail@web31007.mail.mud.yahoo.com> references: no_parent from: britzel vasquez subject: RHIZOME_RAW: Are you a Puerto Rican Artist?? I am interested in building a list of contemporary Puerto Rican Artists who are involved in creating innovative works with a social context. If this is you, please send your information (cv+brief description of work) to britzelva@yahoo.com Gracias! Britzel Vasquez ____________________________________________________ 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: Thu, 7 Jul 2005 22:04:48 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: Is Programming Art? (via programmer\\\'s perspective) to extend what i posted a couple of days ago. because knuth is a (deservedly) renowned computer scientist, people think he must know about the art of programming--particularly since he wrote a multi-volume book with that title. and that book is a classic. but if you pick any of the volumes up, you would find very little if any talk of art in it. it is a big book of algorithms. how do you most efficiently search through text to find a given string? it addresses questions like this. how fast is the algorithm? it addresses questions like this, also. can the algorithm be proved to be the best we can do? etc. the art of architecture, should we speak of it, i think we could agree, is not circumscribed within the matter of how you build a structure. it isn't addressed so much in the physics books and the engineering books, the references that detail the properties of the materials etc. which isn't to say that those books have nothing to do with the art of architecture. a good architect will know how to consult such books and be intimately familiar with the principles that underly them. just like a good programmer will know how to read books like knuth's and be familiar with the principles that underly his massive and impressive analysis of algorithms. but the art of programming is discussed as little in knuth's books as is the art of architecture in the physics and engineering books on architecture. knuth identifies the art of programming with how we choose and implement our algorithms. and that is not without art. but the art of programming is far broader than such issues. just as the art of painting is far broader than the issue of how you paint a painting. we see that this is largely a question of technique and craft. just as the question, in architecture, of how you build a structure is largely a matter of craft and technique. whereas the issues of art occur largely in more global contexts. why would you want to make the thing? what are its relations with its brothers and sisters? what are its relations among the history of ideas? how can its meaning be interpreted? how does it mean? what sort of statements are involved? is it in any sense innovative? if so, how so? what is the experience of it like? these are less quantitative than ambiguous and qualitative questions and issues. and of course there are many more such issues. the work of art, whether it is binary or analog, is typically made by people who have some awareness of these sorts of questions and issues and it can be read/experienced in such contexts in a rewarding manner; it usually addresses some such set of questions more or less explicitly, even if ambiguously, even mysteriously. even if there is utility to the work, as there is, typically, in works of architecture and software. 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: Fri, 8 Jul 2005 03:32:28 -0400 message-id: <20050708073232.4b0be724038@mail.pubsub.com> references: from: Bob Wyman subject: RE: RHIZOME_RAW: Is Programming Art? (via programmer\\\'s perspective) Jim Andrews wrote re: The Art of Programming > if you pick any of the volumes up, you would find very little if > any talk of art in it. If the viewer sees no art, is it because there is no art to be seen or is it because the viewer can not see it? I've treasured my copies of Knuth's "Art of Programming" since I bought my first volumes in the early 80's. I hope desperately that Knuth will live long enough to complete the project and won't be distracted any more... For me, his books are wondrous aesthetic experiences that equal or exceed much of what others would claim to be "great" art. Frankly, their utility is secondary. In fact, some of the volumes are really quite out-dated in their technical content... Knuth created Tex, still one of the most powerful typesetting systems simply to produce those volumes. He created MetaFont, a system for the mathematical definition of typefaces so that he could create the Computer Modern Roman typeface which assured that the words he wrote lay properly, powerfully, and pleasingly on the page. He invented the Mix language in order to make concrete the algorithms that he discussed. All this was essentially choosing colors, brushes, and canvas for the very real "conceptual art" that shines from his discussion of every algorithm and problem addressed. Knuth's books are much more than just lists of algorithms. They are experiences in a conceptual space which is, admittedly, hard for most folk to enter. But, if you're lucky enough to catch sight of what is there, it is beautiful. It is art. bob wyman + -> 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, 8 Jul 2005 00:35:13 -0700 message-id: <7b261ebded0e3569424828ae3a59d903@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: FIXr this is fairly funny... http://www.fixr.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, 8 Jul 2005 01:12:05 -0700 message-id: references: <20050708073232.4b0be724038@mail.pubsub.com> from: Jim Andrews subject: RE: RHIZOME_RAW: Is Programming Art? (via programmer\\\'s perspective) If you ask whether programming is an art, and then define it predominantly in terms of technique and craft, the answer must finally be 'no'. It seems to me this is what continues to happen in discussions of art and programming. As I said in my last post, books about a computer science approach to algorithms are not without art. And Knuth is surely a master thereof. But there is an art of programming that is beyond the analysis and implementation of algorithms, as I have said, and it is to the detriment of the art of programming that technique and craft-centered views of it continue to prevail. 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: Fri, 8 Jul 2005 02:42:21 -0700 message-id: <200507080942.j689glqb018548@idx164.idx.net> references: no_parent from: rich white subject: RHIZOME_RAW: .jpg composite image challenge artist rich white invites people to join the netbehaviour email list and take part in a collaborative .jpg project. currently on it's third of 14 days, white posts an image to the list each day to which people are invited to enhance, adapt, manipulate, and then post back to the list. white then creates a composite of all the submissions for that day and reworks the mix if images. this is posted back to the list and the process repeats. "the origins of this idea come from recent thoughts about digitally created imagery; in particular drawing with a computer and using paint software as a medium for drawing, and thinking about the validity of the computer-made mark. i would like to use this residency not only to challenge myself with the task of drawing in this fashion, but also invite list members to submit their interpretation of drawing, and through this interaction to challenge me to make visual sense, through one image, of the multiple ideas submitted. The residency also reflects the broader aspects of my practice where I am exploring ideas of creating works which have no context or basis in our visual frame of reference. through this I am examining the processes of originality and value, and the creation of belief in these ideas." the end result of the project will be a series of progressive images charting the development of the work, along with the collaborators submitted images for each day. project url: http://www.counterwork.co.uk/jpg netbehaviour: http://www.netbehaviour.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, 8 Jul 2005 03:19:26 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: Is Programming Art? (via programmer\\\'s perspective) why is it detrimental to the art of programming to define it predominantly in terms of craft and technique? this is a question that one could as well ask concerning poetry or other arts. in a nutshell, craft and technique issues/questions do not address the human, social/political contexts in which the object/program is operative. the cultures of computer science (and mathematics) are cut off from their human concerns. the art/science split makes for both sociopathic science and ineffectual art. computer scientists should be aware of the artistic dimensions and traditions, the humanistic concerns implicit in their discipline. those to whom the students of computer science look up to should be the great artists of the digital, eventually, who both in their works and their contributions to computer science strive for a better world and deeper individual experience and understanding, not simply a more efficient widget or algorithm. digital art should attract the best minds. the most driven and talented artists. who bring it all together. bring it home. and these should also be the great scientists of the digital. they should not be different creatures. what is at stake is whether we have societies in which the machine is simply oppressive of humanity or whether the art of programming can flower into something beautiful not only in the austerity of mathematics but in its poetic vision for the benefit and joy of humanity. ja http://vispo.com ps: http://www.nybooks.com/articles/18112 is a fascinating review of a recent biography of Norbert Weiner, the 'father of cybernetics'. he was well acquainted wih johnny von neumann, one of the main minds behind the rise of the computer. von neumann was the model for dr strangelove. von neumann was the inventor of game theory. he also thought that the usa should bomb russia as soon as possible. see how these two figures contrast. yet even still, " They shared a passionate interest in biology. Both of them saw a deeper understanding of biology as the ultimate goal of their explorations of the science of computing and information." computing is all about us, is toward our understanding the extent to which we too are language machines. + -> 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, 08 Jul 2005 15:59:41 +0200 message-id: references: no_parent from: tamara lai subject: RHIZOME_RAW: Chroniques du / Kroniks of / Sacrifice ehello! talk to us, send images, forward it... else ? (do not)... Regards Tamara LAI --- Tamara Lai' Web ring http://tamara.lai.all2all.org Tell A Mouse http://www.tell-a-mouse.be + -> 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, 08 Jul 2005 11:25:54 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Member-Curated Exhibits Hello, So - in the 6 months or so since Rhizome launched its Member-Curated exhibits, 30 have been organized. Curatorial approaches have ranged widely: some are quite personal, while others offer more formal explorations of themes such as sound art, data visualization or identity. You can see all the exhibits at http://rhizome.org/art/member-curated/ Today, we will begin to share these exhibits with the general online public . Rhizome staff will spotlight one exhibit per month by featuring it on the front page and also highlighting it on the Member-Curated page. During that month, the selected works (regardless of the date they were entered in the archive) will be available for anyone to view. We are starting with =8CWell, they aren=B9t Twinkies=B9 curated by Erin O=B9Brien which includes work by Gustavo Romano, Gregory Chatonsky, Valery Grancher, Roch Forowicz and Jeanie Finlay. I hope you enjoy it! yours, Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 8 Jul 2005 09:29:36 -0700 message-id: <200507081629.j68gtajg028833@idx164.idx.net> references: no_parent from: Andrew Stern subject: RHIZOME_RAW: art/research interactive drama project Façade released The AI-based art/research interactive drama project Façade has been released to the public. Façade was exhibited on the art ferry at ISEA last year. Download it for free at http://www.interactivestory.net. Here is an announcement for its release. http://grandtextauto.gatech.edu/2005/07/05/facade-is-released/ Façade requires Windows XP / 2000 / ME, on a computer 1.6 GHz or faster, with 256MB or more of RAM and 1.0GB of hard disk space. A Macintosh version is planned for some point in the future. + -> 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, 8 Jul 2005 09:33:27 -0700 message-id: <200507081633.j68gxrsk029248@idx164.idx.net> references: no_parent from: Andrew Stern subject: RHIZOME_RAW: Procedural Arts Press Release for Façade www.proceduralarts.com www.interactivestory.net PRESS RELEASE July 5, 2005 The World's First Fully-Realized Interactive Drama is Released as a Freeware Download at InteractiveStory.net PORTLAND, Oregon, July 5, 2005 - Procedural Arts, an independent studio formed by artificial intelligence researcher/developers Andrew Stern and Michael Mateas, today unveiled the long-awaited Façade, a one-act interactive drama, as a freeware download. Integrating an interdisciplinary set of artistic practices and artificial intelligence technologies, Mateas and Stern have completed a five-year collaboration to engineer a novel architecture for supporting emotional, interactive character behavior and drama-managed story. Within this architecture they have built a dramatically interesting, real-time 3D virtual world inhabited by computer-controlled characters, in which the player experiences a story from a first-person perspective. Hailed by The New York Times Arts Section as "the future of video games" (June 7, 2005), in Façade, the player, using their own name and gender, plays the character of a longtime friend of Grace and Trip, an attractive and materially successful couple in their early thirties. During an evening get-together at their apartment that quickly turns ugly, they becomes entangled in the high-conflict dissolution of Grace and Trip's marriage. No one is safe as the accusations fly, sides are taken and irreversible decisions are made. By the end of this intense one-act play the player will have changed the course of Grace and Trip's lives - motivating them to re-play the drama to find out how their interaction could make things turn out differently the next time. "We believe Façade can serve as a prototype for interactive drama, a new genre of character and story-intensive interactive entertainment," said Andrew Stern, co-founder of Procedural Arts and co-creator of the award-winning AI-based virtual pet products Dogz, Catz and Babyz from PF.Magic, which sold 2M+ copies worldwide in the late 1990s. "Innovation like this will only come from small independent studios willing to take design and technology risks, not from large conservative game companies." Façade is unlike games to date in that the player is able to drive the story through direct, Holodeck-style interactions, including conversing with the characters in natural language, and moving and gesturing freely within the first-person 3D world of Grace and Trip's apartment. And unlike interactive stories to date, in Façade the computer characters actively perform the story without waiting for you to click or enter a command. AI controls Grace and Trip's personality and behavior, including emotive facial expressions, spoken voice and full-body animation. Further, the AI intelligently guides the story based on the player's moment-by-moment interaction and what has happened in the story so far, while still satisfying an overall dramatic arc. An innovative text parser allows the system to avoid the "I don't understand" response all too common in text-adventure interactive fiction. "By treating artificial intelligence as an artistic medium, and creating story content procedurally instead of using canned cut-scenes, Façade truly breaks away from today's games," said Michael Mateas, co-founder of Procedural Arts and Assistant Professor of Computer Science and Literature, Communication and Culture at the Georgia Institute of Technology. "Procedural content will be a key technology in the next generation of interactive entertainment." In 2004, an early version of Façade was a finalist at the Independent Games Festival in San Jose, and was exhibited at the prestigious Inter Society for the Electronic Arts (ISEA) festival in Scandinavia. In his latest book on interactive story, veteran game design guru Chris Crawford said, "Façade is without a doubt, the best actual working interactive storyworld yet created." Technical Requirements Façade requires Windows XP/2000/ME, on a computer 1.6 GHz or faster, with 256MB or more of RAM and 1.0GB of hard disk space. A Macintosh version is planned as well. About Procedural Arts LLC Procedural Arts LLC is focused on creating highly interactive, emotional, personality-rich characters and stories. Their authoring system, available for licensing for entertainment, training, and marketing applications, includes technologies for lifelike character behavior, robust natural language understanding, conversation (discourse) management, and drama management. To learn more about Procedural Arts, and to freely download the interactive drama Façade, visit www.proceduralarts.com. Contact: info-no-spam@proceduralarts.com (remove "-no-spam") + -> 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, 8 Jul 2005 11:44:17 -0700 message-id: <200507081844.j68iih2k010645@idx164.idx.net> references: no_parent from: Wendy Tremayne subject: RHIZOME_RAW: Call for Collaborative Entries: Clothing Reuse Wendy Tremayne invites collaborating artists to participate in Swap-O-Rama-Rama, a public community event in which recycling and reuse are explored through the exchange and modification of used clothing. Artists are invited to design and teach a public how-to workshop that demonstrates the reuse potential of used clothing. Workshops should be practical demonstrations that teach others how to modify used clothing into a new and reusable form. The modified item may be, but is not restricted to, wearable items. Workshops can range in length from 15 to 45 minutes and may focus on the fall/winter season though this is not required. The abundant clothing provided at the swap can be used for your workshop. If your project is selected you must be willing to teach your workshop to a public audience. Submissions: Please send original workshop ideas to wendy@gaiatreehouse.com . Include necessary expenses. There is a small budget for supplies however all are encouraged to use the abundant resources provided - used clothing. Workshops will be chosen based on innovation with and use of recycled materials. Previously designed ideas may be reused for this project. If your workshop is chosen you will be paid a small fee as a token of appreciation. A significant press and promotion effort will include your bio, link and a description of your workshop. Limit entries to approximately 1000 words. Images are welcome preferably as links rather than attachments. Deadline: Submit workshop proposals by August 26th, 2005. All selected works will be notified by September 5th, 2005. You must be able to teach your workshop on a Sunday afternoon in October 2005 (final date TBA). The October 2005 Swap-O-Rama-Rama is enabled by a grant from Black Rock Arts, a community resource for interactive arts and a non-profit art funding organization for Burning Man. Swap-O-Rama-Rama is also fiscally sponsored by New York Foundation for the Arts. LINKS Wendy Tremayne - http://gaiatreehouse.com Swap-0-Rama-Rama - http://gaiatreehouse.com/swaporamarama.htm Black Rock Arts - http://blackrockarts.org NYFA - http://nyfa.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, 8 Jul 2005 18:52:10 -0700 message-id: <200507090152.j691qark018975@idx164.idx.net> references: no_parent from: // jonCates subject: RHIZOME_RAW: Re: Report from Wired NextFest 2005 On Jul 6, 2005, at 5:19 PM, Jonah Brucker-Cohen wrote: >There was even a cyborg of Science fiction writer Phillip K. Dick it isn't rilly a cyborg. it's an android (as in it dreams of electric sheep). or robot (as in it is a slave w/o the ability for autonomous behavior or creativity). or _very_ primitive replicant (as in "you see a tortoise laying on it's back..."). >that understood natural language enough for visitors to ask him questions. "understood" is def'ly debatable. the droid {parsed|processed} natural lang well enough to generate replies. i talked to the droid after it had been rebooted but it was often _very_ oblique, abstract + inexact in it's replies to queries. i spoke w/the developers @ length + found their effort to be very sincere in their desire to both recreate a likeness of Dick + well intentioned in their densely multilayered approach to simulation + simulacra. they expressed that the droid was to be evaluated as art. as art, the Dick droid did not reinforce a technopositivist view of inevitability of these futures but rather reinscribed the fallibility of these current + futuristic desires. the Dick droid undermined perfection, seamlessness + flawlessness not only in it's estranging replies + faltering mechanics but also in it's exposed "brain". the back of the Dick droid had a suicidally huge hole from which colorful bundles of cables + blinken lites bleed out connecting the puppet like body of the droid to it's software systems housed in boxes a few feet away. exposed in the Dick droid's skinless skull.bak were plastic cogs, servo motors, cables + blinken lites that were mainly visible thru the window from the room's exterior. Philip K. Dick did not commit suicide. he died of a stroke in 1982: http://en.wikipedia.org/wiki/Phillip_K_Dick#Death but the way in which the Dick droid was left w/a skinless skull or rather a giant hole in his head keeps me thinking of self inflicted wounds such as those. i wonder about the reasoning for this detail (evaluating the droid as art or artware). functionally speaking, i assume that access to the components in the head must have been operationally crucial to the development team. sill, i can't help wondering how this hole fits in the field of resonance in relation to the Dick droid as art. did the development team hope to help ground the Dick droid in the nonhuman by exposing the materiality of the components in it's head? was this unfinished feel meant to minimize potential alienating effects of the droid? does exposing the computational clockwork electro-mechanics lessen or heighten a horror filmy zombie like identification? representatives of Hanson Robotics, the FedEx Institute of Technology's Institute for Intelligent Systems, the Automation + Robotics Research Institute at UTA + Dick's friend Paul Williams who collaboratively [built/developed] the Phillip K. Dick robot told me that the bot + their efforts are cleared w/the Dick family. apparently Dick's daughter(s ?) had visited w/the bot in CHI IL .US before NextFest opened. when we were discussing this a person next to me commented that their conversation must have been strange + amazing. based on my experience w/the bot i wonder what if anyThin they could have discussed + sustained any sort of linear or logical path. Hanson Robotics: http://www.hansonrobotics.com >Finally, the "Security" pavilion focused on projects that demonstrated how >"secure" we might be actually, the entire NextFest was extremely militarized. the military-industrial-academic-entertainment complex was well represented in celebratory + uncritical terms. >Forget lie detectors, in the future nothing will be a secret. on 2005.06.24 @ the Army's Full Spectrum Warrior exhibit booth, Stone, an Army representative, showed a video + distributed nfo on the Army's Future Combat Systems program. the video Stone showed (which is also available online) is set in 2014. this future war takes place in mountainous computer generated wintery landscapes (as in definitively not the desert, assuming for the moment that the war + occupation in Iraq will have been concluded before 2014). this CG'd military engagement is populated by live actors realizing networked war games as their interfaces play across the screen like the simulations of success they [imagine/fantasize]. in this future, a .US .MIL Army military-industrial-academic-entertainment dream of 2014, the Orwellian + Foucaultian [fascist/totalitarian] {surveillance|police} state apparatus will not only prevent secrets but also erase borders between nonexistent nation states allowing a decentralized nodal network of hyperlinked systems operated by young soldiers who have been pre-trained, pre-screened + pre-tested on games + systems such as Full Spectrum Warrior. currently the Army's minimum age for enlistment is 17 + the maximum age is 35. today's 6 to 26 year olds will be Full Spectrum Warriors in the Future Combat Systems' scenarios of 2014. Army Future Combat Systems representative Stone told me that the goal of the Future War Systems is to get them (as in the enemy as in the binary opposition of us vs. them) before they even know we know about them. or perhaps he said before they even see us coming. i am paraphrasing from memory b/c i was too {taken|shaken} by the sheer honesty of Stone's comments + his seemingly solid assumption of righteousness to ask him for clarifications or to take notes while we talked. Stone was very interested in why i was so interested + began to recruit me, telling me about all of the wonderful job opportunities that exist in the Army for talented young artists like myself. the videos Stone was showing in the Full Spectrum Warrior http://www.fullspectrumwarrior.com exhibition booth for the Army's Future Combat Systems are available online w/nfo about the program: http://www.army.mil/fcs/ >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? for me the questions remain: what about the techno fetishism that are the military industrial academic entertainment art design markets? which techno fetishes are already [in/on] these markets? how do we personally develop, connect, organize + resist these + numerous other techno fetishes? to what extent are we [in/on] these markets? to what extent are we able to mobilize [in/on/against] these markets + techno fetishes? representative Bill Walker of Northrop Grumman watched me amble around in the sprawling Northrop Grumman "booth". this booth was an open air semi-circle of model airplanes (actually autonomous Killer Bee aircraft + scale models of larger autonomous weapons, surveillance + network systems in the shape of aircraft), mockups of existing command & control war rooms + glossy promotional materials. Walker watched me snap digi picts for awhile + then said looking @ my t-hirt "SIMS?". i replied yes, it was a SIMS t-shirt, Kevin Staab to be exact + when this was met w/a cold unknowing stare i just said "old skool skateboard stuff." to which Walker replied sumThin along the lines of "i build unmanned aircraft." "ok" i thought "that is perhaps the most amazing nonsequeter of the day..." the UAVs (Unmanned Aerial Vehicles) + UCAVs (Unmanned Combat Air Vehicles) of which we spoke are currently on the market + in the field (as in killing people today). the Northrop Grumman surveillance systems that Walker enthusiastically explained to me are on the market, in use in Iraq + (@ least tested if not currently operational) in the continental .US integrating realtime + cached cybernetic command & control systems that surveil (as in attack) subjects (as in the subjecated) thru nodal nets containing autonomous agents in the shape of tiny stealth bombers (w/the nifty name Killer Bee) as well as full sized aircraft. Walker whipped out a PDA + clicked thru hi rez imgs of "a palace in Baghdad" while explaining to me the flexibility + scaleability of the system + how intelligence like this was now available to soldiers (as in Full Spectrum Warriors) on the ground. when i saw that almost all of the video footage playing on their monitors was from the continental .US, i bega! n to ask about their use in the States. Walker explained to me that of course it was technically possible to fly autonomous intelligent machines in the continental .US (while my mind reeled conspiratorial hystories up + prepared to hyperthread them into the projector, played back thru a filter of my memories of Manual De Landa's War in the Age of Intelligent Machines) but that the FCC was just being cautious + slow to regulate what is permissible in the .US b/c of the implications this would have on industries such as air travel. while i was wording sum sort of question that would engage hypothetical scenarios for weaponizing unmanning aircraft on the scale of commercial airliners, Walker happily continued to relate how all of this happens everyday when pilots switch auto-pilot on @ the beginning of a flight + switch it off @ the end + how he (as a representative of Northrop Grumman) has a dream of the control tower contacting an autonomous system rather than a human pilot. Walker was quite clear that this dream i! s not futurist as it is exactly what is currently operational in Iraq + Afghanistan but that the FCC is currently the only barrier to making this dream a reality. when i continued to press on about if these systems were currently in use in the .US by police agencies or the .US .MIL (+ let me reiterate that much of the footage was from the .US + that Walker had gleefully told me that the people in the footage had no idea that they were being surveilled) Walker only smiled + moved on to the next ppl ambling around saying sumThin to them on the order of "you like aircraft?" i walked away allowing my signed Kevin Staab old skool pirate deck t-shirt to have the last uncomfortable [look/laugh] @ Walker + the Northrop Grumman systems. the Cyber Warfare Integration Network, Killer Bee aircraft + the Advanced Information Architecture + ISP In The Sky from Northrop Grumman are all detailed online: http://www.northropgrumman.com >If the future is closer than we think, this might be something that will happen >in our lifetime. again, these futures are happening + in fact (as in the case of the Northrop Grumman weapons systems) are ppl's present moments. we are in this future now but we can contend w/it if we take the time to unpack assumptions, critically question those ppl that are developing these moments + their monumental rhetorix, [decode|decompile] their systems + create our own systems, sayings + trajectories. >If not, we might find out what's "next" by dreaming it up in a bathroom stall. the bathroom stall doesn't seem like a great place to dream to me. maybe the bathtub if we are going to stay in the bathroom. >In any case, Wired's world fair of sorts was a good reminder that we are heading >towards the future at an accelerated pace. this rhetorix disappears over the horizon site lines @ a Virilio like rate. Wired's NextFest did not remind me of or pull me into a vortex of accelerated futurism on the scale of a bygone world's fair era. it was instead like standing in the present moment or perhaps just slightly like the recent future of the Universe Next Door. but the futures (+ it is crucial to keep this term plural rather than singular in order to prevent ourselves from the fallacies of monolithic progress towards a single mythically inevitable technopositivist future) depicted @ Wired's NextFest were very familiar, perhaps in part b/c most have been or are [featured/marketed/technofetishized] in Wired itself + elseware. >The question that still needs addressing is: What will we do once we get there? the question is ware are we going? ware is these contentious futures? in the future? in the present? solid? abstract? self-justifying? lived? dead? injured? killing? on what grounds? on whose neighborhoods, streets + homes? w/or w/o justification? ++ what engines drive + power sources fuel this hypothetical time machine of NextFest or other futurist fantasies of worldly importance? how mini time machines are there? do they flower out, radiating in bifurcating branching multiverses [+/or] bubble up in quantum foamy indeterminate patterns, recursively mirrored in the net of Indra once mentioned? ++ who will we be then + there? ++ how do we anticipate, effect, shape, detourn, remix, remodel, develop, map, route, root + question these futures + our future selves? mini Q's mini A's mini futures... // jonCates CHI IL .US 2005.07.08 // an illustrated (img + mpg4) + hyperlinked version of this reply exists on // my newMedia(now&&then) blog: http://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: Fri, 8 Jul 2005 21:23:22 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: hush O London + -> 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, 9 Jul 2005 00:11:06 -0700 message-id: <200507090711.j697b6u4016417@idx164.idx.net> references: no_parent from: danielle ricciardi subject: RHIZOME_RAW: FUSION PROJECT OPENING @ OPEN END GALLERY , CHICAGO, IL FUSION PROJECT.ORG We are a collective of artists with a common interest to entertain and inspire through an open, creative environment. Fusion Project acts as a median between the artist, the people, and the opportunity. Our mission is "support the artist." art:::fashion:::music fusion project: fever & anxiety:::july 15th 6-10pm & 16th 8pm-2am:::open end 2000 w. fulton/chicago, il art minus pretension. ARTWORK : art! home? david koslik chris nightengale joe makarewicz joey d. caleb condit alex notarangelo kyungwon paik isaiah estell katy keefe pete skvara danielle ricciardi gidgy anon FASHION: leslie swanson yoohyun lim sandra yau jina kim sophie arreola MUSIC: david schmelzer j2k fessenden dj spike and dj tanner JULY 15 ARTIST RECEPTION : 6 -10 WITH FESSENDEN AND J2K PERFORMING JULY 16 FASHION SHOW AND DANCE PARTY WWW.FUSIONPROJECT.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, 09 Jul 2005 09:11:40 +0000 message-id: <200507090911.40509.rob@robertspahr.com> references: from: Robert Spahr subject: Re: RHIZOME_RAW: hush http://www.robertspahr.com/london/ On Sat July 9 2005 11:37 am, Rob Myers wrote: > On 9 Jul 2005, at 05:23, Jim Andrews wrote: > > O London > > For London's (and increasingly the world's) response see: > > http://www.werenotafraid.com/ > > http://www.livejournal.com/users/tyrell/154027.html > > And my personal favourite: > > http://moblog.co.uk/blogs/89/moblog_888b7e5f9f657.jpg > > - 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 -- -- Robert Spahr http://www.robertspahr.com "Sometimes I wonder whether the world is being run by smart people who are putting us on or by imbeciles who really mean it." - Mark Twain + -> 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, 9 Jul 2005 12:37:05 +0100 message-id: <20050709125907.20a8320a.456ea637@127.0.0.1> references: no_parent from: memorial:// subject: Re: RHIZOME_RAW: hush On 9 Jul 2005, at 05:23, Jim Andrews wrote: > O London For London's (and increasingly the world's) response see: http://www.werenotafraid.com/ http://www.livejournal.com/users/tyrell/154027.html And my personal favourite: http://moblog.co.uk/blogs/89/moblog_888b7e5f9f657.jpg - 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 All serious submissions will be included immediately. . Memorial for the Victims of Terror http://terror.a-virtual-memorial.org A Virtual Memorial - Memorial project against the Forgetting and for Humanity www.a-virtual-memorial.org and [R][R][F] 2005--->XP [Remembering-Repressing-Forgetting] http://rrf2005.newmediafest.org ********************************** NetEX - networked experience http://netex.nmartproject.net/index.php?blog=5 . info and 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, 09 Jul 2005 15:45:03 -0400 message-id: references: <1fb.c21c9b1.3000382b@aol.com> from: Kevin McGarry subject: RHIZOME_RAW: FW: [NEW-MEDIA-CURATING] Fwd: [dorkbotsf-blabber] Long Now job opening ------ Forwarded Message From: Susan Joyce Reply-To: Fringe17@AOL.COM Date: Fri, 8 Jul 2005 16:12:27 EDT To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK Subject: [NEW-MEDIA-CURATING] Fwd: [dorkbotsf-blabber] Long Now job opening We are now hiring for the curator of the initial collection of file format converters for our new File Format Converter Project (see job announcement below). Feel free to pass on to people you may know who are interested. We would like this person to be in the San Francisco Bay Area locale that can spend at least a couple days a week in our offices in the Presidio. _____ We have begun a project to locate and organize all of the world's file format converters, with an emphasis on understanding formats for long term data preservation. We are looking for someone to lead the curation and data design efforts of this project. This is initially a 2-3 month effort, with possible continuation. Compensation commensurate to skills and experience. Ideally, you should have: * A desire to make something that is the best in the world * An interest in digital data preservation * Broad experience with software applications and operating systems * Some database management experience * Good technical communication skills * Good analysis and synthesis skills * The ability to work with speed and efficiency * Comfort working in a UNIX environment and with open source tools * Experience with at least one programming language To find out about us, please check out http://www.longnow.org. Please send a resume and a short cover letter all as plain ASCII, in the body of an email to kurt@longnow.org. (attachments will not be read) ........................................................................ .........dorkbot: people doing strange things with electricity.......... ..........................http://dorkbot.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: Sat, 9 Jul 2005 12:48:45 -0700 message-id: <200507091948.j69jmjdp028556@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: don't touch me by annie abrahams Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?33888 + don't touch me + + annie abrahams + A work about intimacy and attitudes in front of the computer screen. I want to tell you a story. Males might think it is about 'desire', females will tell you it's about the painful change from adolescence to being adult. (flash6 sound on) + + + Biography ANNIE ABRAHAMS is an artist who has worked on the net since 1996. She is Dutch, lives in France, has a PhD in biology and is a graduate in fine arts. Most of Abrahams's work is featured on her site "Being Human / Etant Humain" (bram.org): a big interlinked universe that concentrates on the possibilities and limitations of communication on the net. About low-tech mood mutators and interrogations on communication. Not immersive. Information, articles etc. http://www.bram.org/info + -> 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, 9 Jul 2005 17:51:17 -0700 message-id: <200507100051.j6a0phis005324@idx164.idx.net> references: no_parent from: Greg Smith subject: RHIZOME_RAW: 74 nights - 06-04/07-01 Two fresh batches of images have been added to the 74 nights photojournal documenting my sonambulist wanderings through the margins of Los Angeles. File under 'flag waving & corpse counting' and 'city lights' http://www.serialconsign.com -> click on the 74 nights link/image. gs -- greg smith http://www.serialconsign.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, 10 Jul 2005 08:35:04 +0200 (CEST) message-id: <20050710063504.bcf1f22037@mail.isnm.uni-luebeck.de> references: no_parent from: memorial@mail.isnm.uni-luebeck.de:// subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART CALL FOR PARTICIPATI ON ON THE NEXT TERRO R ATTACK PLACE:UNKNO WN TIME:UNKNOWN THE MEMORIAL OF BULLSHIT ARTISTS ARE INVITED! 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 -> 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, 10 Jul 2005 11:25:32 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: selecçăo para o Prog:me =C9 com prazer que informamos que Susana Mendes Silva foi seleccionada para o Prog:ME, no Rio de Janeiro, na categoria net-art e cd-rom. ------ Prog:ME http://www.progme.org Prog:ME (programa de m=EDdia eletronica). =C9 o primeiro festival de m=EDdia eletr=F4nica do Rio de Janeiro e que pretende ser um evento anual na cidade. Organizado por Carlo Sansolo e =C9rika Fraenkel, o festival vai acontecer 18 de julho a 28 de agosto no Centro Cultural Telemar, no Rio de Janeiro-RJ O evento prop=F5e-se a fazer um mapeamento dos artistas que desenvolvem trabalhos de arte e tecnologia, contribuindo para o est=EDmulo da produ=E7=E3o nacional e para a exibi=E7=E3o de artistas novos e artistas reconhecidos no circuito internacional, paralelamente =E0 participa=E7=E3o de curadores estrangeiros que apresentar=E3o artistas de v=EDdeo-arte de diversas localidades do globo. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 10 Jul 2005 11:32:31 -0700 message-id: <7be3d7dab9e5dca7f85c0de59418ae55@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Former Officials Fail to Prevent Recession in Mock Energy Crisis "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." http://www.washingtonpost.com/wp-dyn/content/article/2005/06/23/ AR2005062301896.html Begin forwarded message: > > Former Officials Fail to Prevent Recession in Mock Energy Crisis > > By John Mintz > Washington Post Staff Writer > Friday, June 24, 2005; Page A19 > > The United States would be all but powerless to protect the American > economy > in the face of a catastrophic disruption of oil markets, high-level > participants in a war game concluded yesterday. > > The exercise, called "Oil Shockwave" and played out in a Washington > hotel > ballroom, had real-life former top U.S. officials taking on the role of > members of the president's Cabinet convening to respond to escalating > energy > crises, culminating in $5.32-a-gallon gasoline and a world wobbling > into > recession. > > Former CIA director R. James Woolsey and former EPA administrator Carol > Browner said the United States needs to reduce dependence on overseas > oil. > (Michael Williamson - The Washington Post) > > "The American people are going to pay a terrible price for not having > had an > energy strategy," said former CIA director Robert M. Gates, who took > on the > role of national security adviser. Stepping out of character, he added > that > "the scenarios portrayed were absolutely not alarmist; they're > realistic." > > The exercise began with ethnic unrest in Nigeria, leading to the > collapse of > the oil industry in that west African nation. Then al Qaeda launched > crippling attacks on key energy facilities in Valdez, Alaska, and Saudi > Arabia. > > 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, 10 Jul 2005 17:52:11 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: 'the universal computer' by martin davis 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 10 Jul 2005 22:21:57 -0700 message-id: references: <004701c2938c$17bb2380$0401000a@mmaltzan.com> from: Lev Manovich subject: RHIZOME_RAW: Urban Screens conference / 23-24 september / Amsterdam URBAN SCREENS 2005 23-24 september / Amsterdam ------------------------------- URBAN SCREENS 2005 is an international conference ranging from critical theory to project experiences by researchers and practitioners in the field of Art, Architecture, Urban Studies and Digital Culture. It addresses the growing infrastructure of large digital moving displays, that increasingly influence the visual sphere of our public spaces. It will investigate how the currently dominating commercial use of these screens can be broadened and culturally curated. Can these screens become a tool to contribute to a lively urban society, involving its audience interactively? We will explore especially the following issues: "Shaping the Urban Mediascapes", "Addressing the social value and civic culture", "Experiences from practical case studies concerning content production" ------------------------------- Detailed info and the program: http://culturebase.org/home/struppek/Homepage/urbanscreens.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, 11 Jul 2005 10:09:55 +0200 message-id: <20050711100955.ea8aaf9a.6c195a07@127.0.0.1> references: no_parent from: artnet subject: RHIZOME_RAW: =?ISO-8859-1?Q?Prison=20of=20love---=3Enext=20venue=20Murcia/Spain? "Prison of Love" (carcel de amor) http://www.carceldeamor.net and its online part "Violence without Bodies" (violencia sin cuerpos) http://www.carceldeamor.net/vsc/, the contemporary art show on the theme of gender violence, continues touring through Spanish museums and stops between 12 July and 28 July at Contemporary Art Centre Párraga, 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 (Cárcel de amor. Relatos culturales sobre la violencia de género) . A presentation curated by Berta Sichel, Virginia Villaplana and Remedios Zafra, and Rosa MŞ 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 Angélica 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 México (2001), Cindy Gabriela Flores; Guerrilla Girls (Website), Guerrilla Girls; No-pasatiempo (2004), Cristina Buendía. . 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 Contemporáneo, Almagro/Spain - 12 May - 19 June -->Centro Párraga, Murcia /Spain - 12 - 28 July -->Centro de Arte Caja Burgos, CAB/Spain - 8-30 September -->Artium, Centro-Museo Vasco de Arte Contemporáneo, Álava/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--> "Cárcel 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: Mon, 11 Jul 2005 07:43:12 -0700 message-id: <42d28580.5010403@turbulence.org> references: no_parent from: Jo-Anne Green subject: RHIZOME_RAW: Turbulence Spotlight: "1001 nights cast" by Barbara Campbell July 11, 2005 Turbulence Spotlight: "1001 nights cast" by Barbara Campbell http://turbulence.org/spotlight/1001nights/index.html In "1001 nights cast," Barbara Campbell performs a short text-based work for 1001 consecutive nights. The performance is relayed as a live webcast to anyone, anywhere, at sunset. A frame story written by the artist introduces the project's nightly performances. It is a survival story and it creates the context for subsequent stories generated daily through writer/performer collaborations made possible by the reach of the internet. Each morning Campbell reads journalists' reports covering events in the Middle East. She selects a prompt word or phrase that leaps from the page with generative potential. She renders the prompt in watercolor and posts it in its new pictorial form on the website. Participants are then invited to write a story using that day's prompt in a submission of up to 1001 words. The writing deadline expires three hours before that night's performance. "1001 nights cast" is a project generated by the forces of that great compendium of Arabian tales, The 1001 Nights also known as The Arabian Nights. The project explores the theatrics of the voiced story, the need for framing devices, the strategies for survival, the allure of the Middle East and its contrasting realities. BIOGRAPHY Barbara Campbell is an Australian artist who works primarily in the medium of performance. Since 1982 she has worked with the specific physical and contextual properties of a given site, be it art gallery, museum, atrium, tower, radio airwaves and now the internet, in developing and presenting her works. After completing undergraduate degrees in fine arts and art history, Campbell was awarded a Master of Visual Arts from Sydney College of the Arts, The University of Sydney in 1998. She has undertaken residencies at Griffith University, Queensland, The University of Melbourne, The University of Sydney and the Australia Council studios in Santa Monica and New York. In 1994 the NSW Ministry for the Arts awarded her the Women and Arts Fellowship and in 2004 she received one of four Fellowship grants awarded by the Visual Arts/Craft Board of the Australia Council for the Arts. For more Turbulence Spotlights please visit http://turbulence.org/spotlight -- 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: Mon, 11 Jul 2005 11:27:27 -0400 message-id: <42d28fdf.1060904@silencematters.com> references: no_parent from: jeremy subject: RHIZOME_RAW: montage video projection hey all! So i am loooking into doing a large video projection project, on 3 screens. All 3 screens might have everything from live straming video to images to projections of actual things that are going on in the space. I keep getting conficting suggestions about what to use to diplay all of this. People keep telling me to use Montage, and then others tell me that Montage is a hack program and should be avoided at all costs. As i do some research on this, because i know nothing at the moment... I thought i would put the question out to you all. Curious if there are answers within the rhizome community. thanks. -jeremy + -> 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, 11 Jul 2005 17:48:06 +0200 message-id: <3c2a0af2-735a-4301-ae7c-a8f73feadb58@nznl.com> references: from: Geert Dekkers 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 11 Jul 2005 12:11:33 -0400 message-id: references: <42d28fdf.1060904@silencematters.com> from: judsoN subject: Re: RHIZOME_RAW: montage video projection >hey all! > >So i am loooking into doing a large video projection project, on 3 >screens. All 3 screens might have everything from live straming >video to images to projections of actual things that are going on in >the space. >I keep getting conficting suggestions about what to use to diplay >all of this. People keep telling me to use Montage, and then others >tell me that Montage is a hack program and should be avoided at all >costs. >As i do some research on this, because i know nothing at the >moment... I thought i would put the question out to you all. >Curious if there are answers within the rhizome community. >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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 11 Jul 2005 09:39:35 -0700 message-id: <200507111639.j6bgdzdp005393@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Majlesi by Plasma Studii Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34186 + Majlesi + + Plasma Studii + anxiety is generated by the brain, often inexplicably, at random. this is becomes paranoia. everything out of the ordinary, unfamiliar, is a potential monster. and to attack in percieved self-defense is justified. the word "majlesi" is used in Persian culture (not sure linguistically where it came from) to refer to a culture. the culture includes improvisational dance, used not as a medium of strictly entertainment or "art" but a traditional ritual (can be for guests or ones self). oddly, there is a tidal wave of opposition of this kind of expression from the dance world who scoff at this use of dance. opposition that appears to simply be ignorance, fear of unfamiliar motivations, and/or suprizingly common paranoid dillusions. + + + Biography judsoN = computer artist for shows internationally on stages, galleries and the web, and the Artistic Director of Plasma Studii, a non-profit arts organization in New York. His goal is to use technology as a tool to fuse arbitrary distinctions in art, such as dance and sculpture, color and sound frequencies, stages and web sites. His live interactive pieces appear in such venues as plays in circus tents across Europe, installations for places like the Arts Council of Mildura, Australia, on web sites at ISCAM (in Istanbul) and cTheory for Cornell University (twice). His artwork published in books (US, Europe, South America) and on CD-Roms worldwide. Studied choreography under Doug Elkins, music composition with a student of Stockhausen. + -> 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, 11 Jul 2005 09:49:51 -0700 (PDT) message-id: <20050711164951.86551.qmail@web30504.mail.mud.yahoo.com> references: <3c2a0af2-735a-4301-ae7c-a8f73feadb58@nznl.com> from: Lewis LaCook subject: Re: RHIZOME_RAW: 'the universal computer' by martin davis Hmmmm, how about a Wittgenstein maschine?????? bliss l --- Geert Dekkers wrote: > 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 > *************************************************************************** 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: Mon, 11 Jul 2005 19:10:55 +0200 message-id: <000a01c5863b$b099f780$dc7789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: STATEMENT AN OFFICIAL STATEMENT MANIK,JULY 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 11 Jul 2005 12:21:24 -0500 (CDT) message-id: <200507111721.naa08070@bellerophon.cnchost.com> references: <42d28fdf.1060904@silencematters.com> from: Patrick Lichty subject: Re: RHIZOME_RAW: montage video projection It's a little pricey, but I recommend Derivative Touch over at derivativeinc.com It has its limitations, but for multi-scree, and flexibility, it really rocks. ---- judsoN wrote: > > >hey all! > > > >So i am loooking into doing a large video projection project, on 3 > >screens. All 3 screens might have everything from live straming > >video to images to projections of actual things that are going on in > >the space. > >I keep getting conficting suggestions about what to use to diplay > >all of this. People keep telling me to use Montage, and then others > >tell me that Montage is a hack program and should be avoided at all > >costs. > >As i do some research on this, because i know nothing at the > >moment... I thought i would put the question out to you all. > >Curious if there are answers within the rhizome community. > >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, 11 Jul 2005 11:19:17 -0700 message-id: <143098206280028701497837feee4573@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Invitation / Day-to-Day Data Project Launch Begin forwarded message: > > You are warmly invited to the launch of the Day-to-Day Data project on > Wednesday 20 July from 6 – 8pm at Angel Row Gallery, Nottingham. > > Day-to-Day Data is a national touring exhibition, publication and > web-based exhibition curated by artist Ellie Harrison. > > It features newly commissioned work by: Abigail Reynolds, Adele > Prince, Anders Bojen & Kristoffer Řrum, Christian Nold, Cleo Broda, > Ellie Harrison, Gabrielle Sharp, Hannah Brown, Helen Frosi, Hywel > Davies, James Coupe, Hedley Roberts & Rob Saunders, Jem Finer, Kevin > Carter, Lucy Kimbell, Mary Yacoob, Richard Dedomenici, Sam Curtis, > Therese Stowell, Tim Taylor and Tony Kemplen. > > If you are unable to make the launch, then you can find out plenty of > 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 Řrum, 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, 11 Jul 2005 20:54:17 +0200 (CEST) message-id: <20050711185417.eeda922038@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART B.s. being backslash Belgian, BNC backdated BBS, BS babes be bitmap, BIG. 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 -> 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, 11 Jul 2005 21:06:32 +0200 message-id: <20050711190652.dcmu10024.amsfep15-int.chello.nl@vilt> references: <3c2a0af2-735a-4301-ae7c-a8f73feadb58@nznl.com> from: Dirk Vekemans subject: RE: RHIZOME_RAW: 'the universal computer' by martin davis Aha, summer readings (sr). Here are my sr’s: Gilles Deleuze worked on Leibniz a lot in his later work, showing how relevant the man was and is for our present situation. Much of Leibniz’ work has been rather disregarded because it’s spread over countless fragments & letters, making it a kind of labyrinth. The Yale Leibniz just published a new volume with a first time translation of his Latin/French writings on the Continuum Problem by Richard T.W. Arthur, a lovely bilingual edition.(sr1) Deleuze himself wrote a wonderful book on Leibniz, kinda heavy, but if the kids are out playing, whén they get out playing, reading Deleuze is always a sublime & doubling joy. Le Pli: Leibniz et le Baraoque, Paris 1988 (sr2) Don’t know whether the Martin Davis book expands on that, but it’s in those writings that Leibniz gives a first ‘modern’ way of looking at the generation of meaning in a dynamic way, in contrast with (and at the time: in a heavy scholarly battle with) the static views held by Descartes. So not only did he contribute to the early path towards computing, his ontology might be worth while having a look at in view of current attempts to generate computer-readable ‘ontologies’ to be used by software agents in a shared virtual world. Most research these days in how philosophical ontologies can be relevant for the weaving of those semantic web, stick to early 20th strictly logical ontologies, very narrow and utter rubbish in the end if you ask me (you shouldn’t), so it’s best to have a look at what they’re up to in the newly published, next year’s text book ‘Service-Oriented Computing: Semantics, Processes, Agents’ By Munindar P. Singh and Michael N. Huhns (sr3). Ofcourse, knowing what these summers are like, i’ll probably just get to read some verses in Lao Tzu’s Tao Te Ching, the Definitive Edition (sr4: i bet there’s a typo in there somewhere) or a few of Dylan Thomas’ Collected Poems 1934-1953 (sr5), like these lines ( On no work of words p.78): “ On no work of words now for three lean months in the bloody Belly of the rich year and the big purse of my body I bitterly take to task my poverty and craft: To take to give is all, return what is hungrily given Puffing the pounds of manna up through the dew to heaven. The lovely gift of the gab bangs back on a blind shaft. To lift to leave from the treasures of man is pleasing death That will rake at last all currencies of the marked breath And count the taken, forsaken mysteries in a bad dark. To surrender now is to pay the expensive ogre twice. Ancient woods of my blood, dash down to the nut of the seas If I take to burn or return this world which is each man’s work. ” A beautiful bit of bitterness to conclude with, with a sense of pride quite suited for the occasion, this, in the aftermath of the London bombings, and also just to show that even in this season of light a vast area of valuable knowledge remains hidden in the darker regions and that any attempt to humanise the machine’s dealing with us will fail and fire back at us if it doesn’t take into account those regions of our consciousness where the vain deceit of clear constructs ends and where a true understanding of the self and the world begins. 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, 11 Jul 2005 15:39:26 -0400 message-id: <074e72311c5836a180c7ec5266e004e0@ikatun.com> references: no_parent from: kanarinka subject: RHIZOME_RAW: Call for Work: Tactical Media Cookbook ALL THE BELOW INFO CAN BE FOUND ON THE WEBSITE: http://www.tacticalmediacookbook.net/call.html DEADLINE: 12/1/2005 PROJECT DESCRIPTION Tactical Media Cookbook is a web project organized by Finishing School that will share data related to the practice of tactical media. TMC will present various working theories that are associated with the practice of tactical media, supply concise project recipes from various tactical media practitioners, and present a directory of tactical media practitioners. Finishing School will be exhibiting TMC in “Urban Networks”, an exhibit organized by curator Susan Joyce for Art Interactive in Cambridge, Massachusetts, USA in June 2006. The project will also be available 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, 11 Jul 2005 12:59:40 -0700 message-id: <200507111959.j6bjxe4y030311@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Call to Artist: No Fee Upcoming Call to Artist Communication Deadline for proposals: August 29th, 2005 Exhibition: November 11th, 2005-January 3, 2006 Communication The Arts Center of St. Petersburg, a non profit organization, is seeking proposals for the upcoming exhibition at their Project Creo Gallery. The exhibition will focus on artists who are interested producing work whose focus is on communication. Work may be 2D and 3D work as well as installations. The exhibition will open November 11th, 2005 and will run through January 3, 2006. Application Deadline is August 29th. Please send an exhibition proposal, artist statement, bio, resume, 10-20 labeled slides or a CD of recent work and a SASE to Project Creo, 800 S. Second Ave N.E. St. Petersburg, Fl 33701, Attn: Melissa Christiano. No fees for entry. www.theartscenter.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, 11 Jul 2005 13:26:40 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: Temporary Travel Office/El Centro Chamber of Commerce Ensemble Hello from the Temporary Travel Office, As part of the grand opening of the El Centro Chamber of Commerce Ensemble, the Temporary Travel Office will be operating its Parking Public tour series out of a store front within the 727 Gallery in downtown Los Angeles. From Thursday July 14 - Saturday July 16, Gallery 727 will be servicing utopian ideals for downtown tourists and residents. The Travel Office will be providing walking tours of outdoor parking and the seemingly conflicting desires of mobility and stasis during its tenure, while mural artist Gomez Bueno will be investigating the public imaginary of utopia. The Travel Office welcomes walk-in tours (scheduled in regular intervals) and online participation (see the website below). We also welcome volunteer tour guides (training provided). New store fronts following each week, so stay tuned. Happy Trails! 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, 11 Jul 2005 23:16:10 +0200 message-id: <001301c5865d$c38570f0$1906f0d5@aart> references: no_parent from: Andrej Tisma subject: RHIZOME_RAW: Documented war crimes and genocide in Srebrenica, Kosovo, Vukovar Check the Hague Prisoner. Click him out. See documented war crimes and genocide in Srebrenica, Kosovo, Vukovar! http://www.webheaven.co.yu/usa/tribunal.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: Mon, 11 Jul 2005 21:50:25 -0700 message-id: <200507120450.j6c4opwb025073@idx164.idx.net> references: no_parent from: Eddie Shanken subject: RHIZOME_RAW: Call for Curatorial Proposals for CAA 2007 NYC The Leonardo-College Art Association workgroup (LEO-CAA) seeks curatorial proposals for an exhibition that will feature, but not be limited to, work by LEO-CAA members. The exhibition will coincide with the CAA conference in NYC February 14-17, 2007. Exhibition is eligible for $10,000 award from CAA plus another $5000 for a catalog. Curator need not be a member of CAA or Leonardo. Curator will work with LEO CAA Chairs to establish venue and submit proposal to CAA by September 1 deadline. For details, see http://www.collegeart.org/conference/2007c.html Please submit 250 word statement describing the exhibition's theme and explaining any special or timely significance. Suggestions for venues or additional sources of funding or in-kind support are encouraged. Please send proposal via e-mail by August 5 to address in heading. *********** LEO-CAA is a group of individuals who are members of both Leonardo/ISAST (the journal) and the College Art Association. Our purpose is to forge stronger alliances between the constituencies of the two organizations. LEO-CAA began in 2004 and was chaired by Leonardo editor Roger Malina in 2004. In 2005, Yianni Yessios, Amy Ione, and Edward Shanken were elected as chairs. LEO-CAA organizes several events for the CAA annual conference: 1) a panel discussion, the papers for which are published in Leonardo; 2) a mentoring session for graduate students; and 3) presents an exhibition featuring member work. The 2005 panel, "Hybridity: Arts, Science, and Cultural Effects," included papers from Diane Gromala, Amy Ione, George Legrady, and Dan Sandin and was chaired by Yvonne Spielmann and Jay David Bolter. Links to the 2005 Leonardo CAA events, our main site, Blog, and listserve signup: http://mitpress2.mit.edu/e-journals/Leonardo/isast/events/caa05.html http://mitpress2.mit.edu/e-journals/Leonardo/isast/events/leonardocaa.html http://leocaa.blogspot.com/ http://webexhibits.org/about/leocaa.html We encourage you to submit a curatorial proposal and to consider joining LEO-CAA. Dr. Edward A. Shanken Professor of Art History Savannah College of Art & Design http://artexetra.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, 11 Jul 2005 22:15:17 -0700 message-id: references: <20050711190652.dcmu10024.amsfep15-int.chello.nl@vilt> from: Jim Andrews subject: RE: RHIZOME_RAW: 'the universal computer' by martin davis > Deleuze himself wrote a wonderful book on Leibniz, kinda heavy, but if the > kids are out playing, whén they get out playing, reading Deleuze > is always a > sublime & doubling joy. Le Pli: Leibniz et le Baraoque, Paris 1988 (sr2) > > Don’t know whether the Martin Davis book expands on that, but > it’s in those > writings that Leibniz gives a first ‘modern’ way of looking at the > generation of meaning in a dynamic way, in contrast with (and at the time: > in a heavy scholarly battle with) the static views held by Descartes. No, Davis's treatment of Leibniz focusses on Leibniz's belief in the possibility of constructing a language in which accurate (perhaps even infallible) reasoning could transpire; and a machine that allowed the generation of true propositions using the language. Also, Davis gives some indication of the events of Leibniz's life. For instance, we learn that he was in the employ of the Hanover family. And what did this noble family employ Leibniz, one of the great minds of all history, to do? Take note. He was employed by them to write the Hanover family history. This was apparently of more importance to them than Leibniz's visionary work on any number of subjects. There is a lesson of some sort in there, it seems, concerning employment and life work. He obviously did quite a bit of exactly what he wanted to do. But his employers could not really appreciate the stature of his own work. Would he have been better off without them? Hard to say, isn't it. He did just fine as it was. But what other wonders could the man have produced in a more appreciative situation? Many of the logicians featured in Davis's book had difficult lives. Cantor suffered from mental instability. That his work was spat upon by fellow mathematicians of the stature of Kronecker and Poincare surely did not help. Poincare said Cantor's work was a disease from which mathematics would eventually recover. All of which had to do with Cantor's assumption of the 'actually infinite' versus the more conservative 'potentially infinite'. He never did find a position in a good university, was always in a backwater. Godel also suffered from mental illness and paranoia. He starved himself to death. He spent periods of his life in sanatoria. And of course Turing committed suicide after becoming unbalanced probably by the hormonal drugs he was forced to take, having been criminally convicted of being homosexual. Even the most brilliant of logicians, paragons of penetrating rationality, are not immune from mental affliction. Nor, apparently, is the value of the work of even the best logicians necessarily self-evident to those of their generation. So Martin Davis's book is about their work but also about their lives. Davis, a fellow logician, ponders their work and the more ambiguous nebulae of their lives and how they were all, in some sense, important to the theory of computation. And he always keeps in view the relation of the work of these logicians to understanding rationality and human thought. In this sense, computing is all about us, is a troubled human enterprise fraught with the difficulties of self-understanding and understanding of what is beyond the individual. 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: Tue, 12 Jul 2005 03:22:06 -0700 message-id: <200507121022.j6cam66x025932@idx164.idx.net> references: no_parent from: Dap D subject: RHIZOME_RAW: Capturing Utopia CALL FOR PROJECTS Fournos, Center for Digital Culture organizes in September which is the Month of Photography for Athens, the event Capturing Utopia and invites creators to send their works [digital photographs and images] that have utopia as their theme. The term utopia has been used in philosophy, art, literature, architecture even in politics to describe ideal situations that are impossible or very difficult to implement. These approaches may have a financial, political or social basis but in any case utopia is always strongly connected with an optimistic, idealistic or almost impossible perfection. The references to the utopia are innumerable, the most famous examples standing out are: Plato’s Republic, New Jerusalem by Augustine of Hippo, Utopia by Sir Thomas Moore [that first used the word utopia], New Atlantis by Francis Bacon, the Brave New World by Aldous Huxley, Andromeda Nebula by Ivan Efremov and the Cloud Of Maggelan by Stanilav Lem. Which are the most familiar forms of utopia for today’s world? Utopia is a temporal and spatial illusion that examines reality and transforms it. It is connected to the facts and the conditions of each period converting them to something higher, idealized. Today’s utopias are connected to contemporary technology and science, their fast development and their possibilities. They leave behind the images of ideal paradises and societies close to nature. They are inspired and they use material from the internet, the mobile and wireless technologies for new conditions of social and political co-existence. Other forms of utopia are shaped into virtual environments from the fields of creation and entertainment. Fournos aims with this event to form in its venue a utopian environment as this is captured and expressed by digital images. Images that might be realistic or fake. Snapshots from real and virtual worlds. Utopian reflections inspired from the social, political and aesthetical environment or personal everyday moments. Comments, proposals and personal manifestations visualized will adjoin one another to describe the different identities of utopia today. Images should be - sent as attachments via email utopiacall@yahoo.gr or saved in a CD ROM by post at the address Fournos, Center for Digital Culture, 168 Mavromichali str, 11472, Athens Greece - 72 dpi, 800Χ600 pixels, in jpg format - accompanied by a title/ comment on the work, by the name of the artist, a small CV of his/her, and contact details. - original works of the senders. Only one work can be submitted per sender. DEADLINE: 2 SEPTEMBER 2005 The selected works will projected in the venue of Fournos and will be hosted in a special designed page in Fournos webpage. The event will take place from the 18th till the 25th of September 2005. For more information please contact Daphne Dragona via email daphne@fournos-culture.gr or call us at +30210 6420451 / 6460748. PS «Yet, when Utopia misunderstands itself as something real it is, if anything, even worse. As Bourdieu realises and history teaches, a real existing Utopia is invariably horrific for human beings..» (taken from the article Mobile Utopia by Charles Esche http://artefact.mi2.hr/_a02/lang_en/write_esche_en.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: Tue, 12 Jul 2005 13:41:08 +0200 (CEST) message-id: <20050712114108.4cf6e22037@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ccd cal Cambodian, CEOs calzone CERN, Co cabinet COULD callbacks, Colons CMDA. 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 -> 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, 12 Jul 2005 06:56:52 -0700 (PDT) message-id: <44451.64.94.198.252.1121176612.squirrel@rhizome.org> references: no_parent from: Jessica Ivins subject: RHIZOME_RAW: Eyebeam Call For Fellows http://eyebeam.org/production/production.php?page=rdfellows Call For Fellows Eyebeam R&D seeks inaugural fellows to work on creative technology projects in the Eyebeam Open Lab. The fellowship is a unique opportunity to participate in a new kind of research environment and contribute to the public domain. The Open Lab is dedicated to public domain R&D. We are seeking artists, hackers, designers and engineers to come to Eyebeam for a year to develop pioneering work. The ideal fellow has experience creating innovative creative technology projects, a love of collaborative development, and a desire to distribute his or her work as widely as possible. Participation in the R&D Fellows program includes: * One year fellowship * 4 days/week commitment * $30,000 annual stipend + health benefits Public Domain Work created within the Open Lab will be widely distributed and freely available under open licenses. All code will be released under GPL, media will be released under Creative Commons, and hardware projects will be released with Do-It-Yourself instruction kits. Previous Work The Open Lab builds on previous work developed within Eyebeam R&D. Some earlier projects include: reBlog, ForwardTrack, FundRace, Contagious Media, Social Network Soiree, ACCESS, Carnivore, Noderunner Extended project information is available on the R&D Areas of Research page Facilities The new Open Lab facilities are directly adjacent to a public gallery. Tools include a laser cutter, 3D printer, fully equipped electronics workbenches, multiple co-located servers, and general supplies. We also have a budget to requisition equipment to realize specific projects. Application Please submit your application here by August 15th; fellowships will begin in the Fall of 2005 (flexible start date). Jonah Peretti and Michael Frumin will evaluate the applications with input from a special advisory committee. If you have any questions, please email openlab@eyebeam.org Advisory Committee An advisory committee with expertise in creative technology development and public domain advocacy will assist in the selection process. The current members of this advisory committee are: Mitch Kapor President and Chair of the Open Source Applications Foundation, Founder of Lotus Development Corporation, co-founder of the Electronic Frontier 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: Tue, 12 Jul 2005 08:17:09 -0700 message-id: <200507121517.j6cfh9kw019792@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: ::The All-America Acid House Experience:: July 30, 2005 AUTOMATIC STATIC Los Angeles INCISION AMERICA ***People*Friends*Music* Lovers*Solid*Jackin' 303 Lifestyles* ***Get Down*** ESP Woody McBride aka DREAMLIFE ***dj set*** Minneapolis MN - *Communique*Plus 8*Kompute*Blueline*Novamute*Projex*Definitive*Primevil* HYPERactive aka Joe Manu *** LIVE PA ..v.analog.. *** Los Angeles / Chicagoland - *4 Track*Contact*Hybrid*Plus8*Bush*Dropbass*Uppercut*Missile* Tang Vs. Stan Min 2x4set Incision/Cytrax ACID CIRCUS *** LIVE PA ..v.digital.. *** Los Angeles *Droid Recordings*Deaf Mosaic* Paulo Lacayo Los Angeles Incision America Wes Osborne aka MES Los Angeles Anything Fresh + -> 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, 12 Jul 2005 18:54:49 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: Sobre o art_room | About art_room Lu=EDs Silva, =B3An artist in the chat room=B2* http://vercodigofonte.blogspot.com *english version soon por favor deixe os seus coment=E1rios | please leave your comments __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 12 Jul 2005 11:01:59 -0700 message-id: <200507121801.j6ci1xad008498@idx164.idx.net> references: no_parent from: susana mendes silva subject: RHIZOME_RAW: about art_room performance LuĂ­s Silva, “An artist in the chat room”* http://vercodigofonte.blogspot.com *english version soon por favor deixe os seus comentários | please leave your comments + -> 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, 12 Jul 2005 16:36:03 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #45: Pop Will Eat Itself http://deepyoung.org/radio/ Gabba Gabba Hey Ya + -> 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, 12 Jul 2005 15:32:46 -0700 message-id: <200507122232.j6cmwk9w004244@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: AIR Open Studios at Eyebeam, 12-6pm Eyebeam's Artist- In Residence Open Studios on July 16th from 12-6pm At 540 West 21st Street. Come see works in progress by current AIR and Production Fellows. Studios open 12-6. 4-5pm Presentations residency/project descriptions followed by time for Q& A. For more information regarding Eyebeam's AIR programs email air@eyebeam.org. For information regarding open studios email info@eyebeam.org or call 212/937-6581. + -> 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, 12 Jul 2005 16:23:50 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: touchless screens 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 12 Jul 2005 17:42:54 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: d/y ethereal radio broadcast #45: Pop Will Eat Itself > http://deepyoung.org/radio/ Wow. I hadn't heard "The Jungle Line" by Joni Mitchell before. That's brilliant! ja Rousseau walks on trumpet paths Safaris to the heart of all that jazz Through I-bars and girders, through wires and pipes The mathematic circuits of the modern nights 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, 12 Jul 2005 17:57:51 -0700 message-id: references: no_parent from: Eduardo Navas subject: RHIZOME_RAW: NAR Monthlies In this message from NAR: http://netartreview.net 1) excerpts from monthly features 2) excerpts from weekly features http://netartreview.net/monthly/0705_1.html :NET.TEN:: \\Online Selections// BY: Gustavo Romano This month Net Art Review invites Gustavo Romano, a visual artist based in Argentina who has developed works in various media including installation, video, actions, and online art to recommend ten online resources to our readers. 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, 12 Jul 2005 18:08:07 -0700 message-id: references: no_parent from: Eduardo Navas subject: RHIZOME_RAW: Reflections on Conceptual Art and its relation to New Media Online at http://www.netartreview.net/monthly/0705_3.html FEATURE.REVIEW: Reflections on Conceptual Art and its relation to New Media, a month long conversation at Empyre BY: Eduardo Navas 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 Álvarez. This text is also part of a larger essay which will be published at a later date in its entirety. 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. 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, 12 Jul 2005 22:45:54 -0400 message-id: references: no_parent from: Lee Wells subject: RHIZOME_RAW: Mac Tech question Hi All: So I just bought a new lacie harddrive and am getting ready to partition it. Before I do so I was hoping to find out if I were to split it into 3 partitions, Would and of them be the faster partition. Any help would be great. Cheers, Lee -- 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 -> 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, 12 Jul 2005 20:45:49 -0700 message-id: <200507130345.j6d3jn4g012364@idx164.idx.net> references: no_parent from: Archive Registrar subject: RHIZOME_RAW: Re: Re: d/y ethereal radio broadcast #45: Pop Will Eat Itself Burundi drum samples and a Fairlight synth. From her masterpiece, The Hissing of Summer Lawns (1975). Also Burundi drum samples on that Adam & the Ants track, but of course! _ Jim Andrews wrote: > > > http://deepyoung.org/radio/ > > Wow. I hadn't heard "The Jungle Line" by Joni Mitchell before. That's > brilliant! > > ja > > Rousseau walks on trumpet paths > Safaris to the heart of all that jazz > Through I-bars and girders, through wires and pipes > The mathematic circuits of the modern nights > 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, 12 Jul 2005 20:57:19 -0700 message-id: <1da6c20b05c6c819e2609135c3de95cb@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Volume http://www.archis.org/plain/theme.php?theme=45 (no flash) http://www.archis.org/interface.php (flash) VOLUME This website aspires to be an independent environment with its own editorial dynamics, beyond a mere extension of the magazine Volume or the organization Stichting Archis. Start a tour through the site's unique dynamic archive - more than a decade of Archis content, and of course the past issues of Volume, has been reorganized in an associative and narrative structure. Encounter coincidences and unexpected search results that will widen your scope and refuel your curiosity for the adventure of ideas in architecture, city and visual culture. The comprehensive search engine also enables you to search the Volume / Archis database by content, author or object title and by theme and issue. Every two months the website changes its current theme. Check out this site regularly for the latest developments in our quest for architecture as a cultural medium. 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: Wed, 13 Jul 2005 13:47:28 +0200 (CEST) message-id: <20050713114728.d22f722038@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection.com subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART D.c. dag Danish, DSL damped DDE, DC Doctor Mathews daddys daemon, Dashes Dostar. 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 -> 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, 13 Jul 2005 13:59:18 +0200 message-id: <000501c587a2$4cf20bb0$0200000a@tpdqkviky96i1n> references: no_parent from: Thomas Petersen subject: RHIZOME_RAW: Stars Fading on the Web - An Interview with Olia Lialina Stars Fading on the Web - An Interview with Olia Lialina http://www.artificial.dk/articles/olia.htm Artificial has previously explored how stars are used in digital artworks (http://www.artificial.dk/articles/netstars_eng.htm). With remarkable frequency, digital artists have used stars as aesthetic elements in their works. Coincidentally, stars on the web also turned out to be a great interest of Russian artist Olia Lialina - especially the outer space backgrounds that once adorned so many pages on the early web. Olia has dealt with these digital stars in both her texts and artworks. Today these stars are fading, as the host pages eventually become redesigned and the stars removed. The disappearing stars are thus poetic examples of the state of transience that web expressions are born into. Thomas Petersen talked to Olia about her peculiar interest, which resulted in a discussion about the ephemeral nature of web expressions and how to archive them. Interview here: http://www.artificial.dk/articles/olia.htm -------------------------- Thomas Petersen +45 2048 2585 www.crossover.dk www.artificial.dk __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 13 Jul 2005 14:24:33 +0200 message-id: references: <19323103-220057212203113384@javiserver> from: tamara lai subject: RHIZOME_RAW: FW: Selfshadows 2.0 :: Participa y Colabora :: Take part and Cooperate ------ Message transf=E9r=E9 De=A0: "Selfshadows 2.0 (jbedrina)" Date=A0: Tue, 12 Jul 2005 22:31:13 +0200 =C0=A0: "tamara.lai@skynet.be" Objet=A0: Selfshadows 2.0 :: Participa y Colabora :: Take part and Cooperate Estimad@ amig@, Tengo el placer de comunicarte que el plazo de participaci=F3n en el Proyecto Art=EDstico Selfshadows 2.0 ya est=E1 abierto. 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: Wed, 13 Jul 2005 08:28:12 -0400 message-id: references: from: judsoN subject: Re: RHIZOME_RAW: Mac Tech question >Hi All: > >So I just bought a new lacie harddrive and am getting ready to partition it. >Before I do so I was hoping to find out if I were to split it into 3 >partitions, Would and of them be the faster partition. > >Any help would be great. > >Cheers, >Lee nope. works pretty much the same for all platforms. i suppose you could just periodically "defragment" one and not the others. or use a speed enhancing utility on just one. but not much reason to. 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. 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. guess you could format one (or more) for DOS, so you could use it cross platform. + -> 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, 13 Jul 2005 10:20:26 -0400 message-id: references: no_parent from: judsoN subject: RHIZOME_RAW: another question 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 13 Jul 2005 07:50:02 -0700 message-id: <200507131450.j6deo2jm008481@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: culturetv.tv calls for videosubmissions CULTURETV http://www.culturetv.tv calls for videosubmissions (Quicktime, WMV and SWFfiles) 1-3 min. No longer.. Submit Your Shorts Currently Seeking Live Action Shorts Visiting an exhibition, art event, an interesting artist atelier or you have your own video art project? And also taking your digital camera with you? Now your chance has finally arrived. Send us in your best digital pics and short videos to get on-air. CultureTV! is the only place to watch art videos and short films on live Internet television. info@culturetv.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, 13 Jul 2005 17:20:45 +0200 message-id: references: no_parent from: matthew fuller subject: RHIZOME_RAW: software: OPEN HISTORY TIMELINE v1.1 OPEN HISTORY TIMELINE v1.1 The Open History Timeline v1.1 (OHT) is an open-source content-management system designed to support online community-based history writing. It is a system that can be used to work collaboratively on defining and writing history about any subject you would like. Which questions need to be asked, and which answers are valid? The OHT is designed with the idea in mind that history is a practice - not fixed but alive, and invites users to make history through adding experiences, anecdotes and personal perspectives. The Open History Timeline is now available for download and can be used in your own projects. Built on open-source software, you can run the OHT on any web server with PERL & PHP installed. Read more, see a working example, and download the files at: http://www.designtimeline.org/oht.html The OHT and http://www.designtimeline.org/ were built and designed by Femke Snelting and Michael Murtaugh. The project was financially supported by Thuiskopiefonds and Digitale Pioniers. With thanks to Institute for Network Cultures, Amsterdam. + -> 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, 13 Jul 2005 08:27:13 -0700 (PDT) message-id: <20050713152713.75229.qmail@web30511.mail.mud.yahoo.com> references: from: Lewis LaCook subject: Re: RHIZOME_RAW: another question ImageMagick? GD? --- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 13 Jul 2005 11:07:31 -0500 message-id: <404d52c7-d4be-45f9-8c9c-64a8c0bfbfda@invisiblenation.com> references: from: eric williams subject: Re: RHIZOME_RAW: touchless screens Ryan, This is Eric from the Walker, thought i would share some info about the table. What you saw was an installation called Dialog, its an interactive table produced originally in response to a proposal circulated in 2002. The table was made by Marek Walczak, Michael McAllister and Jakub Segen with the interface design being completed by Walker New Media staff (myself) and video shot by our media department. 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, 13 Jul 2005 18:11:25 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Jul 07, 2005 - Jul 13, 2005 nznl.com digest Jul 07, 2005 - Jul 13, 2005 Posts 1136 - 1142 http://nznl.com 1136. Jul 07, 2005 SKETCH FOR A CONFERENCE HALL, 2009, PERFORMANCE FOR THE NZNL.COM MAIN GALLERY flash movie http://nznl.com/geert/pop.php?dag=20050707 1137. Jul 08, 2005 PRELIMINARY STUDY FOR A STRIKING EXAMPLE, 2009, PLYWOOD, ACRYLICS fireworks file http://nznl.com/geert/pop.php?dag=20050708 1138. Jul 09, 2005 (untitled web page) http://nznl.com/geert/pop.php?dag=20050709 1139. Jul 10, 2005 PLAN FOR A TRAPDOOR IN THE NZNL.COM MAIN HALL, 2009, PLYWOOD, ACRYLICS fireworks file http://nznl.com/geert/pop.php?dag=20050710 1140. Jul 11, 2005 PLAN FOR MEMORY MANAGEMENT, 2009, (CUTTING THE PAPER TRAIL), WHITE CUBE, SHREDDER fireworks file http://nznl.com/geert/pop.php?dag=20050711 1141. Jul 12, 2005 (untitled flash movie) http://nznl.com/geert/pop.php?dag=20050712 1142. Jul 13, 2005 STUDY FOR TWO DARK SPOTS, 2009, WHITE CUBE, DARK SPOTS flash movie http://nznl.com/geert/pop.php?dag=20050713 + -> 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, 13 Jul 2005 09:40:57 -0700 message-id: <1121272857.42d5441908d23@webmail.namezero.com> references: no_parent from: www@trashconnection.com subject: RHIZOME_RAW: SKYSCRAPER ___ ___ | | \_______________________________________/ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | __/| | | | | | | | | | | | | | | | | | | | | | | | |\__ __ __/ | | | | | | | | | | | | | | | | | | | | | | | | | | | \__ __ |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |\______/ _| \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | _/ \| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |/ |// | \\|// | \\|// | \\| |/______|______\|/______|______\|/______|______\| |/// | \\\|/// | \\\|/// | \\\| |// | \\|// | \\|// | \\| |/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |53rOB | | |12.07.2005 | | |05:17:13 | | | |___________| | |___________| | |___________| | | ~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, 13 Jul 2005 09:42:15 -0700 message-id: <1121272935.42d5446756a39@webmail.namezero.com> references: no_parent from: www@trashconnection.com subject: RHIZOME_RAW: SKYSCRAPER ___ ___ | | \_______________________________________/ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | __/| | | | | | | | | | | | | | | | | | | | | | | | |\__ __ __/ | | | | | | | | | | | | | | | | | | | | | | | | | | | \__ __ |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |\______/ _| \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | _/ \| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |/ |// | \\|// | \\|// | \\| |/______|______\|/______|______\|/______|______\| |/// | \\\|/// | \\\|/// | \\\| |// | \\|// | \\|// | \\| |/~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, 13 Jul 2005 18:48:55 +0200 (CEST) message-id: <20050713164855.7d3652201c@mail.isnm.uni-luebeck.de> references: no_parent from: www@trashconnection.com subject: RHIZOME_RAW: SKYSCRAPER ___ ___ | | \_______________________________________/ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | __/| | | | | | | | | | | | | | | | | | | | | | | | |\__ __ __/ | | | | | | | | | | | | | | | | | | | | | | | | | | | \__ __ |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |\______/ _| \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | _/ \| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |/ |// | \\|// | \\|// | \\| |/______|______\|/______|______\|/______|______\| |/// | \\\|/// | \\\|/// | \\\| |// | \\|// | \\|// | \\| |/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |crossover | | |13.07.2005 | | |16:48:06 | | | |___________| | |___________| | |___________| | | ~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, 13 Jul 2005 14:39:33 -0700 (PDT) message-id: <20050713213933.23343.qmail@web30501.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: Fwd: [webartery] new work by Martha Deed & Millie Niss: News from Erewhon Definitely worth checking out, as is all the stuff on Sporkworld. Art with both a heart and a proper sense of the ridiculous. michael --- Millie Niss wrote: > To: > CC: "Martha Deed" > From: "Millie Niss" > Date: Wed, 13 Jul 2005 16:53:32 -0400 > Subject: [webartery] new work: News from Erewhon > > Martha Deed and Millie Niss have a new piece of > Flash Fiction (previously alluded to on webartery in > the form of an offer to send a unicorn to anyone who > finds a bug on www.sporkworld.org). This work is > Flash Fiction, in both senses of the word. The > texts are inspired by the Surrealists' automatic > writing practice. The graphics illustrate the text > and combine with it to weave a braid between the two > authors and the world wide web (where the images > were gleaned). The work is accompanied by an > introduction, instructions, sources, and authors' > bios. > > The URL for this work is > http://www.sporkworld.org/news/ > > Millie Niss > > [Non-text portions of this message have been > removed] > > > > > 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/ > > > > + -> 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, 13 Jul 2005 14:45:08 -0700 (PDT) message-id: <50106.64.94.198.252.1121291108.squirrel@www.rhizome.org> references: no_parent from: Jessica Ivins subject: RHIZOME_RAW: Keeper of Expired Web Pages Is Sued Because Archive Was Used in Another Suit http://www.nytimes.com/2005/07/13/technology/13suit.html?ei=5088&en=377b4b470d4593e0&ex=1278907200&adxnnl=6&partner=rssnyt&emc=rss&adxnnlx=1121290900-rouEQzAGo8GqbZlwwjPI6A Keeper of Expired Web Pages Is Sued Because Archive Was Used in Another Suit By TOM ZELLER Jr. Published: July 13, 2005 The Internet Archive was created in 1996 as the institutional memory of the online world, storing snapshots of ever-changing Web sites and collecting other multimedia artifacts. Now the nonprofit archive is on the defensive in a legal case that represents a strange turn in the debate over copyrights in the digital age. Beyond its utility for Internet historians, the Web page database, 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: Wed, 13 Jul 2005 16:48:34 -0700 message-id: <200507132348.j6dnmywr010158@idx164.idx.net> references: no_parent from: ellen jantzen subject: RHIZOME_RAW: Rhizome Member, Ellen Jantzen Interview Net Art Review ::MONTHLY FEATURE:: Interview with Digital Artist, Ellen Jantzen About her new body of work: “Artificial Evolution” Now online at: http://www.netartreview.net/monthly/0705_2.html until mid August + -> 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, 13 Jul 2005 22:21:30 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: The Flip Book Show http://www.kunsthalle-duesseldorf.de/e/ausstellung/presse/index.html DAUMENKINO The Flip Book Show A flip book is a book that becomes a cinema for a short space of time; it is a sequence of images that reveals its narrative as you look at it, an object that you have to touch in order to get it to tell its story. In the world’s first comprehensive exhibition on the subject, the thematic and contextual convergence of art, animation and film in the 20th Century is charted, placing the flip book–a well-known and yet scantly regarded medium–squarely in the public eye. Simultaneously both book and pocket cinema, picture sequence and narrative, the flip book has elicted wide-ranging artistic interpretation over the years and provided fascinating insights into the anatomy of the moving image ever since it was patented in 1868 by the English printer John Barnes Linnett. Included in the presentation are flip books both from the past and the present, experimental films and artists’ books, which in turn derive their effect from the sequential order of their pictures and as such, share a certain commonality with the flip book by virtue of their medium–not every flip book can immediately be recognized as such. Harnessing its formal parameters, artists have regarded the medium as a challenge, used it and interpreted it anew. The exhibition comprises flip books gathered from more than 170 artists and filmmakers and divides them up into different categories: from monographic retrospectives (Ruth Hayes/George Griffin), surveys of particular forms of image (portrait/short film), thematic references to the history of erotic animation, specific eras (1960s, 1970s) to current artistic positions which extend the range of the flip book. The vast majority of the flip books can actually be touched or Şthumbed-through´ by visitors to the exhibition. In addition, alternative methods of presentation have been developed to accommodate rare or historic specimens focusing on the specific attributes of the flip book, such as its diminutive size and the way it is individually perceived. The main focus of the exhibition is upon flip books by contemporary artists and filmakers, such as John Baldessari, Robert Breer, Tacita Dean, Elliott Erwitt, Julia Featheringill, Jĺrg Geismar, Volker Gerling, Gilbert & George, Douglas Gordon, Keith Haring, Sabine Hecher, William Kentridge, Sigrun Köhler, Eric Lanz, Jonathan Monk, Bruce Nauman, Stephanie Ognar, Tony Oursler, Dieter Roth, Miguel Rothschild, Jack Smith, Beat Streuli, Andy Warhol and Janet Zweig amongst others. The exhibition is curated by Christoph Schulz and Daniel Gethmann. The Cologne architect Meyer Voggenreiter is responsible for the exhibition design. There will be an extensive catalogue and DVD to accompany the exhibition published by snoeck Verlagsgesellschaft, Cologne. + -> 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, 14 Jul 2005 15:20:52 +0200 message-id: <20050714152052.b257481e.b5dc649b@127.0.0.1> references: no_parent from: v-v:// subject: RHIZOME_RAW: =?ISO-8859-1?Q?15-17=20July, =20videoshow=20in=20Southampton/New=20York? Cinema ~scope Hampton Hall, 230 Elm Street, Southampton, NY. Friday July 15th - Sunday July 17th, 2005 For Immediate Release That Uncomfortable Place Between Beginning and Ending 20 Contemporary Artists from 15 Countries http://www.leewells.org/scope-art-fair/cinema-scope-program.htm Curated By Lee Wells / IFAC http://www.leewells.org A subtle cinematic analysis on life and death. A place where dreams were never meant to become true, but did slightly. An adventure where all hope is not lost, its just hidden from plain sight. 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 Dubord Artists Margarida Paiva (Portugal), Agricola de Cologne (Germany), Sheila and Nicholas Pye (Canada), Mary Mattingly (US), Jerelyn Hanrahan (US), Jeanne Susplusas (France), Jillian McDonald (Canada), Laurent Montaron (France), Nils Nova (Switzerland), Constant Dullaart & Anne de Vries (Netherlands), Ned and Shiva Productions (US), Cecilie Dahl (Norway), Alexander Reyna (US), Critical Art Ensemble (US), Jason Archer-Paul Beck (US), Dick Tuinder (Netherlands), Miroslaw Rogala (Poland), Gautam Kansara (US), Ariadna Capasso (Argentina), Marten Winters (Netherlands), Andrea Ackerman (US) Curatorial Advisors Agricola de Cologne (Cologne, Germany) Timo Mank (Ameland, Netherlands) Ed Marszewski (Chicago, US) Trong Nquyen (New York, US) Melissa Schubeck (Brooklyn, US) Contributing Partners [NewMediaArtProjectNetwork]:||cologne, Archipel.tv, Park4D.tv, Joymore.org, Lumpen.org, Arthijack.com, Bbone9, IFAC-arts, Barbara Gilman Gallery (Miami), Solar Gallery (East Hampton), Agro/Glickman STEP(1) (New York), Lincart (San Francisco) 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, 14 Jul 2005 10:38:45 -0400 message-id: references: <20050713152713.75229.qmail@web30511.mail.mud.yahoo.com> from: Francis Hwang subject: Re: RHIZOME_RAW: another question Cool. Yeah, I'd guess they stitched together: 1. some sort of free software HTML rendering engine to turn HTML and pics into a graphic. Probably the Mozilla engine or the Konqueror engine. 2. ImageMagick or GD to shrink & crop that image. Or maybe there's an easier way to do it that I'm not thinking of now. Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + On Jul 13, 2005, at 11:27 AM, Lewis LaCook wrote: > ImageMagick? GD? > > > > --- 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, 14 Jul 2005 10:53:42 -0700 message-id: <200507141753.j6ehrgdt000481@idx164.idx.net> references: no_parent from: Morgan Pecelli subject: RHIZOME_RAW: Noise! sound performance festival@ Ontological NYC A NEW SOUND PERFORMANCE FESTVIAL JULY 20 - 23, 2005 starting @ 9PM at the Ontological Theater at St Marks Church 131 East 10th Street, NYC TICKETS: $ 15 (discounts available online www.ontological.com) Reservations: noise@ontological.com (date, name, #) Schedule: www.ontological.com WED 20: Paul Steven Ray/Theresa Rosas, John Moran/Saori Tsukada, The Night, Zach Layton, Alex Braidwood, Pilotram:ensemble THRS 21:North Guinea Hills/Ed Bear/Laura Harrison/Jeremy Slater, Alec K. Redfearn, 3CP, DJ Sniff, War Slut, Clouds Crossing FRI 22: Renaldo The*, The Omen Project, Paper Legs, Robert Quillen Camp, Damon Holzborn, SAT 23: Oddio, Richard Garet, BlipVert, Ras Moshe, Daniel Iglesia, whentheponydies *(FRI : Renaldo, The will perform his cabaret act from 9pm-10pm and then we will resume with the other sound artists) + -> 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, 14 Jul 2005 21:53:06 +0200 (CEST) message-id: <20050714195306.48bac22004@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ebay egroup English, Edmonton earpiece EOFs, Eqn eager e-commerce, End Punctuation eighth 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 -> 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, 14 Jul 2005 13:10:21 -0700 (PDT) message-id: <20050714201021.51776.qmail@web30512.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: 5 new movies 5 new Quick Times flars & diptych < 1mb, the others a little bit more all silent http://www.somedancersandmusicians.com/Some_QuickTime_Movies/flars.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/memory_game.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/scent.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/diptych.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/window.mov 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 -> 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, 14 Jul 2005 22:50:48 +0100 message-id: <0228dcfc-887c-46d1-86e0-a22673d10f91@mac.com> references: <200507132037.27587.rreading@ibiblio.org> from: Rob Myers subject: RHIZOME_RAW: Fwd: Paid jobs, Remix Brighton / Deptford / Bristol Begin forwarded message: > From: Remix Reading > Date: 13 July 2005 20:37:27 BDT > To: rr-announce@lists.ibiblio.org > Subject: Paid jobs, Remix Brighton / Deptford / Bristol > > > Ahoy, > > Remix Reading is looking for programmers to complete four > relatively simple > tasks that will enable us to release a brand new version of the web > site. We > are offering a total of approx. Ł165 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, 14 Jul 2005 19:16:38 -0700 message-id: <200507150216.j6f2gcph024814@idx164.idx.net> references: no_parent from: adam nankervis subject: RHIZOME_RAW: museumMAN@BERLINER KUNSTFORUM Thanks to all that have sent such intriguing and eclectic proposal and insightful works.If you wish to send a catalogue-please feel free The project will be shown in various art fairs and Biennials 2006,including The Liverpool Biennial 2006-now confirmed where artists are welcome to come and stay,within the larger museumMAN complex. Many Thanks,and thanks in advance to artists still yet to send their work. Adam nankervis www.museumman.org-please read under INVITATIONS-the Blueprint proposal Berliner Kunstsalon www.berlinerkunstforum.de Thanks so much. Vielen Danke! + -> 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, 15 Jul 2005 10:40:07 +0800 message-id: <55961f31-2f48-4a3e-a212-d64912fd1c2b@gmail.com> references: from: RJDarts subject: Re: RHIZOME_RAW: Mac Tech question On 13/07/2005, at 8:28 PM, judsoN wrote: >> Hi All: >> >> So I just bought a new lacie harddrive and am getting ready to >> partition it. >> Before I do so I was hoping to find out if I were to split it into 3 >> partitions, Would and of them be the faster partition. >> >> Any help would be great. >> >> Cheers, >> Lee >> > > nope. works pretty much the same for all platforms. i suppose you > could just periodically "defragment" one and not the others. or > use a speed enhancing utility on just one. but not much reason to. Exactly correct no difference between them, no advantage in de- fragmenting drives under OS X. http://docs.info.apple.com/article.html?artnum=25668 > > 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: Fri, 15 Jul 2005 01:49:28 -0400 message-id: references: from: Lee Wells subject: RHIZOME_RAW: Cinema~scopeHamptons - That Uncomfortable Place Between Beginning and Ending - PR Cinema ~scope Hampton Hall, 230 Elm Street, Southampton Friday July 15th ­ Sunday July 17th, 2005 For Immediate Release That Uncomfortable Place Between Beginning and Ending 21 Contemporary Artists from 15 Countries Curated By Lee Wells / IFAC A subtle cinematic analysis on life and death. A place where dreams were never meant to become true, but did slightly. An adventure where all hope is not lost, its just hidden from plain sight. 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 Artists Sheila and Nicholas Pye (Canada), Mary Mattingly (US), Jerelyn Hanrahan (US), Jeanne Susplugas (France), Jillian McDonald (Canada), Laurent Montaron (France), Nils Nova (Switzerland), Constant Dullaart & Anne de Vries (Netherlands), Ned and Shiva Productions (US), Cecilie Dahl (Norway), Alexander Reyna (US), Critical Art Ensemble (US), Jason Archer-Paul Beck (US), Dick Tuinder (Netherlands), Margarida Paiva (Portugal), Miroslaw Rogala (Poland), Gautam Kansara (US), Agricola de Cologne (Germany), Ariadna Capasso (Argentina), Marten Winters (Netherlands), Andrea Ackerman (US) Curatorial Advisors Agricola de Cologne (Cologne, Germany) Timo Mank (Ameland, Netherlands) Ed Marszewski (Chicago, US) Trong Nquyen (New York, US) Melissa Schubeck (Brooklyn, US) Contributing Partners Archipel.nu, Park.nl, Joymore.org, Lumpen.org, nmartproject.net, Arthijack.com, Bbone9, IFAC-arts, Barbara Gilman Gallery (Miami), Solar Gallery (East Hampton), Agro/Glickman STEP(1) (New York), Lincart (San Francisco) 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 -- Lee Wells Brooklyn, NY 11222 http://www.leewells.org 917 723 2524 ------ 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: Fri, 15 Jul 2005 02:58:21 -0400 message-id: references: <872177.1121345606602.k-oki@nifty.com> from: Kevin McGarry subject: RHIZOME_RAW: FW: Announcement for "Project netarts.org 2005" ------ Forwarded Message From: Keisuke Oki Date: Thu, 14 Jul 2005 21:53:26 +0900 (JST) To: Kevin McGarry Subject: Announcement for "Project netarts.org 2005" "Project netarts.org" 2005 - 1st announcement 1. From "Art on the Net" to the new "Project netarts.org" 2. Call for the nomination 3. The schedule ------------------------------------------------------------- 1. From "Art on the Net" to the new "Project netarts.org" >From 1995 to 2003, The Machida City Museum of Graphic Arts hosted the " Art on the Net" project promoting the Internet as a space for artistic expression. For nine years, this project had been calling on artists around the world to investigate the relationship between Art, the Internet and the Society. After the years of the "Art on the Net," we launched a new event called the "Project netarts.org" last summer. The " Project netarts.org" consists of an Internet Art exhibition, artist essays, theoretical articles, and an online forum. The Exhibition section of the project will feature recent developments in Internet Art and is open to all forms of creative expression that use 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: Fri, 15 Jul 2005 00:26:28 -0700 message-id: <200507150726.j6f7qsoz031941@idx164.idx.net> references: no_parent from: Christophe Guignard subject: RHIZOME_RAW: MIX-m.org at Contemporary Art Center Geneva Dear friends, fabric | ch is pleased to present MIX-m.org at Contemporary Art Center Geneva (Switzerland) MIX-m.org is a contemporary art museum created by fabric | ch (architecture) and Simon Lamunière (curation). It exists both in physical and digital spaces, in localized and distributed environments. For this exhibition at Contemporary Art Center Geneva, MIX-m.org invites five contemporary artists to create original artworks which define and modulate their presence inside an extended spatial spectrum: + JoĂ«lle Flumet + Yves Mettler + Robin Rimbaud aka Scanner + Nedko Solakov + Heimo Zobernig 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: Fri, 15 Jul 2005 15:39:11 +0800 message-id: <183804ae-20df-4ddd-8125-d409086004b3@gmail.com> references: from: RJDarts subject: Re: RHIZOME_RAW: Mac Tech question On 13/07/2005, at 8:28 PM, judsoN wrote: >> Hi All: >> >> So I just bought a new lacie harddrive and am getting ready to >> partition it. >> Before I do so I was hoping to find out if I were to split it into 3 >> partitions, Would and of them be the faster partition. >> >> Any help would be great. >> >> Cheers, >> Lee >> >> > > nope. works pretty much the same for all platforms. i suppose you > could just periodically "defragment" one and not the others. or > use a speed enhancing utility on just one. but not much reason to. > Exactly correct no difference between them, no advantage in de- fragmenting drives under OS X. http://docs.info.apple.com/article.html?artnum=25668 > > 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: Fri, 15 Jul 2005 04:04:12 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: subject "Cannot perform TELL" What do people use for text? Zero commentary Read Only Files speaking, of which OT Harr! Piracy in General Where has eggplant man gone? Since we are talkin bugs (DMX04) Editable text causes extra beginSprite events OT: Using your brain Off to C++ Beachballs and repeat loops Protected External images dumb 3D question Tiger woes Roxio Toast may be fragging your disk burns Is this the end of Director? Object Expected To UDP or not to UDP The pain of timeout objects How does a behavior discover its own name? Well now that the Flash people don't like it... OT When multimedia was black and white Can a method know its own name? Wrapping text around images Er...just plain weird Flash doesn't play when offstage? smooth fade + -> 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, 15 Jul 2005 04:19:11 -0700 message-id: <200507151119.j6fbjbvf011456@idx164.idx.net> references: no_parent from: Pau Waelder subject: RHIZOME_RAW: COPYFIGHT in Barcelona Tomorrow COPYFIGHT starts at the CCCB! Here is the URL: http://elastico.net/copyfight/eng_home.htm Here is the text: If intellectual property had always existed, humanity would have never known the Gilgamesh epic, the Mahbharata and the Ramayana, the Iliad and the Odyssey, the Popol Vuh, the Bible or the Quraan. Digital technologies for distribution such as p2p networks, projects rewriting copyright and authorâ•˙s rights such as Creative Commons, or movements such as the one behind free software are turning this cultural period into a moment that demands a revision of the system regulating culture for the last three hundred years. COPYFIGHT is a series of activities about the unstoppable crisis of the contemporary model for intellectual property, and the emergence of free culture. COPYFIGHT will open for three days several areas for documentation and debate as a contribution to the general effort to inform cultural producers and consumers. Panels and keynote presentations, workshops, screenings, download areas and legal counseling open to all visitors will take place in a decentralized way for three days focused on creativity in such areas as digital production, music, literature, and audiovisual culture. Here are the pannelists: Pau Alsina Illegal Art Downhill Battle Sergio Bollain David Bravo Hernan Casciari Jose Cervera Cory Doctorow Elastico Amador Fernandez Jesus Gonzalez Barahona Bram de Jong Mireia Garreta Lawrence Lessig Javier Maestre Jose Antonio Millan Beatriz Nosotrash John Perry Barlow 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: Fri, 15 Jul 2005 15:27:58 +0200 message-id: <20050715132835.tbjs11566.amsfep12-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: Anke Veld - Lode Kok premix , Anke Veld, plateau 4, deel 1 plus some remarks & 'Lode Kok' is/will be one of eight narrative units/characters in my networked novel called 'Anke Veld'. Anke Veld is being published as it is being written. The Anke Veld process was initiated in 1996 and its Core Residue Text (CRT- an xml-file based on the nkdee.xsd schema) now consists of almost twenty pages worth of text, most of which are Dutch only. 'Premixes' are preparations/preleminary attempts at fixating a narrative unit. The use of the 'mix' lexical root doesn't refer to current practises of mixing or appropiating existing music, all the material is original, i just use it for "promotional purposes: people tend to take more notice if you use fashionable terms describing work that is a logical extension of literary tradition. I should be saying AV is a hybrid simulacrum simulating a recoding of blablabla of sorts here somewhere too i suppose." Reading interface: http://www.vilt.net/nkdee/av.jsp CRT: http://www.vilt.net/nkdee/data/nkdee.xml discussion forum: http://www.vilt.net/forum/YaBB.pl?board=av Lode Kok premix , Anke Veld, plateau 4, deel 1 .......................................................................... “Het is tijd. De trein komt eraan. Belgium is like any reality: no one in his right mind can imagine such weirdness. I have to get in now, opletten met die koffie. True art is like a flower negating its promise of carrying fruit, a topless waitress chainsmoking in a bottomless bar scraping the ashes from ashtrays with her broken fingernails, it is a tale told to no-one, full of fat & dirt & smelly garbage signifying nothing, it was last sighted, so i hear, falling in slow motion from the hand of Elvis, an empty bottle smashed on the black asphalt backyards of creepy shacks overfed with desire. L'amour c'est presque la mort. One day i will start a collection of oneliners called 'Digital V[ersion]'. If you write/think/start something, you can't possibly know when you wrote/thought/started it because it hasn't been written/thought/started yet & afterwards you can't remember because you were too ******** busy writing/thinking/starting it. Why do people have to talk all the time when they commute? At least they keep quiet mostly when it's still early. Production of silence is recommendable. However, in the near future, fraudulent datadealers will try to sell you my writings with an exact timestamp: if you try to read those writings, everything you ever read will be erased from your memory, including the writings you were trying to read, leaving you with nothing but a timestamp and some vague memories of you as a young girl wiping the blackboard. One day i will loop myself, let machines hardcode my poetry into other machines so that i can meet them face to screen, have drinks & sex with them, fall in & out of love with them & hear them out, write down what silly tales they tell me of their childhood in broken english, what they whisper to me on their inevitably broken hearts in a horrible french accent or how their fathers died heroicly in the aftermath of terrorist attacks, trying to save the television sets from burning homes & hardcode that again in invisible clouds of nanobots, trillions of micro-agents on some Roland Emmerich produced mission, creating just a hardly perceptible fragrance, a faint, endeeringly orchestrated smell of perplexing tragedy in the evening air while i mourn silently for Anke, feeding my home-grown cacti with bursting buckets of tears, cursing time, cursing actual time, cursing the moment itself because nothing ever fades, nothing passes into oblivion, nothing can be forgotten, neither the hand that plunges itself into my belly now & weighs my organs jokingly, nor the eternal hunger, nothing 4ever being a being sufficient to end the burden of being, a suffix of pain, a prefix of horror, a deathwish of desire. Sitting on a train, moving past houses/trees/houses/back porches with dogs barking/roads/houses & trees is a form of consciousness commenting on itself, the very act of being on the train is becoming aware of it being an act, a way of being having effect on its surrounding and therefore on itself. That girl in the green dress is afraid of how beautiful her red hair looks falling on her bare shoulders, her eyes spell despair in a shower of beauty. One day all my code will be the air surrounding you, but you will not notice it. Binnen enkele ogenblikken komen we aan te Sint Truiden. Station St Truiden. One day i will believe in you once more & rephrase all your words again so that they are no longer floating around unrecorded like a biblical allusion, not this nagging testimonial, the humming of an awareness in me, a presence of you in me invoking your absence like the 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: Fri, 15 Jul 2005 07:19:42 -0700 message-id: <200507151419.j6fejg8w032219@idx164.idx.net> references: no_parent from: LuĂ­s da Silva subject: RHIZOME_RAW: source code blog Hi, just letting you know I started a blog called SOURCE CODE, dedicated to debating issues connected to digital art, hactivism, tactical media, resistance, critical theory... now featuring: "An artist in the chat room", a text discussing Art_room, an online performance by Susana Mendes Silva "Confess yourself", a text discussing Confess, a web project by Stewart Smith http://vercodigofonte.blogspot.com/ feel free to join a debate or start a new post Best wishes LuĂ­s Silva + -> 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, 15 Jul 2005 10:52:45 -0400 message-id: references: no_parent from: Plasma Studii subject: RHIZOME_RAW: what exactly IS new media? help me/us all out here if anyone knows more. been confused for over a decade until today. but as far as i can tell, "new media" means the equipment is available in metallic but not chrome. it's easy to be mislead when everybody says it like we all know, but probably nobody really does and they're just pretending. don't sweat it. for instance, a toaster is available in metallic, but it is chrome, so it is clearly NOT "new media". digital cameras and hand-held camcorders usually come in brushed metal or titanium, so obviously, they do qualify. even cell phones that are equipped with cameras are generally silver, but never chrome. the term is misleading. you'd be right in thinking video and photos really ARE old technology, based on inventions that have been around for 100+ years . the "digital" stuff is actually far, far lower resolution and far, far higher priced than the analog predecessors. but this equipment was, for years, always heavy and painted black. not interesting. only recently did everything become exciting when it got a shiny new casing. the real tricky part to making the extra conceptual leap that the phrase "new media" essentially indicates potential retail mark-up value. every era in art has its name. after impressionism, abstract impressionism, modernism, and post-modernism, we are now in silverism, which will be followed by shiny silverism. the term "new media" will be considered obsolete and un-hip, in favor of "new new media", meaning "shinier than ever". -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 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: Fri, 15 Jul 2005 07:55:40 -0700 (PDT) message-id: <20050715145540.5541.qmail@web30513.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: from The Golden Path:::wanting to fill you with lillies::: Storms bruise flowers for seconds. No-one forgets the colors now *** Baby, you're asleep. Waiting for me to leave you because I'm afraid you'll leave. Draining now. I'll sit here and watch over you, wait for you to wake up *** These green hills gross me out with pearly tonnage--wide electro ic fetish woods, babysleep *** I walk beneath sea level between selves on C street The one still in a yellow room touching your soft belly to the ends of stars *** watched an orange moon fur drown moaning in velvet pollution and paint myself against the pavement *** I'd walk the white or the whole of your belly and drown moaning in it, velvet and black with a fullness and wanting to fill you with lillies *** Maybe instead of hearing about, laying down in your garden, darker and streaked with intoxication *************************************************************************** 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, 15 Jul 2005 09:55 message-id: references: no_parent from: carlos katastrofsky subject: RHIZOME_RAW: [ann][netart] the original get your free & unique artwork now! http://aqua.subnet.at/carlos/projekte/netart/original/ -------------------- carlos katastrofsky http://aqua.subnet.at/carlos carlos(dot)katastrofsky(at)gmx(dot)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: Fri, 15 Jul 2005 09:59:49 -0700 message-id: <200507151659.j6fgxnze028698@idx164.idx.net> references: no_parent from: Austin Young subject: RHIZOME_RAW: SPRING in brooklyn summer 2005 opening reception: tuesday, july 19th 6-8 pm location: spring - 126a Front St. (between Jay and Pearl Sts) d.u.m.b.o., Brooklyn NY 11201 contact: 718.222 1054 www.spring3D.net directions: F train to York St. One block down to Front St. hours: Thu - Sun 1-7 pm and by appointment wellROUNDED Fiorenzo Borghi, Adam Scott and Austin Young are three photographers invited by Anna Cosentino and Steve Butcher of SPRING to explore the round, to go around, to think in the round and give us their point of view. + -> 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, 15 Jul 2005 12:40:21 -0700 message-id: <200507151940.j6fjelgb026011@idx164.idx.net> references: no_parent from: Emily Zimmerman subject: RHIZOME_RAW: InLiquid.com presents "Alphaville Under Construction" (Philadelphia, September 2005)  This fall the nonprofit artist organization, InLiquid.com, is pleased to present “Alphaville Under Construction,” an online exhibition of web-based projects curated by Emily Zimmerman. The exhibition, which will be launched on September 2, 2005 includes projects by Peter Horvath; Ken Goldberg; Beat Brogle & Phillipe Zimmermann; Stewart Smith; Jussi Ă„ngeslevä, Carson Reynolds, & Sile O'Modhrain; Margot Jacobs, Laura Polazzi, & Kristina Andersen. “Alphaville Under Construction” coincides with The Philadelphia Fringe Festival 2005, and supports InLiquid's continued interest in presenting new media projects. A reaction to the notion that technology-based artworks lack the ability to evoke emotion in the viewer, “Alphaville Under Construction” offers an alternative to the idea that digital culture is antagonistic to affect. The exhibition takes its name from “Alphaville: Une Etrange Aventure de Lemmy Caution,” Godard's film of 1965 in which he imagines a futuristic society ruled by logic, where all words relating to emotion have been removed from the lexicon and all sense of personal and communal memory has been lost. Often, the products of contemporary digital culture (web sites, e-mail, peer to peer networks) are driven by the economics of speed and efficiency leading to an experience that is cold and standardized. The lack of engaging emotional content in contemporary digital culture does not reflect a limitation of the medium, but instead stems from cultural notions about the nature and purpose of technology. Originating from the idea that our encounters with technology have the potential to create interesting and different arenas for affective experience, the projects presented in “Alphaville Under Construction” strive to open up the emotive possibilities of online tools. “Alphaville Under Construction” debuts on September 2, 2005 at www.inliquid.com. InLiquid.com is a nonprofit 501(c)(3) web-based membership organization dedicated to providing opportunities and exposure for visual artists and designers, serving as a free public hub for arts information and resources, and making the visual arts more accessible to a broader audience. More than just an online presence, InLiquid also nurtures our creative community through a continuing series of “non-virtual” art exhibitions and events. + -> 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, 15 Jul 2005 14:35:49 -0700 message-id: <200507152135.j6flznib011272@idx164.idx.net> references: no_parent from: FELT subject: RHIZOME_RAW: Free Temporary Space Opportunity - Lower Manhattan Cultural Council Lower Manhattan Cultural Council is currently accepting applications for Swing Space, a program that makes vacant space downtown available to artists, curators and arts organizations on a temporary basis at no cost. You can apply for studio, rehearsal, or office space or to present a curated exhibition, installation, or performance. We're also accepting applications for 15 Nassau, LMCC's new temporary programming venue located in a beautiful former bank in the Financial District. Artists and arts groups can apply to exhibit window installations or to present a public program (eligible programs include readings, screenings, informal performances, concerts, panel discussions, etc.). Swing Space and 15 Nassau applicants are eligible for small stipends to support project costs. Both progams are open to individual visual, performing, and new media artists; dance and theater companies; cultural organizations; and curators. Please see program guidelines for specific eligibility requirements. Swing Space and 15 Nassau are made possible by the generous support of the September 11th Fund. - Swing Space guidelines and application online: www.lmcc.net/swing_space - 15 Nassau guidelines and application online: www.lmcc.net/15_nassau Deadline: August 2, 2005, 5:00 pm Questions? Join us at an information session (dates: July 13, 19, and 26; see program guidelines for time, location, and RSVP information) or contact Steffani Jemison, Associate Director of Programs, at sjemison@lmcc.net or (212) 219-9401 x106. + -> 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, 15 Jul 2005 15:14:03 -0700 message-id: <200507152214.j6fme3cx018291@idx164.idx.net> references: no_parent from: Jeremy Turner subject: RHIZOME_RAW: Mascot for 2012 Ascension online PRESS RELEASE: Website for the OFFICIAL MASCOT OF THE 2012 ASCENSION now online. I am pleased to announce the birth of the official mascot for the 2012 Ascension. The website introducing this mascot named “Uppannaki” is now online at: www.mascot2012.com By the end of the year, this mascot will be available for download as a Microsoft Agent (cartoon office assistant). Hopefully, by the end of 2012, people around the globe will have Uppannaki on their desktop. I hope you visit the website and I encourage you to make your presence known on the forum (link at the bottom of the homepage). I welcome any comments, questions and media requests at this time. Best regards, Jeremy O. Turner – Creator, Uppannaki. jer@mascot2012.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, 15 Jul 2005 15:50:48 -0700 message-id: <200507152250.j6fmomhw028365@idx164.idx.net> references: no_parent from: Chris Molinski subject: RHIZOME_RAW: Open Call for Artwork OPEN CALL FOR ARTWORK ---------------------- The Art Gallery of Knoxville is dedicated to the discussion of emerging Arts. Located in Knoxville Tennessee, the Gallery coordinates the exhibition and publication of work in all media. Project proposals may extend from all disciplines. Please Send Work and Inquiries to: ATTN: Chris Molinski 40 E Chicago, Ave #269 Chicago, IL 60611 Chicago Deadline, Aug 25 THE ART GALLERY OF KNOXVILLE http://www.theartgalleryofknoxville.com/ ---------------------- art.gallery.knoxville@gmail.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, 15 Jul 2005 19:33:42 -0700 (PDT) message-id: <20050716023343.3071.qmail@web30505.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: superMilkButterfly http://lewislacook.corporatepa.com/images/ifYouLookAtItFarAway.png http://lewislacook.corporatepa.com/images/superMilkButterfly.png *************************************************************************** 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, 16 Jul 2005 08:58:07 -0700 message-id: <200507161558.j6gfw7um016157@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: what exactly IS new media? well are biologic works new media? (phosphorescent rabbits?) they're newly mediated through technology. ah.., I see now. + -> 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, 16 Jul 2005 12:26:13 -0400 message-id: <5c702bed0acb23fca979ca9156db7e31@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Coming next week: A new front page for Rhizome.org Hi everyone, Starting next week, you'll be seeing a change in the front page here at Rhizome. Currently the front page features artworks and texts from inside the Rhizome site. But we've added a heavily-modified version of Eyebeam's ReBlog software ( http://www.reblog.org/ ), so the front page will soon combine great texts from inside Rhizome with the best memes from the internet as a whole. The goal is for the front page to become a quick, easy filter for the entire field of new media arts online--both for our current Rhizome users and Members, and for anybody else who might be interested in the field but not know where to start looking. At the same time, Superusers will continue to enrich the archives by adding metadata to our internal content. (External content will not be added to the archives.) And another note: This new front page will be based on the consumption of RSS feeds. So if you have any sort of new media arts site of your 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: Sat, 16 Jul 2005 19:35:07 +0200 (CEST) message-id: <20050716173507.9b1142201c@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Faqs fbox Finnish, FX fact-finder FAQs, face firewall, four 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 -> 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, 16 Jul 2005 13:37:13 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: browser app limitation? Has anyone looked into the issue of browsers limiting the number of simultaneous network operations that apps running in browsers may perform? For instance, I gather that different browsers put different limits on the number of simultaneous downloads an app may perform. I presume (though am not sure) that the notion generalizes to simply limiting the number of network info requests, whether the request is to get an image or an html page or whatever. Anybody know of any good docs on this issue? 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: Sat, 16 Jul 2005 17:23:36 -0700 message-id: <200507170023.j6h0napo032162@idx164.idx.net> references: no_parent from: Daniel Green subject: RHIZOME_RAW: Re: Re: Mikon Hall of Worlds Oops didn't get the date in on the last post: The date for the next Mikon Hall of Worlds is August 24, 2005 11-5PM 279 Church ST. nyc at Collective: Unconscious www.weird.org A project of the Institute for Aesthetic Modulation www.ifam.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, 17 Jul 2005 05:57:51 -0700 message-id: <200507171257.j6hcvp8f023297@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: BSD (Butcher Shop/Dogmatic) presents Daylight: new work by John Wanzel BSD (Butcher Shop/Dogmatic) presents Daylight: new work by John Wanzel OPENING RECEPTION SATURDAY JULY 23 6-9PM BSD (Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 312.421.1917 dogmaticgallery@hotmail.com Michael S. Thomas, Director BSD is proud to present Daylight, new work by John Wanzel. The exhibition is in search of unmitigated truth and light within a world without. Daylight 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: Sun, 17 Jul 2005 06:50:55 -0700 message-id: <200507171350.j6hdota6029004@idx164.idx.net> references: no_parent from: tore terrasi subject: RHIZOME_RAW: Re: Re: what exactly IS new media? well basically, any art form that uses a tool of some kind, from the advent of photography on up is new media....its just not painting, sculpture, etc....however, you're right, people use the term loosely, usually to promote an art program or job opportunity. Calling something new media is like describing a criminal to the police like:" well officer, he was human, but not prehistoric cromagnon man human...he looked more modern"...so yeah i guess your right. If it's shiney and new it must be new media? + -> 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, 17 Jul 2005 08:52:09 -0700 (PDT) message-id: <20050717155210.76566.qmail@web30511.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: nipple http://lewislacook.corporatepa.com/images/nipplesplinter.png *************************************************************************** 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: Sun, 17 Jul 2005 09:11:44 -0700 message-id: <200507171611.j6hgbigj010027@idx164.idx.net> references: no_parent from: mark cooley subject: RHIZOME_RAW: Re: what exactly IS new media? Plasma Studii wrote: > help me/us all out here if anyone knows more. > > been confused for over a decade until today. but as far as i can > tell, "new media" means the equipment is available in metallic but > not chrome. it's easy to be mislead when everybody says it like we > all know, but probably nobody really does and they're just > pretending. don't sweat it. > > for instance, a toaster is available in metallic, but it is chrome, > so it is clearly NOT "new media". digital cameras and hand-held > camcorders usually come in brushed metal or titanium, so obviously, > they do qualify. even cell phones that are equipped with cameras are > generally silver, but never chrome. the term is misleading. you'd > be right in thinking video and photos really ARE old technology, > based on inventions that have been around for 100+ years . the > "digital" stuff is actually far, far lower resolution and far, far > higher priced than the analog predecessors. but this equipment was, > for years, always heavy and painted black. not interesting. only > recently did everything become exciting when it got a shiny new > casing. > > the real tricky part to making the extra conceptual leap that the > phrase "new media" essentially indicates potential retail mark-up > value. every era in art has its name. after impressionism, abstract > impressionism, modernism, and post-modernism, we are now in > silverism, which will be followed by shiny silverism. the term "new > media" will be considered obsolete and un-hip, in favor of "new new > media", meaning "shinier than ever". > -- > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > 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 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: Sun, 17 Jul 2005 09:25:25 -0700 (PDT) message-id: <20050717162526.69227.qmail@web30512.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: hospital http://lewislacook.corporatepa.com/images/santJosephsHospital.png *************************************************************************** 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: Sun, 17 Jul 2005 09:27:07 -0700 (PDT) message-id: <20050717162707.66963.qmail@web30509.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: hospital (addendum) http://lewislacook.corporatepa.com/images/saintJosephsHospital.png *************************************************************************** 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: Sun, 17 Jul 2005 19:36:11 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: susana mendes silva no prog:me http://homepage.mac.com/susana_mendes_silva/Artphone.htm ------ +info prog:me http://www.progme.org/ Centro Cultural Telemar, Rio de Janeiro, Brasil 19-07 to 28-08-2005. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 18 Jul 2005 08:10:25 +0800 message-id: <94bf2921-a847-4aeb-a339-b054bcb21743@gmail.com> references: from: RJDarts subject: Re: RHIZOME_RAW: Mac Tech question On 13/07/2005, at 8:28 PM, judsoN wrote: >> Hi All: >> >> So I just bought a new lacie harddrive and am getting ready to >> partition it. >> Before I do so I was hoping to find out if I were to split it into 3 >> partitions, Would and of them be the faster partition. >> >> Any help would be great. >> >> Cheers, >> Lee >> >> >> >> > > nope. works pretty much the same for all platforms. i suppose you > could just periodically "defragment" one and not the others. or > use a speed enhancing utility on just one. but not much reason to. > > > Exactly correct no difference between them, no advantage in de- fragmenting drives under OS X. http://docs.info.apple.com/article.html?artnum=25668 > > 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: Sun, 17 Jul 2005 20:20:16 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #46: Chan's Songs 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 -> 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, 17 Jul 2005 18:50:00 -0700 message-id: <6782e6cdb7ba8b5a0b245114220d7415@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fielding Questions: Notes on the Fieldworks Symposium Fielding Questions: Notes on the Fieldworks Symposium Ryan Griffis In an April broadcast of the radio program "On the Media," ABC News editorialist John Stossel was asked why he had invited well known fiction writer Michael Crichton to appear on one of his programs to discuss science and the global warming debate. The exchange ended like this: On the Media's Brooke Gladstone: "In December, you featured novelist Michael Crichton on 20/20, and you praised him for contradicting something most people believe and fear. You went on to say that environmental organizations are fomenting false fears in order to promote agendas and raise money. Why use a fiction writer to refute the scientific community?". John Stossel: "Because he's famous, and he's interesting, and he's smart, and he writes books that lots of people read, and I could interview the scientists for 20/20, but more people will pay attention when this particular smart fiction writer says it." ( http://www.onthemedia.org/transcripts/transcripts_040805_skeptic.html ) This particular exchange is interesting to consider in light of debates around all manner of cultural and scientific developments, including stem cell research, evolution, sex education and energy production just to name a few. What makes this interesting to me is the visible and unashamed collision of claims to truth with tactics of representation. Stossel recognizes that the global warming debate is constructed as a "he said, she said" debate, so truth claims are only as valid as the prominence of the person making them, not the verifiability of the claims themselves. Likewise, the "other side" often points to consensus as verification. 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: Sun, 17 Jul 2005 20:55:55 -0700 message-id: <200507180355.j6i3tt9k013670@idx164.idx.net> references: no_parent from: Eryk Salvaggio subject: RHIZOME_RAW: Fee Removal Thank you for removing your membership fee, rhizome. -e. + -> 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, 18 Jul 2005 09:58:54 +0200 message-id: <20050718095854.5c410e48.12eaeb6d@127.0.0.1> references: no_parent from: NetEX subject: RHIZOME_RAW: RRF2005-in-Rio prog:ME 1st Electronic Art Festival Rio de Janeiro/Brazil www.progme.org 18 July - 28 August 2005 . is presenting several New Media projects created and chief curated by Agricola de Cologne, among others . [R][R][R]2005--->XP http://rrf2005.newmediafest.org global networking project and SELECTION'03 by VideoChannel a compilation of 10 videos featuring Calin Dan (curated by Raluca Velizar & Florin Tudor) Empar Cubells (curated by videoraum.net Valencia/Spain) Margerida Paiva (curated by Agricola de Cologne) 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 Ramírez-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: Mon, 18 Jul 2005 09:45:12 +0000 message-id: <200507180945.12926.rob@robertspahr.com> references: <200507181157.j6ibv7zg007554@idx164.idx.net> from: Robert Spahr subject: Re: RHIZOME_RAW: Re: Mac Tech question Apple states anyone using OS X 10.2 or above would not need to optimize a disk. http://docs.info.apple.com/article.html?artnum=25668 Here is an interesting bit of text from this page: "For these reasons, there is little benefit to defragmenting. Note:Mac OS X systems use hundreds of thousands of small files, many of which are rarely accessed. Optimizing them can be a major effort for very little practical gain. There is also a chance that one of the files placed in the "hot band" for rapid reads during system startup might be moved during defragmentation, which would decrease performance." -- Rob On Mon July 18 2005 11:57 am, TJ ODonnell wrote: > actually- there is a performance hit if you do not de-fragment your drive > under system X-- IF you are using the drive for video. I have to defrag my > drive once a month (I do loads of vid each day). > > I HIGHLY recommend you use Tech tool-- it has saved my life twice this > year-- and is excellent in finding and repairing hidden defaults in drives > over 500gig. > > Well worth the investment. > + > -> 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 "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: Mon, 18 Jul 2005 04:57:07 -0700 message-id: references: no_parent from: Sheindal Cohen subject: RHIZOME_RAW: Re: Mac Tech question actually- there is a performance hit if you do not de-fragment your drive under system X-- IF you are using the drive for video. I have to defrag my drive once a month (I do loads of vid each day). I HIGHLY recommend you use Tech tool-- it has saved my life twice this year-- and is excellent in finding and repairing hidden defaults in drives over 500gig. Well worth the investment. + -> 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 media work. Working across the organisation, you will develop FACTąs education strategy and with the FACT team deliver a programme of educational events and activities across a range of exhibition platforms, including galleries, screens, offsite and online. This is initially a twelve month contract with continuation subject to funding. For more information please contact: Sheindal Cohen Email: recruitment@fact.co.uk Tel: 0151 707 4444 Website: www.fact.co.uk Deadline for applications: Wednesday 03 August Interviews in Liverpool: Week commencing 08 August 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 -> 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, 18 Jul 2005 06:52:49 -0700 message-id: <200507181352.j6idqnlp019815@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Bennington College: Digital Arts Technician Digital Arts Technician Office of the Provost/Dean of the College Bennington College seeks a Digital Arts Technician to work closely with faculty, IT staff and students. The Technician is responsible for supervising, maintaining and scheduling computing facilities, providing technical assistance in support of the Digital Arts curriculum and managing student monitors of the facility. Facilities include a lab with 13 Macintosh Computers, Epson 7600 and 3000 printers, an adjunct workspace with 2 PC computers and a small equipment bank. The position also involves troubleshooting student problems, responding to faculty requests, and providing basic instruction in equipment use. Working knowledge of Macromedia Dreamweaver, Flash and Adobe Photoshop is a must as well as Macintosh hardware/software troubleshooting skills. Experience with microcontrollers and prototyping a plus. A Bachelor’s degree and expert interpersonal skills are also required. This is a full-time position during the academic terms (8 months per year), with benefits. Interest! ed applicants should send a cover letter and resume to: Human Resources Bennington College One College Drive Bennington, Vermont 05201 802-440-4423 802-440-4424 (fax) hroffice@bennington.edu EOE + -> 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, 18 Jul 2005 07:16:35 -0700 message-id: <200507181416.j6iegzt9022825@idx164.idx.net> references: no_parent from: Sean Capone subject: RHIZOME_RAW: Re: what exactly IS new media? Plasma Studii writes: >> we are now in silverism, which will be followed by shiny silverism. Sorry mate, silverism peaked in the 80s already. New media is 'post-Silver Age': http://www.moma.org/education/openends/guide/overview/12koons.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, 18 Jul 2005 07:42:23 -0700 message-id: <200507181442.j6iegnnm027072@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Women in Games (8-10th August) Building on the resounding success of the pioneering Women in Games conference, 2004, we are pleased to announce "Women in Games 2005". This topical event will feature the following keynotes speakers: Ernest Adams: Game design consultant and author, founder of IGDA, Melissa Federoff: Microsoft Games Usability Engineer Aphra Kerr: Media Research Centre, University of Ulster,Northern Ireland Constance Steinkuehler: MMOG researcher and game columnist, University of Wisconsin-Madison. WiG 2005 is an opportunity to bring together women who work in the field of computer games both nationally and internationally. One of the aims of the event is to be a forum for recognising the tremendous achievements that have been made in industry and academia, by "women in games". The WiG 2005 conference will highlight to both the academic and industrial world the most recent, groundbreaking work in this area of computer game research and development. WiG 2005 will take place August 8 - 10 inclusive, timed to immediately precede the Edinburgh International EntertainmentFestival. The conference will be held in the newly built student centre at the University of Abertay Dundee. We invite you to visit our website for further details http://www.womeningames.com Registration is now available online. + -> 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, 18 Jul 2005 08:00:41 -0700 message-id: <200507181500.j6if0fes029367@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: Playlist CULTURETV The complete playlist 'Exten(z)sion IV project ' by Chiara Passa. 'Nutritionwaltz' by V.Shumov, C.Paul and V.Ory 'The General ' Sietske Tjallingii (NL) , A biting satire on patriotism and military power in post 9/11 America, nominated for the best Dutch short film 2004. 'When The Sun Goes Down' by Tino Schwanemann (D).In June 2004 he realized the video in NY. 'Unavoidable Excess of Motion' Winner of 2003 London Short Film Festival by Angela Alston & Ezekiel Das. 'The Golden Gate' by Doron Altaratz 'Trancend' by N.Bechtol and C.Paul 'Project Fox' by Volkswagen 'MMLights' by N.Bechtol and L.Romanos '5' by Alan Sondheim 'IDyl' Middelheim Park by P.Mertens 'Monday Mourning' by T.Cahill & L.Romanos 'Scaff Society' by T.Breman& A.Kozloski&V.Shumov 'Fusion ' Gabriel Orenstein (1959) Urugay. 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 -> 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, 18 Jul 2005 09:31:46 -0700 message-id: <200507181631.j6igvkfo007622@idx164.idx.net> references: no_parent from: David Rogerson subject: RHIZOME_RAW: Call for Lists Call for Lists Sonic Arts Network would like to invite sound/image/text submissions for material to be considered for inclusion in a Sonic Arts Network limited edition CD publication concerning â€Lists’. The edition will be published in November/December 2005 in a limited run of 1000 editions and will be curated by Craig Robinson, illustrator and creator of www.flipflopflyin.com Lists are never far away from us. As humans, we are obsessed with order. We have an obsessional drive to categorise, sort and list everything. In Art, Literature, Science and Philosophy, lists can be found. Musical examples of listing range from Berio to Billy Joel. We ask for audio (music/found sound/sound art/spoken word), literature, pictures and suggested reference points. The idea may be interpreted in the widest possible sense and can be approached from multiple perspectives - acoustical, visual, philosophical and personal. We encourage a diversity of styles and materials for selection. The CD and its accompanying print materials will be the sixth in a series of numbered, limited edition audio CDs, produced and distributed three times a year, with guest curators and specially commissioned packaging. The Cds are free to members of the Sonic Arts Network (for more information on membership visit www.sonicartsnetwork.org), reaching practitioners and listeners in all corners of the globe, with a limited number of issues released in selected outlets. Previous artists whose work has featured in the CD series have included: Christian Marclay, Yasunao Tone, Francisco LĂłpez, Antonin Artaud, Jaap Blonk, Lucia Pamela and a host of others. No payment can be offered for submissions nor materials returned. Submissions should be sent to: Lists, c/o Sonic Arts Network, The Jerwood Space, 171 Union Street, London SE1 0LN. Deadline for submissions is 19 September 2005 Further information/clarification concerning the submission of materials is available from lists@sonicartsnetwork.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, 18 Jul 2005 09:56:12 -0700 message-id: <6cc02a2b57e8ec20f667011394d166c2@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: WE Riders Pilot Ride, 7/23/05 > P L E A S E    F O R W A R D >   > ~~~~~~~~~~~~~~~~~~~~~~ >       W E    R i d e r s     > ~~~~~~~~~~~~~~~~~~~~~~  >   > Pilot Ride: >                  ++   July 23, 3PM - 7PM, Jack London Square & > Downtown Oakland, CA   ++ >                  > -->The WE Riders (West-East Oakland Riders) ecotourism exploration > will initiate their research project to culturally and geographically > locate West and East Oakland with their tandem bicycle during the 2005 > Bayennale. The marksearch team (Sue Mark & Bruce Douglas) will use > their tandem bike to draw west-east lines showing the longitude in > Downtown Oakland during the Bayennale's opening (7/23) event. >   > -->The 2005 Bayennale is slated to take place in over 20 venues > throughout the Bay Area July 22 - August 7, 2005.   The first Bay Area > 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 will illustrate 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 > project to 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: Mon, 18 Jul 2005 11:05:55 -0700 message-id: <200507181805.j6ii5tnm021191@idx164.idx.net> references: no_parent from: mark cooley subject: RHIZOME_RAW: Re: Re: what exactly IS new media? Sean Capone wrote: > Plasma Studii writes: > > >> we are now in silverism, which will be followed by shiny > silverism. > > 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: Mon, 18 Jul 2005 11:35:45 -0700 message-id: references: <200507181805.j6ii5tnm021191@idx164.idx.net> from: ryan griffis subject: RHIZOME_RAW: Re: what exactly IS new media? we may be headed back to the bronze age, if we're lucky. http://dieoff.com/synopsis.htm On Jul 18, 2005, at 11:05 AM, mark cooley wrote: > Sean Capone wrote: > >> Plasma Studii writes: >> >>>> we are now in silverism, which will be followed by shiny >> silverism. >> >> 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: Mon, 18 Jul 2005 12:32:22 -0700 (PDT) message-id: <20050718193222.27010.qmail@web30515.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: In Defense Of Poetry ##################################################### $yeah = chunk_split(base64_encode($sonnets)); echo $yeah; #################################################### 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: Mon, 18 Jul 2005 15:56:39 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Front page Hi everyone: Our new publishing system =AD a modified version of the reBlog (www.eyebeam.org/reblog) - is now live on the front page. Many thanks to Francis Hwang for making this happen, and also to our Superusers for adapting to this new system. Best, Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 18 Jul 2005 13:11:05 -0700 message-id: <200507182011.j6ikb5kc006535@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Touch, hear and see for yourself⦠Touch, hear and see for yourself…The Canadian Film Centre’s Habitat New Media Lab presents:The 2005 INTERACTIVE Prototype Launch & Exhibition The Canadian Film Centre’s Habitat New Media Lab invites Toronto to experience Canada’s newest forms of interactive art and entertainment at the annual Prototype launch and exhibition, beginning on Friday July 22nd, 2005. 2005’s prototypes re-invent the way we see, use and view technology. Residents this year have channeled their energies on the creative aspects of new media, with a focus on social interaction and narrative theory. Discover new ways of experiencing art, theatre, storytelling, games, and relating to each other. Don’t miss your chance to experience borderless, new ideas from tomorrow’s industry leaders. WHERE: The Gladstone Hotel - 2ND Floor - 1214 Queen Street West WHEN: Friday July 22nd to Sunday July 24th - 11 am till 7 pm PRICE: Free ON EXHIBIT: My Doki-Doki - Wireless device Can you feel the beating of your heart? Imagine you could share it with others? My Doki-Doki is a wireless device that allows you to see and feel your heartbeat. By making the internal external, My Doki-Doki allows you to literally wear your heart on your sleeve. Painting the Myth - Installation Painting the Myth is a rich new media installation that demonstrates unified narrative layering harmonized with the action of artistic painting that together, provide a compelling immersive experiential encounter. Interference – Game Interference is an interactive narrative console game with an innovative synthesis of live-action, 2D and 3D elements. The story emerges through the hero’s ability to travel back in time to make changes that will save his true love from death at the hands of unscrupulous organ traffickers. The Lunatics - Participatory theatre The Lunatics is an animated fairytale exploring the tug of war between consumption and creation. People wear masks and are transported into the story where they see, hear and physically engage with the tale's themes. This new form of participatory theatre blends the role of audience and participant. Right or Left Unsaid -Installation Right or Left Unsaid is an interactive installation that engages participants in a collaborative activity designed to draw awareness to one’s relationship with oneself and to other people. Visit www.cdnfilmcentre.com/training/newmedia.html for more info + -> 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, 18 Jul 2005 18:13:23 -0400 message-id: references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Rhizome administration spam There's a new sort of spam around these days; it takes the domain name of an email address and uses that to pretend that it's some email being sent to you by a website, regarding your account on that website. So some of you may have been receiving email that claims to be about your Rhizome account, coming from the "Rhizome Support Team" or something like that. If you ever get an automatic email claiming to be from us, with an attachment in it, it's a virus pretending to be from us. Rhizome never ever sends out attachments in its automated emails. So if you get an email like that, just ignore it. 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: Mon, 18 Jul 2005 15:40:19 -0700 message-id: <200507182240.j6imej5k022601@idx164.idx.net> references: no_parent from: Shimpei Takeda subject: RHIZOME_RAW: Video Installation @ ISSUE Project Room Video Installation by Shimpei Takeda July 20th - 22nd Opening Event: July 20th, 8pm Video installtion with musicians - John Hudak + Bruce Tovsky - PD1140 (Wataru Abe: Laptop, Hitoshi Kanda: Piano, Takuya Morikawa: Violin) Issue Project Room (www.issueprojectroom.org) 400 Carroll Street (Bet Bond and Nevins) Brooklyn, NY 11231 / Tel: 718-330-0313 SUBWAY: F or G Train to 'Carroll St' (fourth stop in Brooklyn from Manhattan). Exit at front of train. Walk 2.5 blocks from stop down Carroll. ------------------------------------------------------------------------------ ISSUE Project Room presents a site-specific, video projection installation of Shimpei Takeda. Born in Japan in 1982, Shimpei Takeda currently lives and works in New York City. Takeda uses digital photography and video to capture scenes from both the urban and the natural worlds, creating unique and expressive visual landscapes. Takeda's work has been shown at Knitting Factory (New York, NY), Weisman Art Museum (Minneapolis, MN), Toomey Tourell (San Francisco, CA), among other places. John Hudakfs sound work focuses on the minimalism and repetition of sounds below the usual threshold of hearing, sounds that are filtered out or considered non-musical. These sounds are recorded, deconstructed and processed, their rhythms and textures being the basis for aural manipulations. On the night he performs with Bruce Tovsky, a long-time collaborator. Hudak will be sending manipulated natural sounds from his home in Dobbs Ferry. Tovsky will be receiving this audio and mixing it with his own manipulated natural sounds from the shores of the Gowanus Canal. The locusts in Dobbs Ferry will provide a consistent sound source. This is a form of a larger performance which Hudak has performed only twice before in Madrid, Spain. 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: Mon, 18 Jul 2005 19:38:56 -0700 message-id: <200507190238.j6j2cuy8012034@idx164.idx.net> references: no_parent from: mark cooley subject: RHIZOME_RAW: Re: Re: what exactly IS new media? http://www.bronzeagemin.com/ ryan griffis wrote: > we may be headed back to the bronze age, if we're lucky. > http://dieoff.com/synopsis.htm > > On Jul 18, 2005, at 11:05 AM, mark cooley wrote: > > > Sean Capone wrote: > > > >> Plasma Studii writes: > >> > >>>> we are now in silverism, which will be followed by shiny > >> silverism. > >> > >> 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: Mon, 18 Jul 2005 19:42:04 -0700 message-id: <200507190242.j6j2g4wa012487@idx164.idx.net> references: no_parent from: mark cooley subject: RHIZOME_RAW: Re: Re: what exactly IS new media? it's already here - albeit underrepresented http://www.bronzeagemin.com/ ryan griffis wrote: > we may be headed back to the bronze age, if we're lucky. > http://dieoff.com/synopsis.htm > > On Jul 18, 2005, at 11:05 AM, mark cooley wrote: > > > Sean Capone wrote: > > > >> Plasma Studii writes: > >> > >>>> we are now in silverism, which will be followed by shiny > >> silverism. > >> > >> 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: Tue, 19 Jul 2005 05:14:07 -0700 message-id: <200507191214.j6jce7kr019802@idx164.idx.net> references: no_parent from: Regina Celia Pinto subject: RHIZOME_RAW: HAPPY ANNIVERSARY MUSEUM OF THE ESSENTIAL AND BEYOND THAT, a Cake and a surprise gift July, 19th 2005 Dear Friends, Today is the Museum of the Essential and Beyond That's anniversary. It is its third anniversary and it has grown a lot since its lauchment in 2002. It is a quite dynamic structure well known in the whole cyber-world. We have much to celebrate! The comemoration of this year involves a virtual cake created by the artists Muriel Frega (http://murielfrega.com.ar/) and Zaida Frega. A very sweet gift this one which we received from Muriel and Zaida. You are invited to eat a slice of this cake with us at: http://arteonline.arq.br/cake/ Visiting the cake you will know about a surprise gift you should receive, the gift is comemorative of the museum's third anniversary. Regina CĂ©lia 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: Tue, 19 Jul 2005 08:38:28 -0700 message-id: <200507191538.j6jfcsi1000954@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Need your help!! (Re: Share: Creative Commons workshop conference call tomorrow 7/20 at 2 p.m. EST) Hello everyone, This is Keiko Uenishi of Share. http://share.dj We are supposed to discuss with a Creative Commons representative via conference call at 2 p.m. tomorrow (Wed. 7/20) regarding the possibility of putting together a workshop at Share about Copyright/Copyleft etc. Only our problem is that we do not have an access to any place to do it! Anyone here can offer a place for a few or so of us, to sit in and participate a conference call?!? Need: a room, more than 2 phones (capable of conferencing), active phone line, and about 30 min or so time for us. Any location in metro ny area is fine. 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: Tue, 19 Jul 2005 16:48:31 +0100 message-id: <42dd20cf.7000600@furtherfield.org> references: <200507190242.j6j2g4wa012487@idx164.idx.net> from: marc subject: RHIZOME_RAW: Next at HTTP// _____________________________________The Summer of Folk. Next at HTTP// [House of Technologically Termed Praxis] ====================================================== _____________________________________The Summer of Folk. Open by appointment from 19th July to August 28th 2005 The Summer of Folk at HTTP is a re-evaluation of the conventional exhibition experience, combining intellectual and sensual activities. Visitors are invited to contribute to a Physical Folksonomy - to browse, borrow and organise books and journals from ThE DiStRiBuTeD LiBrArY whilst savouring delicious Iranian sweets and a cup of El Salvadorian coffee supplied by Feral Trade, traded along social networks. Visitors of all backgrounds and experiences are requested to suggest and demonstrate their ideas for displaying, categorising and borrowing books from the library. All contributions will be documented and made accessible on the wiki, as well as in the gallery space for others to observe. Please email info@http.uk.net or telephone (visit site for NO.) to personally schedule your visit and plan your activity. --------------- Getting to HTTP: Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY Tube: Manor House, Buses: 341, 141, Car: free parking facilities ====================================================== ------------------------------------- Associated Events The Summer of Folk also provides the context for an informal season of associated events. The first of these events is '48 Hour Wake' which begins at 12 midnight Friday 22nd July ending at Midnight Sunday 24th July. The 48 Hour Wake with David Goldenberg and guests examines how it is possible to disengage from any mindset that one inherits before going on to develop new ways of thinking, and from there, new ways of acting. This event will be webcast for simultaneous viewing at East Open Internationalas part of Making Things Better and provides the opportunity for a wide range of persons to take part in the discussions via Voice-Over IP. HTTP has free wireless access to the Internet so bring your laptops to surf and study. ______________________ More About The Summer of Folk ______________________________ ThE DiStRiBuTeD LiBrArY ThE DiStRiBuTeD LiBrArY provides a resource for creative research that encourages a re-evaluation of where one stands in the world beyond the established canons, structures, processes and mediation. Expect to find amongst the 250 books and journals, fact, fiction and theory surrounding Net Art, New Media, Activism, Art & Technology, Wireless technology, Locative Media, Critical Thinking, Anarchism, Feminism, Marxism, Cyber culture and theory, Programming, Psychology, Complexity Theory, Pirate Broadcasting, Politics, Philosophy, Post-modernism, Gay and Lesbian writings, Underground Film and more. The library consists of two collections. The first is on loan from Ron Briefel, an active Situationist, who has distributed his personal library among a number of venues, people's private homes, community centres, squats and galleries for public reading and lending. HTTP also welcomes a recent collection of historic 90s DIY journals and zines from Media Arts Projects who's recent workshops and events emphasise skill-sharing, promoting the visibility of non-commercial uses of new technologies, and building local networks. The library is usually accessible between gallery exhibtions. There is no formal system for indexing or lending this reading material. All loans are negotiated by personal agreement. It is a resource for those who are interested in discovering information in a random way, seeing something that they have not yet come across, opening their minds to different contexts and ways of thinking, accessing material that cannot usually be accessed within their own institutions. Media Arts Projects: http://mediaartprojects.org.uk/ ___________________________________ Physical Folksonomy http://www.http.uk.net/cgi-bin/dl_wiki.pl?PhysicalFolksonomy Whilst recent technological developments in semantic web and folksonomy allow digital files to be tagged to appear in more than one category at once (with a personalised vocabulary), the books in ThE DiStRiBuTeD LiBrArY exist in physical space. HTTP is providing an open platform to collaborate and experiment with emerging models of knowledge sharing for local and universal contexts and an opportunity to critique and explore how strategies in digital environments might impact on the organisation of data in physical and social space. Why not create a 'Couple's Catalogue' to represent a mutual understanding? or perhaps a group of three would create a 'Tripart Taxonomy'- and leave the remainder as unchartered territory. Any structural additions to the fabric of the building to accommodate a reflection of your thinking will be considered. We hope to develop a range of strategies of specific relevance and use for the individuals and groups who visit HTTP. Every categorisation strategy from 'tidying up' to the most taxing taxonomical tactic will be documented and credited to its creator(s). Over the Summer the HTTP crew will develop a digital archive to document all propositions in whatever format seems most appropriate (and possible). We welcome all offers of support and advice from outside collaborators: technical, philosophical, catering- inexperienced and specialist. ___________________________________________ Feral Trade http://www.feraltrade.org Feral Trade sweets and coffee will be served throughout the Summer. Feral Trade is an initiative to develop new trade relations along social networks. Whilst never actually calling itself art, this project reveals the social-context, texture and aesthetics of this venture in ‘new international trade relations’, with coffee and sweets as its medium. "The use of the word 'feral' denotes a process which is wilfully wild (as in pigeon) as opposed to romantically or nature-wild (wolf). The passage of goods can open up wormholes between diverse social settings, routes along which other information, techniques or individuals can potentially travel." Kate Rich. __________________________________________48 Hour Wake In a one off event which begins at 12 midnight Friday 22nd July and ends at Midnight Sunday 24th July David Goldenberg and guests will take part in a continous 48 hour wake at HTTP gallery. During this time they will stay awake while on-site inside HTTP gallery to dream, relax, take part in discussions and share ideas with a community who enter into the project. The 48 hour wake examines how it is possible to disengage from any mindset that one inherits before going onto develop new ways of thinking, and from there, new ways of acting. The event is to be web cast so that it will be seen simultaneously at a venue in Norwich gallery as part of the East Open International - along with facilities that will allow the opportunity for a wide range of persons to take part in the discussions via Voice-Over IP.The project develops a work staged last year for the STRUKTUR show at artist: network in New York. ====================================================== Gallery website http://www.http.uk.net Getting to HTTP http://www.http.uk.net/docs/gettingto.htm HTTP:// is a non-profit organisation run by artists and curators of Furtherfield.org 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: Tue, 19 Jul 2005 17:06:05 +0100 message-id: <42dd24ed.50103@furtherfield.org> references: <200507191538.j6jfcsi1000954@idx164.idx.net> from: marc subject: Re: RHIZOME_RAW: Need your help!! (Re: Share: Creative Commons workshop conference call tomorrow 7/20 at 2 p.m. EST) if you were in London you could of used our space... marc >Hello everyone, >This is Keiko Uenishi of Share. http://share.dj >We are supposed to discuss with a Creative Commons representative via >conference call at 2 p.m. tomorrow (Wed. 7/20) regarding the possibility of >putting together a workshop at Share about Copyright/Copyleft etc. >Only our problem is that we do not have an access to any place to do it! >Anyone here can offer a place for a few or so of us, to sit in and >participate a conference call?!? > >Need: a room, more than 2 phones (capable of conferencing), active phone >line, and about 30 min or so time for us. > >Any location in metro ny area is fine. > >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: Tue, 19 Jul 2005 09:16:44 -0700 message-id: <200507191616.j6jggibp006320@idx164.idx.net> references: no_parent from: Deborah Hession subject: RHIZOME_RAW: The Canadian Film Centre\\\'s Habitat New Media Lab 2005 Prototype Exhibition CANADIAN FILM CENTRE'S HABITAT NEW MEDIA LAB HOSTS INFORMATION SOIRÉE and PROTOTYPE EXHIBITION Connect with the new media community! 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 alumni, faculty, or even your next employer. During this session meet our fifteen latest New Media visionaries and storytellers and experience their five prototypes. Discover what you can make happen in the world of New Media! The TELUS Interactive Arts & Entertainment Programme 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, New Media professional or a creative mind, here's your chance to hoist your skills to a new level and transform your career. WHEN: Friday, July 22nd, 2005 WHERE: The Gladstone Hotel 1214 Queen Street West TIME: 7:00 pm - 9:00 pm RSVP (limited space available): Deborah Hession (416) 445-1446 ext. 296 or email: habitat@cdnfilmcentre.com 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: Tue, 19 Jul 2005 12:13:04 -0700 message-id: <97002eb277583c3a367e79168b061f3f@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: copyright and blogs 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 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 19 Jul 2005 13:40:55 -0700 message-id: <200507192040.j6jketnl013098@idx164.idx.net> references: no_parent from: Jacki Morie subject: RHIZOME_RAW: CALL FOR ART Graphite 2005 New Zealand GRAPHITE 2005 DIGITAL ART GALLERY - CALL FOR ART DEADLINE August 15th, 2005 [Main conference site http://www.cs.otago.ac.nz/graphite/ ] The Graphite Art Gallery exhibition will take place at the University of Otago in Dunedin, New Zealand from the 29th November to 3rd December 2005. Graphite 2005 Digital Art Gallery is looking for digitally based works that explore the nature of creative practice, especially works that deal with the dialectic notions of local/global, digital/physical, internal/external, the body/the machine, or other technologically framed dialectic pairings that contain a digital, computer, or electronic component within the process of creation. These topics may be expressed in the following types of work: * 2D and 3D fine art * Animation or sculpture * Interactive or online works * Small-scale installations displayable in light environments without the need for dedicated darken rooms NOTE: All pieces for Graphite 2005 Digital Art Gallery must be original work, completed after June 2004. SUBMISSION DATE DEADLINE: 15th August 2005 MEANS OF SUBMISSION All applications will be judged from the Online Submission Procedure via submitted pdf files with supporting quick-time and image files if required, please do not send original work at this stage. Your PDF submission (no longer than 4 pages) should include: * Presenter name(s) and affiliations * Artwork/Title and media * Description of the work (300 words max) * Artists statement and experience (200 words max) * Visual samples In the case of installations and interactive works please also include * 3d model or floor plan * Dimensions * 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: Tue, 19 Jul 2005 14:59:40 -0700 message-id: <200507192159.j6jlxehg029249@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Robotic Pocket Workshop at Eyebeam Robotic Pocket Workshop with Robot Clothes / Michelle Kempner and James Powderly 6:30-8:30pm Drinks and discussion 8:30-9:00pm This workshop will teach participants the basics of wearable computing materials (conductive fabrics, thread and fasteners) through the fabrication and assembly of a robotic pocket that crawls on clothing. The workshop will teach a combination of basic sewing and electronics skills for participants to use in the creation of their own interesting wearable applications. The pocket will be constructed from digitally fabricated plastic motor assemblies, conductive silk, thread and other commonly available fabric and hardware. Workshops fees are $25 ($20 for Eyebeam members) with participation limited and available on a first come, first served basis. All workshops take place at Eyebeam, 540 W. 21st Street, between 10th & 11th Avenues in Chelsea. For more information and online registration please visit http://www.eyebeam.org/learning/learning.php?page=workshops + -> 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, 19 Jul 2005 15:02:20 -0700 message-id: <200507192202.j6jm2kjt029816@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: MidiTron workshop with Eric Singer at Eyebeam Eyebeam Summer School: MidiTron LEMUR/ Eric Singer 6:30-8:30pm Drinks and discussion 8:30-9:00pm This workshop will teach participants the basics of the MidiTron, a new MIDI to real-world interface designed to simplify the process of creating sensor and robotics based electronic art projects. It is easily user configurable and provides 20 terminals of digital and analog inputs and outputs in any combination. MidiTron canbe used with music controllers, VJ controllers, MIDI instruments, dance triggers and body suits, interactive installations, driving LEDs, motor and robotic controllers and more. www.ericsinger.com Workshops fees are $25 ($20 for Eyebeam members) with participation limited and available on a first come, first served basis. All workshops take place at Eyebeam, 540 W. 21st Street, between 10th & 11th Avenues in Chelsea. For more information and online registration please visit http://www.eyebeam.org/learning/learning.php?page=workshops + -> 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, 19 Jul 2005 15:04:18 -0700 message-id: <200507192204.j6jm4iim030225@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Portable iPod / Discman Speakers with LoVid at Eyebeam Portable iPod / Discman Speakers Lovid / Tali Hinkis and Kyle Lapidus 6:30-8:30pm Drinks and discussion 8:30-9:00pm Reverse the intimate, individual experience of listening to music on an iPod or Discman by creating a shared communal experience with wearable speaker pins that plug into headphone jack outputs. This workshop will include technical tasks of building the attachment cables and a visual component during which the participants will accessorize their speakers with tape, fabric, paper laminates, etc. Participants may make their own designs or respond to the theme of Merit badges and other elements of Boy Scouts uniforms. Parts of this project will be included in a group show at Yerba Buena Center for the Arts opening in October 2005. Workshops fees are $25 ($20 for Eyebeam members) with participation limited and available on a first come, first served basis. All workshops take place at Eyebeam, 540 W. 21st Street, between 10th & 11th Avenues in Chelsea. For more information and online registration please visit http://www.eyebeam.org/learning/learning.php?page=workshops + -> 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, 19 Jul 2005 16:08:13 -0700 message-id: <200507192308.j6jn8d4w011921@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: These Days and Paint Box at Dam, Stuhltrager Gallery Main Gallery: These Days Paintings by Jeff Schneider Collectors' Rm: Paint Box Paintings by Cristobal Dam Dates: July 23- August 28 Opening Reception: Saturday, July 23, 8-10pm For Immediate Release: PAINTERS PAINT PAINTINGS (WILLIAMSBURG, BROOKLYN) In a fast paced world of production, "post studio" has reinvigorated a rather antiquated innovation. Apprentices, schools and studio assistants have long established relationships distancing the attributed artist’s hand from the art. It’s a bankable trend, a new moniker reanimates an old picture. Don’t fret, innovation is on the East River’s horizon. Take a look at what’s happened in Brooklyn while you were at the market... Currently in Williamsburg, there is reputedly the most concentrated artist population in the world. Streets pump with fresh blood and electricity of the hottest emerging names spilled from studios manned by (Look, an American Buffalo doing something I’ve never seen! Get the camera!) artists creating next season with their own two hands. Brooklyn specializes in exporting art, music and film to Chelsea and beyond. This summer, Dam, Stuhltrager Gallery introduces new series from two painters who paint paintings. Jeff Schneider gathers a diverse crowd on canvas to explore meanings transferred through association and a painting’s ability to dispute such shallowness. Cowboys in saddles, a borrowed portrait, posed still life and olive scenery are given room and strength to hold their own identity in a single canvas. In Schneider’s paintings, independent fields of unlikely imagery inherently push for distance amongst themselves. Sophisticatedly staged by the artist, the frictional, fictional struggle among the paintings’ components creates the visual depth necessitated for the common good. Schneider’s paintings challenge limitations of linear representation and linear thinking that draws inferences through association in our society "These Days". In Cristobal Dam’s "Paint Box", the artist expands his 8" x 8*’ minimalist graphics of a box into a commentary on Land Art. His canvases are cartoons, a satire upon giant environments, small images expressing the same ambitions of a massive square mile production. Layers of underpainting and coats of varnish in Dam’s paintings work together to reflect a single object in a single place, manipulated landscapes which do not overstate that viewing art is a transcendent experience. Dam, Stuhltrager makes it easy for you to catch up on your summer viewing. Jump off your horse and drive, fly- Hell, at this late in the game, roll up your pant leg and hitchhike- into Brooklyn circa 2005. The scenic route on Manhattan I-950's expressway and the Soho 80's freeway is highly recommended, although to make the best time over long distances visit this exhibit online at www.damstuhltrager.com after August 1st. SUMMER HOURS: SATURDAY AND SUNDAY 12-6pm OR by APPOINTMENT DIRECTIONS: L to Lorimer. Exit near token booth. Take Metropolitan under BQE. Left on Marcy. Distance from train: 3 bl Contact: Dam, Stuhltrager Gallery 38 Marcy Ave. Brooklyn. NY 11211 718-387-9818~damstuhltrager@hotmail.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, 19 Jul 2005 19:59:43 -0700 message-id: <1121828383.7212@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: copyright and blogs (sorry ryan, this keeps bouncing.) hey, does anyone get the conflict here? um.. i don't know if it's an actual LAW, but there's a pretty common sense rule: don't leave your stereo on the street. i don't see much point in making a legal investigation into it. or philosophizing about morality. if you have something valuable, try your hardest not to upload it to the web. and certainly don't give it an RSS feed?! thinking copyright is even a viable option is just fundamentally ridiculous. it's like answering "should letters be banned from words?" will only muddle the issue. This is really funny. I think they missed the ball. Think they've since updated the page, but even a few months ago, the NPR site had this ... (a) you do not modify or delete any of the RSS feed content (b) you do not redistribute the RSS feeds (c) you do not post full-text stories other than as included in the RSS feed 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: Tue, 19 Jul 2005 20:23:50 -0700 message-id: <200507200323.j6k3nosi023213@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: what exactly IS new media? but what of the texture of a rabbit? not in a funny way, but in a way that extends outside the screen/window interface device to the machaine? there are new media works that have nothing to do wih texture. some are textual textures.., some are rabbits. + -> 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, 19 Jul 2005 20:38:08 -0700 message-id: <200507200338.j6k3c8uc025016@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: what exactly IS new media? Since the phrase "New Media" has been empowered by society in general, it is now a point of desire,a language device. It has a silverness (rare and shiny). It can be a precious commodity. So in that way the metaphor works. + -> 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, 20 Jul 2005 04:18:43 -0700 message-id: <200507201118.j6kbihp4018790@idx164.idx.net> references: no_parent from: LuĂ­s da Silva subject: RHIZOME_RAW: Re: source code blog NOw on Source Code "travel to Java island" a text about JAVA island, a web project by Miguel Leal http://vercodigofonte.blogspot.com/ feel free to join the debate Best wishes LuĂ­s Silva + -> 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, 20 Jul 2005 06:47:12 -0700 message-id: <200507201347.j6kdlcrd021742@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Looking For Spam images and graphic designer Hi, I'm looking for some SPAM graphics and cool sentences for an upcoming project. Can you please send me your favourite images (gif/jpeg) and sentences coming from SPAM ? fake rolex viagra jackrabbit vibrator cars deadline is very close, I have only 4,5 days. thank you so much for your kindness, 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: Wed, 20 Jul 2005 07:38:47 -0700 message-id: <200507201438.j6kecldk005392@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Re: Looking For Spam images and graphic designer formot email address: cz at zanni.org thanks, z zanni.org wrote: > Hi, > > I'm looking for some SPAM graphics and cool sentences for an upcoming > project. > Can you please send me your favourite images (gif/jpeg) and sentences > coming from SPAM ? > > fake rolex > viagra > jackrabbit vibrator > cars > > deadline is very close, I have only 4,5 days. > > thank you so much for your kindness, > > > 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: Wed, 20 Jul 2005 07:39:41 -0700 (PDT) message-id: <54265.64.94.198.252.1121870381.squirrel@www.rhizome.org> references: no_parent from: Jessica Ivins subject: RHIZOME_RAW: Eyebeam's "Circuit" - A new program for emerging artists http://www.eyebeam.org/learning/learning.php?page=circuit Circuit Eyebeam has developed Circuit in response to the need for emerging artists, particularly those exiting graduate-level programs (ie artists who have not shown their work in a professional setting or outside of university) to exhibit work and receive professional critique and exposure to networks within the art and technology community. This three-day intensive program offers a particular group of artists working and experimenting with new tools and practices, the opportunity to: - meet fellow artists working with similar media; - have the experience of exhibiting work at an art and technology center in New York City - receive critique from peers and professional curators, gallerists, artists, academics, writers, theorists, etc. - publicly present work during a public event at Eyebeam to gain feedback from peers, professionals and the public The program will run three times per year, with a maximum of 6 artist participants per Circuit program. Please see the information below regarding the selection process and application timeline. Selected artists will exhibit their work in Eyebeam’s exhibition space for three days, during which time they will take part in a critique organized by Eyebeam’s Education and Curatorial staff, and present and/or perform 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 Eyebeam’s 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: Wed, 20 Jul 2005 12:06:40 -0400 message-id: <016a4366-9440-4c1f-9cf9-27883c41f00a@nyu.edu> references: no_parent from: Alexander Galloway and Eugene Thacker subject: RHIZOME_RAW: Notes for a Liberated Computer Language backdoor TARGET. Installs a backdoor in the machine specified in TARGET. If no target is provided, the backdoor is installed in the local machine. bandwidth AMOUNT. Enlarges or reduces bandwidth by AMOUNT. bitflip DATA, NUMBER. Randomly flips a specified number of bits in the data source named by DATA. bug APPLICATION, NUMBER. Introduce specified NUMBER of bugs into the code of the specified application. crash TIME. Crashes the machine after the number of seconds provided by TIME by interfering with the operating system kernel. If TIME is not provided, the crash will occur immediately. degrade HARDWARE, TIME. 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: Wed, 20 Jul 2005 09:46:29 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: Field Recording Equipment Discussion This was an exchange from a list focused on moving image archive concerns. i thought some people here might be interested in the info that came up. -------------------------------------- Date: Tue, 19 Jul 2005 15:03:21 -0400 Subject: Field Recording Equipment Hello all, This is not my area of expertise, so I thought I'd toss this question out to the collective brain: Are there models or brands that are better than others as far as recording equipment for fieldwork / recording oral histories? The recordings would eventually become part of our Special Collections Unit, but the primary purpose for now is research. We may be making suggestions to a student on what to purchase, so affordability is a concern. Thanks in advance, ------------------------------ Date: Tue, 19 Jul 2005 15:37:12 -0400 Subject: Re: Field Recording Equipment There are a lot of good resources on line. Check out Radio College at: http://www.radiocollege.org/ You should also check out the tools page at Transom.org: http://www.transom.org/tools/index.php If you have some specific questions about what to buy given your needs, I'll be happy to try and answer them. -------------------------------------- Date: Tue, 19 Jul 2005 17:32:14 -0500 Subject: Re: Field Recording Equipment Meghann, Our company uses the Marantz PMD-222 for Audio Cassette field recording. The PMD-222 has an XLR input, a line input and a telephone jack input. It is very durable and can be run on batteries or A/C. You can go to 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: Wed, 20 Jul 2005 18:52:38 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Jul 14, 2005 - Jul 20, 2005 nznl.com digest Jul 14, 2005 - Jul 20, 2005 Posts 1143 - 1149 http://nznl.com 1143. Jul 14, 2005 (untitled flash movie) http://nznl.com/geert/pop.php?dag=20050714 1144. Jul 15, 2005 TWO CUBES, 2009, PERFORMANCE FOR TWO WHITE CUBES flash movie http://nznl.com/geert/pop.php?dag=20050715 1145. Jul 16, 2005 WISH LIST, 2009 web page http://nznl.com/geert/pop.php?dag=20050716 1146. Jul 17, 2005 PLAN FOR A ONE-LINER, 2009 flash movie http://nznl.com/geert/pop.php?dag=20050717 1147. Jul 18, 2005 PLAN FOR NZNL.COM MEDITATION CENTRES IN ALL MAJOR CITIES (VIENNA, MELBOURNE, AUCKLAND, AMSTERDAM), 2009, PERFORMANCE flash movie http://nznl.com/geert/pop.php?dag=20050718 1148. Jul 19, 2005 ABSTRACT PAINTING, 2009 (PILE OF FRESHLY CUT GRASS) fireworks file http://nznl.com/geert/pop.php?dag=20050719 1149. Jul 20, 2005 PLAN FOR A NZNL.COM PAVILION IN THE VIENNA NEW MEDIA MUSEYROOM, 2009, CARDBOARD, PHOTOGRAPHS, PASTE flash movie http://nznl.com/geert/pop.php?dag=20050720 + -> 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, 20 Jul 2005 18:12:45 +0100 message-id: <42de860d.6030603@furtherfield.org> references: <20050506081122.86141.qmail@web30512.mail.mud.yahoo.com> from: marc subject: RHIZOME_RAW: Directory.Linking 2:/The Immersive State of Reality[Game]Play *Furtherfield welcomes ]]MEZ[[ as the current critic in residence.* Direct link to ]]MEZ[[ article: *Directory.Linking 2: /The Immersive State of Reality[Game]Play* http://www.furtherfield.org/furthercriticreview.php?review_id=17 The FurtherCritic Residency series started early 2002, offering a range of dynamic and accessible critical reviews, interviews and articles to a diverse, interested public. Starting with Lewis LaCook, it was continued by Ryan Griffis and now we are pleased to announce the start of a new residency with ]]Mez[[ (Mary-anne Breeze). ]]Mez[[ Bio: MEZ [Mary-Anne Breeze] is an international net.wurker and avataristic author of the networked "mezangelle" system. She has exhibited extensively since the early 90s [eg Wollongong World Women Online 1995, CTHEORY's Digital Dirt, ISEA_97 Chicago, ARS Electronica_97, SIGGRAPH_99&00, _Under_Score_ @ The Brooklyn Academy of Music 01, +playengines+ Melbourne 03, Art of the BioTec Era Adelaide 04, p0es1s Berlin 04 + Arte Nuevo InteractivA '05]. Mez is also an online journalist [e.g see Metamute, The Journal of Digital Information, CyberSociology Magazine, and fineArt Forum], co-moderator of the _arc.hive_ experimental mailing list and online curator and lecturer in Net/Codeworking. http://www.hotkey.net.au/~netwurker Link to main FurtherCritic page: http://www.furtherfield.org/furthercritic.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 20 Jul 2005 19:10:19 +0100 message-id: <8d2a219e-2c55-4f79-921a-7cfd134bc06e@mac.com> references: <016a4366-9440-4c1f-9cf9-27883c41f00a@nyu.edu> from: Rob Myers subject: Re: RHIZOME_RAW: Notes for a Liberated Computer Language On 20 Jul 2005, at 17:06, Alexander Galloway and Eugene Thacker wrote: > backdoor TARGET. > Installs a backdoor in the machine specified in TARGET. If no > target is > provided, the backdoor is installed in the local machine. XS kewl. Send this to Lambda The Ultimate to see what the language lawyers make of it. :-) I notice that the language of this language is conventional. That is, the terminology used reflects conventional values. Backdoor should surely be "liberate" or "improve" or something? It is also not Turing complete (its status as a declarative language needn't affect this), which is possibly more constraining than liberating? - 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: Wed, 20 Jul 2005 12:02:35 -0700 message-id: <200507201902.j6kj2z42009457@idx164.idx.net> references: no_parent from: gajanana vaze subject: RHIZOME_RAW: Re: Re: Artist Opportunity Stephanie Myers wrote: > Dear Megan Murphy, > > My name is Stephanie Myers and I would LOVE to finnaly use my Artistic > ability to its unknown extent. I have pasted my resume to this > document "JUST BECAUSE" and for your records. > www.prital.com is not avialable what is wrong + -> 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, 20 Jul 2005 21:56:04 +0100 message-id: references: no_parent from: Helen Sloan subject: RHIZOME_RAW: Wearable Futures Conference - book early for cheap registration SCAN members and affiliates (outside of academic institutions and other well funded organisations) may be eligible for concessionary rates and bursaries. Please contact to find out. Hope to see some of you at the conference. Best Helen Sloan Director SCAN *Apologies for Cross posting* 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 Ł275 - 10% discount for Textile Institute Members on standard fees only Ł75 - Concessionary Fee pp (Artists, Arts Organisations and Students ­ places limited) Ł50 - Conference dinner REGISTRATION FEE AFTER - 31st July Ł345 - 10% discount for Textile Institute Members on standard fees only Ł95 - Concessionary Fee pp (Artists, Arts Organisations and Students ­ places limited) Ł50 - 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 Śtoolsą. 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, Cardiffąs 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: Wed, 20 Jul 2005 22:05:50 +0100 message-id: references: no_parent from: Helen Sloan subject: RHIZOME_RAW: Wearable Futures: international conference uniting disciplines in wearable techonologies *Apologies for Cross posting* 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 Ł275 - 10% discount for Textile Institute Members on standard fees only Ł75 - Concessionary Fee pp (Artists, Arts Organisations and Students ­ places limited) Ł50 - Conference dinner REGISTRATION FEE AFTER - 31st July Ł345 - 10% discount for Textile Institute Members on standard fees only Ł95 - Concessionary Fee pp (Artists, Arts Organisations and Students ­ places limited) Ł50 - 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 Śtoolsą. 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, Cardiffąs 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: Thu, 21 Jul 2005 06:16:27 +0200 message-id: <000001c58dab$bfa4cda0$ba7789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: ROB MYERS-EXHIBITION (please scroll down for the English version) Rob Mejers u galeriji o3one od 27. jula do 8 avgusta 2005. (Andricev venac 12, Beograd) Otvaranje 27. jula u 8 uvece. Javno predavanje 29. jula u 8 uvece). Rob Mejers pripada pokretima za slobodni softver i slobodnu kulturu. On neposredno nadogradjuje rad drugih i svoj rad slobodno pruza drugima za dalje nadogradjivanje. Sav njegov umetnicki rad na ponudi je pod licencom Creative Commons, a softver koji radi dostupan je pod GNU General Public License. "paintr" ("slikr" u slobodnom prevodu), koji se po prvi put demonstrira u o3one, je program koji koristi boje i fotografije sa interneta da bi kreirao apstraktnu umenost za slobodnu upotrebu od strane drugih umetnika i obicnih ljudi. "draw-something" ("nacrtaj-nesto", u slobodnom prevodu) takodje kreira originalnu umetnost, i to putem koriscenja veoma jednostavnih pravila u svrhu razumevanja kako umetnici crtaju. Robov softver prokazuje takodje nacin na koji on stvara elektronske 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: Wed, 20 Jul 2005 21:48:02 -0700 message-id: <200507210448.j6l4m2bw028772@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Notes for a Liberated Computer Language alex galloway wrote: etc. but even as peuudo code this is sorely lacking in detail. first step: how do we create a BACKDOOR easy to sexually, but on hard on an OS. + -> 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, 20 Jul 2005 21:52:41 -0700 message-id: <200507210452.j6l4qfss029408@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Collaborative Art and Collective Practice Seeking information on artists and collectives that are developing innovative new strategies for working collectively and collaboratively. In place of the grand recits of past political movements, which figured the collective as a universalizing abstraction, I'm looking for examples of contemporary groups that employ pragmatic, localized strategies to develop alternative models of collective and collaborative agency based on affinity, shared commitment and political necessity. I'm particularly interested in projects produced in conjunction with NGOs and movements for social justice nationally and internationally. Please send information to: Grant Kester at gkester@ucsd.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: Thu, 21 Jul 2005 11:13:39 +0200 (CEST) message-id: <20050721091339.cc0f122030@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ghz goes gather German, GPS gaffes GPF, gain gcc, . 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 -> 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, 21 Jul 2005 06:04:20 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: dbcinema v0.2 dbcinema v0.2: http://vispo.com/dbcinema new stuff: image size choice (nice when set to xxlarge only) image color/grayscale/b&w choice (good for masking in later versions) domain search (google does not support subdirectory search) fullscreen option (*no* browser chrome in some browsers such as IE for PC) language choice not working yet (would be nice to know the visual diff. between 'sex' in arabic and english, for instance). not sure language support exists in the google image database? download status window a bit of history etc to see the google-indexed images on your site, type your site into the 'domain search' box, press Enter, click in the query box at far left, and press Enter. ja + -> 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, 21 Jul 2005 06:50:04 -0700 (PDT) message-id: <20050721135004.56294.qmail@web30503.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Fwd: Sounding Architecture --- Webmaster wrote: > To: llacook@yahoo.com > Subject: Sounding Architecture > From: "Webmaster" > Date: Thu, 21 Jul 2005 14:15:31 +0100 > > > Sounding Architecture > A collaborative project between Serpentine Gallery, > Shape and Art Through > Touch > Sound artist Kaffe Matthews and artist Lynn Cox are > working at the Serpentine > Gallery with visually impaired and sighted people to > explore non-visual perceptions > of architecture. Throughout the project they will be > making a variety of > sound works which will be broadcast on > Resonance104.4fm. > Broadcast dates, 10am - 12noon: > Thu 21 Jul; Fri 22 Jul; Sat 23 Jul > Wed 27 Jul; Thu 28 Jul; Fri 29 Jul; Sat 30 Jul > Wed 3 Aug; Thu 4 Aug; Fri 5 Aug; Sat 6 Aug > For further information contact: > education@serpentinegallery.org > www.serpentinegallery.org > > > -- > To unsubscribe from this list visit > http://mrtrick.net/phplist/?p=unsubscribe&uid=7f3404cc33274565d017bb9a5b6a6686 > > 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: Thu, 21 Jul 2005 08:23:49 -0700 message-id: <200507211523.j6lfnnok032091@idx164.idx.net> references: no_parent from: LuĂ­s da Silva subject: RHIZOME_RAW: Hacking your Xbox hacking your xbox Best, Luis Silva + -> 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, 21 Jul 2005 09:01:52 -0700 message-id: <200507211601.j6lg1qk5009143@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Gail Wight & Antoinette LaFarge to speak at San Jose Museum of Art! BRIDES OF FRANKENSTEIN, an exhibition opening on August 6th at the San Jose Museum of Art, is a grouping of experimental work by a new generation of women artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. FLESH & CHIPS: CONVERSATIONS WITH THE BRIDES OF FRANKENSTEIN GAIL WIGHT & ANTOINETTE LAFARGE Sunday, August 7, 2005 2pm “Bride” Gail Wight and new media professor and artist Antoinette LaFarge will examine the connections between Mary Shelley, her creature, and contemporary biological art. Moderated by guest curator, Marcia Tanner. WIGHT, assistant professor of new media at Stanford University, 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. DON'T MISS THE NEXT PROGRAMS IN THE SERIES: Andrea ACKERMAN & Ellen ULLMAN Friday, September 23, 2005 8pm “Bride” Andrea Ackerman and author Ellen Ullman explore how digital technology makes us question our notions of what is natural and what is artificial. Camille UTTERBACK & Anne MELLOR Saturday, October 15, 2005 2pm “Bride” Camille Utterback and author Anne Mellor discuss the ramifications of virtuality and our increasing relationship with the interfaces and representational systems of our machines. SPECIAL EVENT! It's Aliiive! A Night of Performance with KRISTIN LUCAS Friday, September 16, 2005 8pm Visit the Musuem's web site for more details at: 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: Thu, 21 Jul 2005 09:10:33 -0700 message-id: <200507211610.j6lgaxrk010816@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Andrea Ackerman & Ellen Ullman to speak at the San Jose Museum of Art! BRIDES OF FRANKENSTEIN is an exhibition at the San Jose Museum of Art of experimental work by a new generation of women artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. FLESH & CHIPS: Converations with the Brides of Frankenstein ANDREA ACKERMAN & ELLEN ULLMAN Friday, September 23, 2005 8pm “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. DON'T MISS THE NEXT IN THE SERIES: Camille Utterback & Anne Mellor Saturday, October 15, 2005 2pm “Bride” Camille Utterback and author Anne Mellor discuss the ramifications of virtuality and our increasing relationship with the interfaces and representational systems of our machines. Ticket Info: SJMA Members $5 each / $15 series; General Public $12 each / $30 series. Purchase tickets online at www.sanjosemuseumofart.org or call 408.291.5386. SPECIAL EVENT! It's Aliiiive! A Night of Performance with KRISTIN LUCAS Friday, September 16, 2005 8pm + -> 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, 21 Jul 2005 09:14:40 -0700 message-id: <200507211614.j6lgeeav011776@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Kristin Lucas performance at the San Jose Museum of Art IT’S ALIIIVE! A NIGHT OF PERFORMANCE WITH KRISTIN LUCAS Friday, September 16, 2005 8pm Members $8 / General Public $15 Buy tickets online at www.sanjosemuseumofart.org or call 408.291.5386 Come enjoy a unique evening of scintillating performance by new media artist KRISTIN LUCAS, recognized as one of the most intriguing and explosive new artists of her generation. She uses video installation, performance and the Web to decipher her complex relationship with new technologies and their psychological effects on personal interactions. This special “one-time-only” event is a rare treat not to be missed. Kristin Lucas' art work can be seen in the BRIDES OF FRANKENSTEIN exhibition at the San Jose Museum of Art. BRIDES OF FRANKENSTEIN is an exhibition of experimental work by a new generation of women artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. + -> 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, 21 Jul 2005 09:19:00 -0700 message-id: <200507211619.j6lgj0ub012441@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Camille Utterback & Anne Mellor speak at the San Jose Museum of Art! FLESH & CHIPS: CONVERSATIONS WITH THE BRIDES OF FRANKENSTEIN CAMILLE UTTERBACK & ANNE MELLOR Saturday, October 15, 2005 2pm “Bride” Camille Utterback and author Anne Mellor discuss 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 the University of California, Los Angeles. Ticket Info: SJMA Members $5 each / $15 series; General Public $12 each / $30 series. Purchase tickets online at www.sanjosemuseumofart.org or call 408.291.5386. BRIDES OF FRANKENSTEIN is an exhibition at the San Jose Museum of Art of experimental work by a new generation of women artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. + -> 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, 21 Jul 2005 12:47:51 -0400 message-id: <42dfd1b7.70409@silencematters.com> references: no_parent from: jeremy subject: RHIZOME_RAW: riot gear Riot gear. Wow... You know I had this "assumption" that once my generation reached an age where they were put in charge to make decisions concerning the world and others that, they would finally do things "right." I guess I have the wrong understanding of "right." The other part of me wants to know how these things were made... and what effects they have on human tissue. Another part of me wants to interview the people who made it, as well as the people who they tested it on. -jeremy http://slashdot.org/article.pl?sid=05/07/21/0141214&from=rss http://news.com.com/Riot+control+ray+gun+worries+scientists/2100-7337_3-5796749.html?tag=nefd.top http://www.sandia.gov/news-center/news-releases/2005/def-nonprolif-sec/active-denial.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, 21 Jul 2005 10:17:35 -0700 message-id: <37ef467e7d8f7e02cf96e460971ef63d@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: microwave weapon tests revealed so, does this mean the 95-gigahertz band is unlicensed? Begin forwarded message: > > http://www.newscientist.com/article.ns?id=mg18725095.600 > > New Scientist > 23 July 2005 > > > Details of US microwave-weapon tests revealed > > VOLUNTEERS taking part in tests of the Pentagon's "less-lethal" > microwave weapon were banned from wearing glasses or contact lenses > due to safety fears. The precautions raise concerns about how safe > 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: Thu, 21 Jul 2005 13:08:44 -0500 (CDT) message-id: <200507211808.oaa24138@arkroyal.cnchost.com> references: <37ef467e7d8f7e02cf96e460971ef63d@yahoo.com> from: Patrick Lichty subject: Re: RHIZOME_RAW: microwave weapon tests revealed probably eminent domain. What I'm waiting for is someone with a generator, an old Amana Radarange, a vacuum cleaner hose, a pringle's can, and some tinfoil to be standing in the riot crowd, aiming at the operators. By the way, mirrors work pretty well, too. ---- ryan griffis wrote: > > so, does this mean the 95-gigahertz band is unlicensed? > > Begin forwarded message: > > > > > http://www.newscientist.com/article.ns?id=mg18725095.600 > > > > New Scientist > > 23 July 2005 > > > > > > Details of US microwave-weapon tests revealed > > > > VOLUNTEERS taking part in tests of the Pentagon's "less-lethal" > > microwave weapon were banned from wearing glasses or contact lenses > > due to safety fears. The precautions raise concerns about how safe > > 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 > > + -> 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, 21 Jul 2005 14:35:14 -0400 message-id: <42dfeae2.2000905@silencematters.com> references: <200507211808.oaa24138@arkroyal.cnchost.com> from: jeremy subject: Re: RHIZOME_RAW: microwave weapon tests revealed What happened to the old 'water gun' technique... Maybe they worry that people would come out and try to riot, like playing in the sprinklers. The military has this idea that they have to punish the deviant. bad bad person! No! ZAP! POW! Maybe the answer is to play some Neil Diamond at incredibly high volumes, and have the soldiers break out into a choreographed dance routine. Throw them off a bit. Wouldnt it be nice if we provided postive reinforcement... -jeremy Patrick Lichty wrote: >probably eminent domain. > >What I'm waiting for is someone with a generator, an old Amana Radarange, a vacuum cleaner hose, a pringle's can, and some tinfoil to be standing in the riot crowd, aiming at the operators. > >By the way, mirrors work pretty well, too. > >---- ryan griffis wrote: > > >>so, does this mean the 95-gigahertz band is unlicensed? >> >>Begin forwarded message: >> >> >> >>>http://www.newscientist.com/article.ns?id=mg18725095.600 >>> >>>New Scientist >>>23 July 2005 >>> >>> >>>Details of US microwave-weapon tests revealed >>> >>>VOLUNTEERS taking part in tests of the Pentagon's "less-lethal" >>>microwave weapon were banned from wearing glasses or contact lenses >>>due to safety fears. The precautions raise concerns about how safe >>>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 >> >> >> >> > >+ >-> 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, 21 Jul 2005 11:37:06 -0700 (PDT) message-id: <20050721183706.41393.qmail@web30504.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: what i'm listening to: The Russian Futurists http://www.russianfuturists.com/ I'm a sucker for bright snappy pop music (despite my own musical output), and this guy, fairly new, is making some of the catchiest, intricate, beautiful pop around right now...check the site out, buy the album, download some samples...you'll be humming these songs for months to come... *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________ Do you Yahoo!? Yahoo! Mail - You care about security. So do we. 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 -> 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, 21 Jul 2005 13:57:21 -0500 (CDT) message-id: <200507211857.oaa05308@swiftsure.cnchost.com> references: <200507211808.oaa24138@arkroyal.cnchost.com> from: Patrick Lichty subject: Re: RHIZOME_RAW: microwave weapon tests revealed no, no, no! I have it! Walk down the road with fluorescent tubes like a host of mad jedi. When they turn on the juice, it'd freak the marines out for sure. + -> 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, 21 Jul 2005 13:22:58 -0700 message-id: references: <200507211857.oaa05308@swiftsure.cnchost.com> from: ryan griffis subject: Re: RHIZOME_RAW: microwave weapon tests revealed damn... that's good. would that really work? On Jul 21, 2005, at 11:57 AM, Patrick Lichty wrote: > no, no, no! I have it! Walk down the road with fluorescent tubes > like a host of mad jedi. When they turn on the juice, it'd freak the > marines out for sure. + -> 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, 21 Jul 2005 14:11:30 -0700 message-id: <200507212111.j6llbuln024856@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Brides of Frankenstein Opening Celebration at the San Jose Museum of Art Join San Jose Museum of Art Members on Saturday, August 6 as we celebrate the opening of Brides of Frankenstein, an exhibition of experimental work by a new generation of female artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. When: Saturday, August 6, 2005 7pm – 10pm Suggested Attire: Brides & Monsters Music: Evolution Control Committee Uncivilized Ladies DJ Multimedia Interactivity: Dr. Friendly Otis Fodder of The Bran Flakes Wearable inventions and fashion: Galya Rosenfeld and others. Free for Members, $10 non-Members Cash Bar Purchase tickets online at www.sjmusart.org/BridesOpening or call 408.271.6867. + -> 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, 21 Jul 2005 14:15:09 -0700 message-id: <200507212115.j6llf9wn025747@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: San Jose Museum of Art Presents Brides of Frankenstein Sunday, July 31, 2005 through Sunday, October 30, 2005 Brides of Frankenstein will exhibit experimental work by a new generation of female artists working with video, installation, robotics, the Internet, computer animation, and other digital and traditional media, to animate synthetic creatures with virtual life. Presenting visually and conceptually compelling pieces by approximately fifteen artists, the exhibition will survey the diverse ways contemporary women artists animate synthetic creatures to investigate a range of humanistic and aesthetic concerns. Creating living or lifelike creatures — often, the “ideal” woman—from inanimate materials has traditionally been viewed in Western culture as an exclusively male enterprise. Brides of Frankenstein challenges the notion that men are the prime movers in the project to fabricate animated, lifelike creatures (and by extension, art). It suggests that the impulse to create is more universal. In Brides of Frankenstein, the artists are the “brides." As metaphorical consorts of Mary Shelley’s fictional, and archetypal, Dr. Victor Frankenstein, they engender lifelike creatures. Like his, their artificial progeny embody complex responses to the human implications of the technologies they use. Their projects incorporate critiques of the unreflective hubris that motivated Dr. Frankenstein, and explore the profound social, cultural and moral issues his activities raise. But they also address the potential for transformation and inquiry, and the new forms of identity, perception, movement, presence, representation, meaning and expression, that new technologies allow. Participating artists include: Andrea Ackerman, Peggy Ahwesh, Erzsebet Baerveldt, Kirsten Geisler, Elizabeth King, Heidi Kumao, Kristin Lucas, Amy Myers, Patricia Piccinini, Sabrina Raaf, Tamara Stone, Camille Utterback, Gail Wight, and Adrianne Wortzel. San Jose Museum of Art 110 S. Market Street, San Jose Admission is FREE everyday Museum hours: 11am - 5pm, Tuesday - Sunday 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: Thu, 21 Jul 2005 14:27:18 -0700 message-id: <200507212127.j6llrif9027977@idx164.idx.net> references: no_parent from: Jennifer subject: RHIZOME_RAW: ARTIST\'S/WRITER\'S/PROFESSOR\'S ASSISTANT AVAILABLE I'm available to assist artists, writers, and professors in their projects. No project is too big or too small and I will consider long-term assistance if there is a need for that. I work mainly off-site via the computer. I have a BA in writing and in philosophy and religion but I have a strong background in Visual Arts. I have worked on exhibitions with artists like Sol LeWitt, Tolland Grinnell, Kehinde Wiley, Wolgang Staehle etc. Email me for a more detailed background. I also provide transcription and dictation services for authors and professors and can help with other administrative tasks as well. I am interested in collaborating with professional and serious artists, writers or professors. If you are interested, please email me at jala289work@yahoo.com and tell me about yourself and your project. + -> 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, 22 Jul 2005 08:35:27 -0700 message-id: <200507221535.j6mfzrzs002241@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: City Escape & Escapade City Escape and Escapade Saturday 30 July 2005, 12.30 – 8.30pm, ICA Theatre One-day symposium hosted by the London Consortium Curated by Louise Höjer and Ricarda Vidal The city is often regarded as a concrete, hectic jungle from which it is difficult to escape and where play is limited to late afternoon drinking. Here we invite speakers who demand recognition, transcend city walls, re-mythologies forgotten corners and create alternative realities. City Escape and Escapade brings together artists, curators, writers, theorists, extreme athletes and gamers who all make the city their playground. Featuring: Robin Priestley (Space Hijackers), curatorial practice B+B, Stewart Home, Sebastien Foucan (Parkour), Iain Sinclair, theorist Christine Atha, Matt Adams (Blast Theory), net artist Vuk Cosic, theorist Oliver Grau and Tim Etchells (Forced Entertainment) For full details http://www.londonconsortium.com/playtime/escape.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, 22 Jul 2005 09:33:40 -0700 message-id: <200507221633.j6mgxeug013167@idx164.idx.net> references: no_parent from: Pooper subject: RHIZOME_RAW: Fourth Annual Select Media Festival: CALL FOR WORK http://www.lumpen.com/events/smf4/index.html Fourth Annual Select Media Festival [ Insurgent Media Arts ] October 20- October 30 / Chicago / U$A CALL FOR WORK Deadline for Submissions: - Sept 11, 2005 Select Media Festival is seeking shorts, documentaries, net based projects, audio projects, installations, publications, texts, presentations, video programs from individual creators and curators, performance and music projects, paintings and works on paper such as posters, stickers, street and agitprop arts of all sorts to share with audiences that will visit our insurgent media arts festival. The festival kicks off October 20, 2005. This year our main hub will be the Iron Studios building in Bridgeport, Chicago. The 70,000+ sq ft factory space will feature multiple screening rooms, installations, exhibitions, performance programs and a Secret History of Chicago Museum. A neighborhood intervention, and multiple venues across the city of Chicago will host additional programs. The theme of Select Media Festival 4 is Secret Histories Project threads we are currently exploring: • Secret histories of Chicago • The Fake, Hoaxes and Pranks • Manufactured Dissent / A Media Literacy • Cultural Counterintelligence • Experiments in Error The festival components: • Neighborhood arts walk in Bridgeport (Oct 22) Exhibition: Return of the Community of The Future, Bridgeport: The Secret Histories. • Performance: Live art, music programs • Video and film programs • Web Selections: • Exhibition: The New Chicagoans • Guest programs Submission Guidelines: Please contact us via email and/or send materials and submissions by post. A 300-1000 word proposal, photos and any necessary materials may be submitted. Net.new media: Send urls to elisa(at)digitaldisobedients.com Video: Moving image Entries may be produced on any film or video format, however they must be submitted on DVD (PAL and NTSC ), Mini DV (NTSC only), or VHS (NTSC only). Each film or video must be accompanied by a bio, description and stills. Visual / Installation / Performance: Send digital slides or other documentation via email (ed(at)lumpen.com) or to the festival submissions address. Contact Address: Select Media Festival 960 W 31st St Chicago Il 60608 USA | SHIPPING Cost of shipping to the festival is the responsibility of the entrant. Exhibition copies must be sent to the festival prepaid. All film reels, cans, videotapes and cases must be labeled with the title of the entry. The festival will not cover return shipping. Submission videos will not be returned. The festival cannot accept responsibility for damage or loss of materials while in transit. Please use only plastic or bubble pack cases when shipping entries. SMF, Lumpen, and Public Media Institute may use images for promotion and display in all media. Select Media Festival is an exploration of contemporary art and media in local and international artist communities. It is a project that is partially funded by Public Media Institute, a 501 3c non profit corporation. The festival promotes new work and supports artists and mediamakers via diverse programs presenting exhibitions, educational projects, interactive media, talks and lectures to youth and residents in communities in which the festival takes place. The festival is a sister festival to Version (http://www.versionfest.org) which is also produced by Public Media Institute and Lumpen. + -> 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, 22 Jul 2005 17:41:00 +0100 message-id: <42e1219c.1000404@furtherfield.org> references: <200507221535.j6mfzrzs002241@idx164.idx.net> from: marc subject: RHIZOME_RAW: 48 Hour Wake - Live Tonight... *48 Hour Wake - Live Tonight...* View the Web Cam here from 12 midnight Friday 22nd July http://www.http.uk.net/distributed_library/48hourwake.htm Download Skype to participate on Voice-Over IP. HTTP address : http48 David Goldenberg will start his 48 hour wake at 12 midnight & you are all invited to either come to the space itself (in London), view the live web cam, Skype him, and discuss via email on Netbehaviour during the event. 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: Fri, 22 Jul 2005 12:49:07 -0400 message-id: references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Announcing: Rhizome Location Hey kids, I just rolled out the next Member feature here at Rhizome.org: Location. Go here to see what I'm talking about: http://rhizome.org/location.rhiz Location gives Members the option to be searchable by their country of residence. Right now we imagine this will be most useful for those Members who live in countries where the new media arts scene has a ways to grow. For example, right now we've got two Rhizome Members who live in Finland: http://rhizome.org/location.rhiz?location=fi Each specific location also has an RSS feed, so you can be notified of new Members coming on in your country. (RSS for everything! Yay!) For example, Finland's RSS feed is: http://rhizome.org/syndicate/location/fi.rss Not everyone will want to publish this information, of course. So if you want to opt-out, you can do so by following these steps: 1. Log in to the Rhizome web site. 2. Go to your preferences page at http://rhizome.org/preferences/ . 3. Click on the "Hidden" checkbox by the Country field, and then click "Submit" at the bottom of the page. ( I already sent out this info to every Member last week, but you never know. Sometimes people don't read their email. ) And, of course, if you think this is cool and you're not yet a Rhizome Member, you can make a member contribution here: http://rhizome.org/support Best, 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, 22 Jul 2005 11:05:51 -0700 message-id: <200507221805.j6mi5p5q031202@idx164.idx.net> references: no_parent from: Mica subject: RHIZOME_RAW: One Year Aniversary Videoblog! It's been exactly one year since I started my videoblog 'Hello?' ( http://www.micawave.tv ) over this time I have posted 200 original videos on art, perceprion, communication, performance and my life on the internet. Please stop by and check it out while it is still in its original form. I will be embarking on a major overhaul of the entire project in the coming months and would love some feedback as I go through this process. I have been using the videoblog as a studio space to develop content for database cinema projects, collaborative video forms, accumulative storytelling and so much more. This has been an amazing year for video on the net and I am looking forward to seeing other artists work with this format. On the righthand side bar you will find links to video collaborations with other artists, and videos organized in categories by content and concept. Feel free to comment directly on the videos through the blog or email me directly with any questions. Enjoy! --- 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: Fri, 22 Jul 2005 23:53:17 -0700 message-id: <200507230653.j6n6rh4x030302@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Graphic Designer Wanted for an upcoming t-shirt project, please email cz at zanni.org thanks a lot, c + -> 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, 23 Jul 2005 07:27:36 -0700 message-id: <200507231427.j6nerazb031844@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: âVIDEOLOGIAâ The 2nd International Festival of Audio-Visual Arts “VIDEOLOGIA” will take place in Volgograd, Russia in the 1st decade of November 2005. Artists are invited to participate! The festival debuted in 2004 and united authors working with videoart, experimental cinema, animation, VJ works and musical accompaniment to video. The international competition selection and hors concourse programs of international & Russian festivals & curators were demonstrated in the cinema hall for four days. Jury and audience evaluated official selection videos. Along with screenings “VIDEOLOGIA 2004” included video gallery, theoretical forums, concerts and performative actions in clubs. Works taking part in the selection were subdivided into two nominations according to the main conceptual lines of the festival: Intersection of video with other arts (poetry, painting, photography, dance); (V)ideological statement of an artist. Developing their theoretical and artistic interest in omnipresence of the aesthetical and the seeming lack of taboos for art in contemporary culture curators of “VIDEOLOGIA 2005” link its key conceptual lines to the issues of the 1st festival. As the sample of das Gesamtkunstwerk, integral creative work, audio-visual art incorporates poetry, dance, theatre, photography and even the non-spectacular self-criticism. This claim for omnivorous wholeness is consonant to the events on the present sociopolitical scene, where alteration has become constancy. The ability of audio-visual works to underline the multitude of thematic elements & to act as digital pseudo-equivalent of the endless scope of modifications makes it the art of kinetic Becoming rather than the art of statuary Being. Dissonance and constraint caused by constant becoming in love, politics, theory, production, economy, technology and war are relieved in cathartic (v)ideological statements, in which audio-visual! becomes verbal and words turn into images. We invite artists to participate in “VIDEOLOGIA 2005” with: Videoart Experimental cinema and video Animation Video theatres Documentaries Video installations VJ Accompaniment to cinema Works should be sent in PAL format. VOB, DivX, MPEG4, XviD, FLASH, GIF, TIFF, BMP formats on DVD, CDR and VHS are accepted. Duration of works should not exceed 30 minutes. The panel of coordinators of the festival will view every video. Only works created after January 1st, 2003 will be accepted. The entry deadline is October 20, 2005. The application form filling is required. All deliveries from international participants should be marked: "no commercial value - for cultural purposes only". Jury and audience will evaluate Works of the selection program. Works, which will not take part in the selection program, will be included into curators’ projects and into video gallery also taking place during the festival. The submission forms can be found in the attached files and on the official site of the festival www.videologia.ru Email to: volgafest@yandex.ru Curators of the festival: Nick Demidov mob. +7-903-316-82-60 8(8442) 23-83-54 Alexander Dudnik mob. +7-902-312-73-14 8(8442) 72-60-00 Yaroslav Khokhlov mob. +7-905-392-38-59 Ilya Permyakov mob. +7-903-478-67-38 8(8442) 35-40-40 + -> 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, 23 Jul 2005 07:59:05 -0700 message-id: <200507231459.j6nex583003856@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Call for Artists - Toronto, Canada Visual Artists wanted for The Sacred Voice Gallery's 3rd Annual Greenpeace Canada Benefit. Painting, Mixed-Media and Sculpture. Any subject matter. All jury fees go directly to Greenpeace Canada. The Exhibition will be held during the Junction Arts Festival in September. The Junction Arts Festival is the largest Art Meets Street Festival in North America. Artists keep any proceeds for work they sell during the show. For submission forms please visit the website http://www.thesacredvoicegallery.com Deadline August 29, 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: Sat, 23 Jul 2005 12:11:02 -0500 message-id: references: no_parent from: abe linkoln subject: RHIZOME_RAW: magnum i.p. the 24hr online performance/happening/blog 'magnum i.p.' has now concluded 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 23 Jul 2005 12:26:37 -0500 message-id: references: no_parent from: abe linkoln subject: Re: RHIZOME_RAW: magnum i.p. please note: jimpunk's posts have been deleted and were only availabe during the performance > the 24hr online performance/happening/blog 'magnum i.p.' has now concluded > > 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 23 Jul 2005 12:50:54 -0500 message-id: references: no_parent from: abe linkoln subject: Re: RHIZOME_RAW: magnum i.p. please note once again, jimpunk will be doing an anchor performance at http://magnum-i.p.screenfull.net/ for the next two hours > please note: jimpunk's posts have been deleted and were only availabe > during the performance > > > > the 24hr online performance/happening/blog 'magnum i.p.' has now concluded > > > > 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 23 Jul 2005 13:07:10 -0500 message-id: references: no_parent from: abe linkoln subject: Re: RHIZOME_RAW: magnum i.p. ha! i put anchor instead of encore! 24hr performance fatigue... > > please note once again, jimpunk will be doing an anchor performance at > http://magnum-i.p.screenfull.net/ for the next two hours > > > > > please note: jimpunk's posts have been deleted and were only availabe > > during the performance > > > > > > > the 24hr online performance/happening/blog 'magnum i.p.' has now > concluded > > > > > > 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: Sat, 23 Jul 2005 12:35:21 -0700 message-id: <200507231935.j6njzlpt012615@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Call for submissions EYE OF THE I SLIDE-PROJECTION in store-front Berlin AlexanderPlatz Call for submissions EYE OF THE I 19m SLIDE-PROJECTION in a store-front close to AlexanderPlatz an artists project by Sibylle Hofter / BĂĽro Georg S. Schwimmer - Berlin in sequence of CafĂ© Kawiarnia EUROPA (Lodz – Berlin) since the submissions in spring were very interesting and enriching, again we cordially invite artists to submit proposals for our summer/ autumn editions. 1. Hunt (working title) 2. EYE OF THE I 3. (yet untitled) heavily site-specific deadline 10. 8. 1st opening aprox.18.8. 1. Hunt (working title) Hunting in all its aspects. wait, peek, ambuscade, bag, slay, move ahead, 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 BĂĽro Georg S. Schwimmer - Torstr.106 - 10119 Berlin www.hofter.de 030 - 257 00 547 ---- 0170 - 90 24 898 -- BĂĽro 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 KĂĽnstlerprojekt von Sibylle Hofter / BĂĽro Georg S. Schwimmer - Berlin Ein Folgeprojekt von CafĂ© Kawiarnia EUROPA (Lodz-Berlin) Nach den erquicklichen Ergebnissen der letzten Ausschreibung laden wir wieder ein, Beiträge fĂĽr 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 SuhlerJagdhĂĽtte nebenan, Mann und Frau, ich hoffe ich habe ganz viel zu dem Thema vergessen! 2. DAS AUGE DES ICH - II FĂĽr 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 fĂĽr 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. FĂĽr Auswärtige die nicht vor Ort recherchieren, verfertigen wir auf Anfrage Fotos. auf der website www.hofter.de stellen wir Informations-Material zur VerfĂĽgung, 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 JagdhĂĽtte". Das Gebäude liegt am Ausgang des Alexanderplatzes in Richtung Greifswalder Str. parallel zur Ausfahrt aus dem Tunnel und ggĂĽ des Hauses des Reisens und der Polizei Mitte (als Berliner Polizeidirektion um 1930 erbaut). Zu Ostzeiten war hinter den Scheiben ein CafĂ© (Mocca-Eck). DarĂĽber hinaus wird die Gegend durch Grosswohnbauten (Platten) und AusfallstraĂźen 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 VorentwĂĽrfe schicken, damit er/sie sich nicht uU umsonst viel MĂĽhe 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) FĂĽr jeden Berliner der etwas erarbeitet, ist es unumgänglich die Projektions-Bedingungen vor Ort anzuschauen! Wir stellen keinen Freilicht-Ausstellungsplatz zur VerfĂĽgung, die mannigfaltigen EinflĂĽsse (wie Strassenlaternen und Drahtzaun fĂĽhren 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 eingefĂĽllt wurden. Die bespielbare Fensterfläche ist 19m breit (incl. TĂĽr) und 2,2m hoch. Sie besteht aus 8 Teilen (7 Fenstern und einer mehrfach unterteilten DoppeltĂĽr) 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 fĂĽr evtl. doppelt gesendete Mails ---------------------------------------------------------------- BĂĽro 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: Sat, 23 Jul 2005 12:52:58 -0700 message-id: <8ec98cf46e21acca0fa8e9efbf074b1a@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Digital Opportunity Investment Trust Begin forwarded message: > The Digital Promise Project recommends creation of the Digital > Opportunity > Investment Trust (DO IT), a nonprofit, nongovernmental agency designed > to > meet the urgent need to transform learning in the 21st century. From > the > Digital Promise home page: > > Our emerging knowledge-based economy makes the people's access to > knowledge and learning-across-a-lifetime in the sciences and > humanities a > national imperative. DO IT will do for education what NIH does for > health, > NSF does for science, and DARPA does for national defense. It is the > 21st > century counterpart of the 19th century's Land-Grant Colleges Act and > the > 20th century's GI Bill. > > DO IT's charge will be to unlock the potential of the Internet and > other > new information technologies for education in the broadest sense; to > 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: Sat, 23 Jul 2005 21:58:47 -0400 message-id: references: from: subject: RHIZOME_RAW: Fwd: Simnuke/Exhibit Media Coverage Content-Disposition: inline FYI ---------- Forwarded message ---------- From: Sasha Harris-Cronin It's another day of lots of Simnuke emails. I wanted to update you all with the current state of media coverage per the show and the Simnuke Project itself. The SF Weekly will be doing an article dedicated to the show, The Guardian will be featuring it, SFist will be doing a review (and perhaps an interview) and Nichei Bei Times is interested in covering it as well. I've included the thank you letter written by Camron Assadi, the coordinator of the Simnuke Project. It's gotten international coverage (anyone speak Norwegian?) as well as features in Wired News, NPR, and Boing Boing. A lot of people came away much more moved and motivated than they expected to be, which was what everyone was hoping for. Everything is looking good! Thanks again. sasha. ------ All, The Simnuke Team would like to thank you for your support. We are overjoyed at how well and safely the event went off. We are recovering, happy to know that our message reached an audience. Sharing the 30 second culmination of three years of work with all of you has made it all worthwhile. 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: Sun, 24 Jul 2005 15:55:23 +0200 (CEST) message-id: <20050724135523.c702d21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Hp has halfwidth Hungary, HMO halite Hayes, hacks helpfile, 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 -> 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, 24 Jul 2005 09:39:18 -0700 message-id: <200507241639.j6ogdisi013528@idx164.idx.net> references: no_parent from: kristina maskarin subject: RHIZOME_RAW: Re: Re: Re: Re: what exactly IS new media? 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 24 Jul 2005 10:27:02 -0700 message-id: <25804cee-fc68-11d9-a50c-000393b874a6@earthlink.net> references: <200507241639.j6ogdisi013528@idx164.idx.net> from: Christina McPhee subject: Re: RHIZOME_RAW: Re: Re: Re: Re: what exactly IS new media? > > 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? > + The 'liberation' from art/design ... comes when you dwell and work in what Louis Kahn called 'volume zero'...... everything flows from this thanks for posing such a great question... more from Kahn: “I have learned that a good question is greater than the most brilliant answer. This is a question of the measurable and the unmeasurable. Nature, physical Nature, is measurable. Feeling and dream have no measure, have no language, and everyone's dream is singular. A man is always greater than his works because he can never express his aspirations. To express oneself in music or architecture, one must employ the measurable means of composition or design. The first line on paper is already a measure of what cannot be expressed fully. The first line on paper is less. Turn to feeling and away from thought. In feeling is the psyche. Thought is feeling and the presence of order. And order, the molder of all existence, has of itself no will to exist, no Existence Will. I choose the word "order" instead of "knowledge" because personal knowledge is too little with which to express thought abstractly. This Existence Will is in the psyche. All that we desire to create has its beginnings in feeling alone. This is true for the scientist; it is true for the artist. But to rely entirely on feeling and to ignore thought would mean to make nothing. When personal feeling transforms itself into religion (not a religion but the essence of religion) and thought becomes philosophy, the mind then opens to realizations- realization, let us say, of what the Existence Will of any particular architectural vision of spaces may be. Realization of this nature is the merging of feeling and thought when the mind is in closest rapport with the psyche, the source of what a thing wants to be. It is the beginning of form. Form encompasses a harmony of systems, a sense of order, and that which characterizes one existence from another. Form has no shape or dimensions. For example "spoon" stands for a form having two inseparable parts, the handle and the bowl, whereas "a spoon" implies specific design made of silver or wood, big or little, shallow or deep. Form is what. Design is how. Form is impersonal, but design belongs to the designer. Design is prescribed by circumstances—how much money is available, the site, the client, the extent of skill and knowledge. Form has nothing to do with such conditions. In architecture, it is a harmony of spaces good for a certain activity of man. Reflect, then, on the abstract characteristics of "house", as contrasted with "a house" or "home". "House" stands for the abstract concept of spaces good to live in. "House" is thus a form in the mind, without shape or dimension. "A house", on the other hand, is a conditioned interpretation of living space. This is design. In my opinion, the greatness of an architect depends more on his power to realize that which is "house" than on his ability to design "a house"—something prescribed by circumstances.” from: The Notebooks and Drawings of Louis I. Kahn 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: Sun, 24 Jul 2005 12:31:05 -0700 message-id: <1122233465.30728@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: Re: Re: Re: Re: what exactly IS new media? ok, but you're playing pretty fast and loose with your definition of "design". where would you put warhol? for that matter things like the last supper, design=study in composition. actually, where does that leave mozart, snoop dog, etc? even pollock's are design, albeit by different stratagem. ready-mades are just design questions applied to the art world in general. what isn't designed? (i really would love an example just to understand what you mean). or do you mean design as in art sans skill, like a donald judd (as opposed to a rembrandt)? or is that the ultimate indesign purity, isolating the artist ideas, from any craft. where a blueprint/sketch is still "design" but not the focus of the piece. maybe you mean "design" as a sort of opposite to interactivity. this is quite usual, but i'll argue it until i die. in linear work, the designed element is sensory (and often rigidly specific to a certain time or time line). in interactivity, the designed element is experience/ communication between the work and the audience (having nothing at all to do with time). many people assume there is ONLY sensory design and aren't really all that open to interactivity (as much as they insist they are friendly to try it, will never be satisfied keeping their old criteria). possibly these same people only mumble when everyone sings happy 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: Sun, 24 Jul 2005 21:36:02 +0200 message-id: <008601c59087$0f38e9e0$097689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: suicide AMBUSH SUICIDE MANIK ,JUN 24.2005 (FOR ROB) __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 24 Jul 2005 22:17:45 +0200 message-id: references: from: Geert Dekkers subject: Re: RHIZOME_RAW: 'the universal computer' by martin davis Could you post the isbn no. of this book?? Can't seem to find it on amazon.com using ISBN 0-393-04785-7 I found on http:// www.wwnorton.com/catalog/fall00/004785.htm Geert http://nznl.com On 12-jul-2005, at 7:15, Jim Andrews wrote: >> Deleuze himself wrote a wonderful book on Leibniz, kinda heavy, >> but if the >> kids are out playing, whén they get out playing, reading Deleuze >> is always a >> sublime & doubling joy. Le Pli: Leibniz et le Baraoque, Paris >> 1988 (sr2) >> >> Don’t know whether the Martin Davis book expands on that, but >> it’s in those >> writings that Leibniz gives a first ‘modern’ way of looking at the >> generation of meaning in a dynamic way, in contrast with (and at >> the time: >> in a heavy scholarly battle with) the static views held by Descartes. >> > > No, Davis's treatment of Leibniz focusses on Leibniz's belief in the > possibility of constructing a language in which accurate (perhaps even > infallible) reasoning could transpire; and a machine that allowed the > generation of true propositions using the language. Also, Davis > gives some > indication of the events of Leibniz's life. For instance, we learn > that he > was in the employ of the Hanover family. And what did this noble > family > employ Leibniz, one of the great minds of all history, to do? Take > note. He > was employed by them to write the Hanover family history. This was > apparently of more importance to them than Leibniz's visionary work > on any > number of subjects. There is a lesson of some sort in there, it seems, > concerning employment and life work. > > He obviously did quite a bit of exactly what he wanted to do. But his > employers could not really appreciate the stature of his own work. > Would he > have been better off without them? Hard to say, isn't it. He did > just fine > as it was. But what other wonders could the man have produced in a > more > appreciative situation? > > Many of the logicians featured in Davis's book had difficult lives. > Cantor > suffered from mental instability. That his work was spat upon by > fellow > mathematicians of the stature of Kronecker and Poincare surely did > not help. > Poincare said Cantor's work was a disease from which mathematics would > eventually recover. All of which had to do with Cantor's assumption > of the > 'actually infinite' versus the more conservative 'potentially > infinite'. He > never did find a position in a good university, was always in a > backwater. > Godel also suffered from mental illness and paranoia. He starved > himself to > death. He spent periods of his life in sanatoria. And of course Turing > committed suicide after becoming unbalanced probably by the > hormonal drugs > he was forced to take, having been criminally convicted of being > homosexual. > Even the most brilliant of logicians, paragons of penetrating > rationality, > are not immune from mental affliction. Nor, apparently, is the > value of the > work of even the best logicians necessarily self-evident to those > of their > generation. > > So Martin Davis's book is about their work but also about their lives. > Davis, a fellow logician, ponders their work and the more ambiguous > nebulae > of their lives and how they were all, in some sense, important to > the theory > of computation. And he always keeps in view the relation of the > work of > these logicians to understanding rationality and human thought. In > this > sense, computing is all about us, is a troubled human enterprise > fraught > with the difficulties of self-understanding and understanding of > what is > beyond the individual. > > 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, 24 Jul 2005 21:03:08 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: 'the universal computer' by martin davis > Could you post the isbn no. of this book?? Can't seem to find it on > amazon.com using ISBN 0-393-04785-7 I found on http:// > www.wwnorton.com/catalog/fall00/004785.htm The Universal Computer Martin Davis ISBN 0-393-04785-7 published by W.W. Norton + -> 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, 25 Jul 2005 07:51:51 +0200 message-id: <15d2a227-2fb0-4d0f-ac1a-912231af2ec9@nznl.com> references: <20050725044522.xldm14362.amsfep17-int.chello.nl@localhost> from: Geert Dekkers subject: Re: RHIZOME_RAW: 'the universal computer' by martin davis Got it! Thanks! Geert http://nznl.com On 25-jul-2005, at 6:45, wrote: > http://www.amazon.co.uk/exec/obidos/ASIN/0393047857 > > gr, > dv > >> >> van: Geert Dekkers >> datum: 2005/07/24 zo PM 10:17:45 CEST >> aan: Rhizome >> onderwerp: Re: RHIZOME_RAW: 'the universal computer' by martin davis >> >> Could you post the isbn no. of this book?? Can't seem to find it on >> amazon.com using ISBN 0-393-04785-7 I found on http:// >> www.wwnorton.com/catalog/fall00/004785.htm >> >> Geert >> http://nznl.com >> >> >> On 12-jul-2005, at 7:15, Jim Andrews wrote: >> >> >>>> Deleuze himself wrote a wonderful book on Leibniz, kinda heavy, >>>> but if the >>>> kids are out playing, whén they get out playing, reading Deleuze >>>> is always a >>>> sublime & doubling joy. Le Pli: Leibniz et le Baraoque, Paris >>>> 1988 (sr2) >>>> >>>> Don?t know whether the Martin Davis book expands on that, but >>>> it?s in those >>>> writings that Leibniz gives a first ?modern? way of looking at the >>>> generation of meaning in a dynamic way, in contrast with (and at >>>> the time: >>>> in a heavy scholarly battle with) the static views held by >>>> Descartes. >>>> >>>> >>> >>> No, Davis's treatment of Leibniz focusses on Leibniz's belief in the >>> possibility of constructing a language in which accurate (perhaps >>> even >>> infallible) reasoning could transpire; and a machine that allowed >>> the >>> generation of true propositions using the language. Also, Davis >>> gives some >>> indication of the events of Leibniz's life. For instance, we learn >>> that he >>> was in the employ of the Hanover family. And what did this noble >>> family >>> employ Leibniz, one of the great minds of all history, to do? Take >>> note. He >>> was employed by them to write the Hanover family history. This was >>> apparently of more importance to them than Leibniz's visionary work >>> on any >>> number of subjects. There is a lesson of some sort in there, it >>> seems, >>> concerning employment and life work. >>> >>> He obviously did quite a bit of exactly what he wanted to do. But >>> his >>> employers could not really appreciate the stature of his own work. >>> Would he >>> have been better off without them? Hard to say, isn't it. He did >>> just fine >>> as it was. But what other wonders could the man have produced in a >>> more >>> appreciative situation? >>> >>> Many of the logicians featured in Davis's book had difficult lives. >>> Cantor >>> suffered from mental instability. That his work was spat upon by >>> fellow >>> mathematicians of the stature of Kronecker and Poincare surely did >>> not help. >>> Poincare said Cantor's work was a disease from which mathematics >>> would >>> eventually recover. All of which had to do with Cantor's assumption >>> of the >>> 'actually infinite' versus the more conservative 'potentially >>> infinite'. He >>> never did find a position in a good university, was always in a >>> backwater. >>> Godel also suffered from mental illness and paranoia. He starved >>> himself to >>> death. He spent periods of his life in sanatoria. And of course >>> Turing >>> committed suicide after becoming unbalanced probably by the >>> hormonal drugs >>> he was forced to take, having been criminally convicted of being >>> homosexual. >>> Even the most brilliant of logicians, paragons of penetrating >>> rationality, >>> are not immune from mental affliction. Nor, apparently, is the >>> value of the >>> work of even the best logicians necessarily self-evident to those >>> of their >>> generation. >>> >>> So Martin Davis's book is about their work but also about their >>> lives. >>> Davis, a fellow logician, ponders their work and the more ambiguous >>> nebulae >>> of their lives and how they were all, in some sense, important to >>> the theory >>> of computation. And he always keeps in view the relation of the >>> work of >>> these logicians to understanding rationality and human thought. In >>> this >>> sense, computing is all about us, is a troubled human enterprise >>> fraught >>> with the difficulties of self-understanding and understanding of >>> what is >>> beyond the individual. >>> >>> 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, 25 Jul 2005 08:03:34 +0200 message-id: <20050725080334.ae756019.bea84882@127.0.0.1> references: no_parent from: {soundlab} subject: RHIZOME_RAW: =?ISO-8859-1?Q?Soundlab:-final=20call? Soundlab Channel http://concerhall.le-musee-divisioniste.org is currently preparing its 3rd edition to be launched in September 2005 on occasion of the physical presentation series of the global networking project [R][R][F]2005--->XP http://rrf2005.newmediafest.org taking place in October/November in South America, intitled "IMPACT SA '05". SoundLabChannel is a joint-venture between [R][R][F]2005--->XP global networking project http://rrf2005.newmediafest.org and Le Musee di-visioniste www.le-musee-dovisioniste.org and is focussed on soundart and its various forms. . ---> --->Call for submissions Final deadline 31 July 2005. . SoundLab Channel is looking for soundart works of a) experimental character b) electronic music c) Voice -sound/music integration d) and other forms . Subject: there is a general subject---> "memory and identity" and special subject for edition III ---> "pleasure/grief"- "love/hate" . The submission has to be posted on a webpage for download, please do not send it as an email attachement. Submission format: .mp3 Size: Max 5MB, exceptions possible, but on request. . The authors/artists keep all rights on their submitted works. . Deadline 31 July 2005 Please use this form for submitting: ******************* 1.name of artist, email address, URL 2. short biography/CV (not more than 300 words) 3. works (maximum 3), year of production, running time a) URL for download 4. short statement for each work (not more than 300 words each) . Confirmation/authorization: The submitter declares and confirms that he/she is holding all author's rights and gives permission to include the submitted work in "Soundlab" online environment until revoke. Signed by (submitter) . Please send the complete submission to concerthall@le-musee-divisioniste.org subject: Soundlab Channel edition III . Deadline 31 July 2005. . This call and the entry form can be also found on NetEX - networked experience http://netex.nmartproject.net/index.php?blog=3&cat=14 . ***************************** editions I and II of SoundLab Channel - can be found on Memory Channel 7-->at [R][R][F]2005--->XP http://rrf2005.newmediafest.org or can be accessed directly via http://concerhall.le-musee-divisioniste.org http://rrf2005.newmediafest.org/schannel.htm "[R][R][F]2005--->XP" and "le Musee di-visioniste" are corporate members of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net -- founded by -- Agricola de Cologne. Copyright 2000-2005. All rights reserved. ******************************* + -> 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, 25 Jul 2005 08:22:16 +0200 (CEST) message-id: <20050725062216.95b8b21fd4@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART I'd is idotsint Icelandic, IPO ideogram ICs, Inc icon iMac, 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 -> 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, 25 Jul 2005 08:26:23 +0200 (CEST) message-id: <20050725062623.50cc721fd4@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Please JUST IGNORE!! Please JUST IGNORE!! Please JUST IGNORE!! Please JUST IGNORE!! Please JUST IGNORE!! Please JUST IGNORE!! 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 -> 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, 25 Jul 2005 01:51:16 -0700 (PDT) message-id: <4196.69.163.85.10.1122281476.squirrel@webmail.34n118w.net> references: no_parent from: hight@34n118w.net 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 25 Jul 2005 07:41:57 -0400 message-id: references: no_parent from: Jonah Brucker-Cohen subject: RHIZOME_RAW: Report From Artbots 2005 Report from Artbots 2005 http://www.artbots.org July 15-17, 2005 Saints Michael and John Church Dublin, Ireland By Jonah Brucker-Cohen (jonah (at) coin-operated.com) Held for the first time outside of the US, the 4th annual "Artbots: The Robot Talent Show" took place in Saints Michael and John church in Dublin, Ireland. During an unusually warm summer in Dublin, the yearly event showcased over 20 projects from 10 countries ranging from kinetic art-producing robots to solar robot and scrapyard sound workshops. Organized by Douglas Irving Repetto and curated this year with Michael John Gorman and Marie Redmond, the event featured an even more international group of artists than from previous years coming from as far as South America, Europe, US, and the Middle East. The show was held in conjunction with the larger, summer-long "Save The Robots" festival about the culture and history of robots organized by The Ark, a cultural center for children located in the heart of Dublin's Temple Bar district. Upon entering the venue, visitors were greeted by Venezuelan artist Elias Crespin's "Malla Electrocinetica #1", a mesh of 64 nodes hanging from the ceiling that subtly moved in a wave above the entrance stairwell. This piece's delicate movements were as intricate as they were beautiful and precise. Moving further along the first level and down the hall was Will Tremblay and Rob Gonsalves' "Wave Puppet", a physical simulation of waves across the ocean's surface. Following a similar aesthetic to Crespin's work, the project was built from a combination of servomotors, acrylic walls, and a rubber surface that bent forward and backwards like a steady moving wave. As the entrance hallway extended, there were two workshops that allowed visitors to the event to build their own robots or musical instruments. Ralf Schreiber and Tina Tonagel's "60 minutes bot" workshop integrated simple electronic components including wires, electric motors and solar panels to create simple bots that exhibited varied movements based on their exposure to light in a small exhibit space. The second workshop, which I ran with Katherine Moriwaki, was called "MIDI Scrapyard Challenge" and allowed visitors to create musical controllers out of cast off or discarded materials found in local junk shops and in the refuse bin of local computer labs. Both workshops engaged participants from varied age groups to get involved in the creation of robots and electronic instruments with little or no previous knowledge of electronics. Further down the hallway along the walls was "Sketch of a field of grass (dunes, Pacific Coast, 2005)" by Ryan Wolfe. The project consisted of a row of mechanically controlled blades of grass that responded to each other's movements mimicking a breeze blowing through a field. The simplicity of this array of grass was a nice reminder of how natural movements can be emulated through simple motorized controllers. Across the walkway was Amanda Parkes and Jessica Banks's "Curiously Strong", an array of 250 mechanically controlled Altoid's tins that opened and closed as a large kinetic sculpture. Moving into the main exhibition space, robots exhibited ranged from those that created art as a byproduct of their movements to those that questioned the very definition of mechanical or autonomous art. Bruce Shapiro's "Ribbon Dancer" was two long metal arms mounted on a banister that moved wildly around the space with ribbons attached to the ends. Their actions resulted in a lively and fluid stream of animated fabric high in the air. Further along the far wall was Sabrina Raaf's "Translator II: Grower", a mechanical robot that measured carbon dioxide levels in the room and drew green blades of grass of varying heights along the walls. This type of immediate analysis of the environment was a nice constant reminder of our own physical output manifested by the machine. Further across the room was local Dublin artist Peter O'Kennedy's "Escape", a collection of 15 small mouse-shaped robots all attempting to move towards a single passageway that was only big enough for one of them. This simple concept proved addictive to watch as the small bots scurried towards an awkward freedom. Though not a competition, Artbots awards two prizes each year: one to the artist's choice and one for the audience choice. This year's audience favorite was Garnet Hertz's "Cockroach-controlled Mobile Robot #2". Hertz's robot consisted of a large Madagascan Hissing Cockroach perched atop a modified trackball that controlled a three-wheeled robot. As the cockroach tried to move forward, its feet caught on the trackball, pushing the robot ahead. Thus allowing the roach to "drive" the robot around depending on its activity. This bot got a lot of stares from pedestrians as Hertz took it out to a local square to give it more space to manouver. The artist's favorite prize was awarded to Elias Crespin's kinetic mobile described earlier. Also located in the main exhibition space was the masochistic "Shockbot Corejulio", a computer-based device that affected its own behavior by placing a piece of metal over its exposed circuit board. With each touch from the metal, the bot consequently "shocked" itself 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: Mon, 25 Jul 2005 09:25:01 -0300 message-id: <001701c59113$e3390c20$11a005c9@nomeamigotec> references: <4196.69.163.85.10.1122281476.squirrel@webmail.34n118w.net> from: Regina Célia Pinto subject: Re: RHIZOME_RAW: ingenio 400 international exhibition Dear Jeremy, dear Rhizomers, It is interesting to add that: "Quixotes and sheep" is a collaborative, copyleft and interactive net.art piece. The creation is the result of works made by several artists in different countries: 1- Alexandre Venera (Brazil)> the Author of the project and also his programmer. 2- Babel (Canada) 3- Edward Picot (UK) 4- Joesér alvarez (Brazil) 5- Isabel Aranda Yto (Chile) 6- Isabel Saij (France) 7- Jeremy Hight (USA) 8- Juliana Teodoro (Brazil) 9- Miguel Jimenez "Zenón" (Spain) 10- Muriel Frega (Argentine) 11- Regina Célia Pinto (Brazil) 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 Célia 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 Célia 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: Mon, 25 Jul 2005 10:30:02 -0400 message-id: references: no_parent from: Lee Wells subject: RHIZOME_RAW: Watch Me Do This and That Online By SARAH BOXER nytimes The New York Times July 25, 2005 Watch Me Do This and That Online By SARAH BOXER Can you vlog a dead horse? Only if you make a video of it and post it on the Web. After blogging came photo blogging and then, suddenly last year, video blogging. Video bloggers, also known as vloggers, are people who regularly post videos on the Internet, creating primitive shows for anyone who cares to watch. Some vlogs are cooking shows, some are minidocumentaries, some are mock news programs and some are almost art films. Most simply are records of ordinary life. The Das Vlog recently demonstrated the virtues of urinating in the bathroom sink. Village Girl has posted a video of her 2-year-old dancing with a friend. Josh Leo taped himself browsing through his old baby pictures and art projects. (The first book he wrote as a child, "No," is excellent.) Fat Girl From Ohio is a man blogging largely about his wife's pregnancy. As the video blog Reality Sandwich recently put it in a video of vegetable shopping, quoting a mantra of the vlogosphere: "Hey ... mundane is the new punk." At this point the video blogging world is still small enough that all vloggers appear to know one another and show up in one another's work. For instance, two vloggers, Amanda Congdon and Richard Hall, recently met and their encounter was vlogged and blogged on at least three different sites, from more than one perspective. Michael Verdi, who wrote Vlog Anarchy, a manifesto, has two young daughters, Lauren and Dylan, both with video blogs. (Lauren shows off her Brownie badges; Dylan plays with Neopets.com and talks about a boy who can't get her name right.) Already, though, it's beginning to look a lot like television, at least in spots. Some vlogs even share television's worries, chief among them the burden of coming up with fresh programming on a regular basis. For instance, Rocketboom, an amusing and ambitious vlog posted by Ms. Congdon, looks like Weekend Update, the newscast on "Saturday Night Live." Ms. Congdon has a wry look. She sits at a table in front of a map reading reports off sheets of paper. She tosses them after she's finished. She has correspondents in the field (who do things like give away the ending to the latest Harry Potter book), and she wears cute, nerdy glasses. She recently asked her audience to start sending her story ideas. Another vlog, the Carol and Steve Show, in which a married couple offer up the tedium of their daily lives - shopping, driving to the gym, arguing about "American Idol" - has stolen its type and its theme music from the land of sitcoms. It wants to sell out, but who would buy? Maybe a laugh track would help. One of the most winning vlogs is the 05 Project, the work of an 18-year-old in Keynes, England, Ian Mills, who has promised to post a video a day all year. He begins almost every short video by moving close to the camera and addressing the audience with a sweet formality, "Okay, so today. ..." In January, he showed the inside of his closet to prove he doesn't have just one set of clothes, but two. In February, he filmed a stuffed kangaroo seeking directions from a stuffed teddy bear sitting in front of a microwave oven. In March there was a video of a fire, with this note: "Damn im so glad i went to my grandparent's house today. If i hadn't, i wouldn't have seen this." But now the 05 Project is beginning to look a lot like "Fear Factor," minus the fearlessness. In June, when Mr. Mills found his well of ideas running dry, he asked his audience for challenges: an easy one, a moderate one and a hard one. In each "Challenge Ian" episode, he recites the three challenges, chooses one, and then makes a video of himself doing it. One of his most charming features is that he always takes the easy challenge. "I'm not going to slam my fingers in the door," he said, in one episode. "This isn't 'Jackass,' " he said, referring to the television show. So far, he has drunk a pint of raw eggs and vomited; jumped into a wading pool fully clothed; and spun around until he was dizzy. It doesn't sound like much. But Mr. Mills has a great sense of pacing and drama. He has Conan O'Brien's direct delivery and David Letterman's deadpan. In short, he has television charisma. Right now it seems that video bloggers can't agree what vlogs are exactly, and some of them want to keep it that way. "What's the rush to define it now?" Mr. Verdi asks in his video manifesto. "It would be like trying to pick a career and a mate for a newborn." But indeed, the newborn seems to have picked its mate. Congratulations. It's television! -- 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 -> 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, 25 Jul 2005 07:47:54 -0700 message-id: <200507251447.j6pelsfb001214@idx164.idx.net> references: no_parent from: kristina maskarin subject: RHIZOME_RAW: Re: Autodrawn: Sketching landscapes seen through my windows Classification: Communication art project. Tools certainly change, see also: http://darkofritz.net/faxwrks/204fax/204.htm http://www.artincontext.org/LISTINGS/IMAGES/FULL/0/IK0DZVB0.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: Mon, 25 Jul 2005 08:06:46 -0700 message-id: <200507251506.j6pf6kzw003469@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Webmaster Wanted Arkansas State University seeks to appoint an individual to lead an innovative web services team. The University Webmaster is responsible for leading the institution in design, implementation, and structure of its web presence, and for maintaining the content and organizational file structure residing on the central web services infrastructure. This position will lead a team of 2.5 employees in the enterprise IT organization, in addition to the enterprise web team that consists of constituents from across the institution. The Webmaster will coordinate with all information providers from across the institution in developing web content that assures continuity of web presence. This position plans and implements web content and technologies to ensure that the University web presence is current, rich and accurate in content, graphically pleasing, responsive to the information needs of the community, and innovative in design and presentation. Qualifications: Qualified applicants will hold a Bachelor's degree in marketing, communications, graphic design, computer science, or management of information systems; will have a minimum of five years of experience in a similar position of responsibility and complexity, and will have the following technical skills: • Expert knowledge of HTML, and experience building database-backed, dynamic web sites; • Expert knowledge of building multimedia enhanced websites with tools such as FLASH; • Demonstrated experience with various web programming/development tools, such as MSSQL, ASP, CGI scripting, JavaScript, and Perl. • Experience with portal technologies and content management systems. • Expert knowledge of web authoring tools, such as Frontpage, Dreamweaver, etc; • Expert knowledge of graphic design tools; • Experience with integrating streaming audio and video formats into web content; • Experience with site and server administration, including accessibility, quality assurance, authentication and security, and reporting; • Strong organizational skills and demonstrated leadership of work teams; • Excellent verbal and written communications skills. Interested individuals should submit a letter of interest and resume through the ASU Employment Site (http://hr.astate.edu). Upon application, candidates will be contacted via email and asked to submit a portfolio of authored web designs and current multimedia production work. Arkansas State University is an Affirmative Action / Equal Opportunity Employer with a strong institutional commitment to the achievement of excellence and diversity among its faculty and staff. + -> 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, 25 Jul 2005 11:21:01 -0400 message-id: <380-22005712515211738@m2w031.mail2web.com> references: no_parent from: melissa@reelvenus.com subject: RHIZOME_RAW: Reel Venus FF Presents: Super 8 Slam Jam Series 7/30 City Center SUPER 8 SLAM JAM SERIES Everyone is invited to participate and attend Reel Venus Film Festival's First installment of it's Super 8 Slam Jam Series, featuring selected Super 8 films from the Reel Venus Film Festival Archives An intensive screening of all things Super 8 film, (can't let our Kodachrome 40 die without celebrating it’s magical existence like mad crazy) $ 6.00 to screen your work $ 2.00 for any additional submissions FIRST COME, FIRST SERVED, 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: Mon, 25 Jul 2005 10:43:48 -0700 message-id: <200507251743.j6phhmie023899@idx164.idx.net> references: no_parent from: yoshi sodeoka subject: RHIZOME_RAW: Re: Re: http://www.c404.tv/ Hello. it's very interesting that people picked this up and talking about it now.. this is my very old piece. I made this piecce about 4 years ago. just to clarify... yes, a lot of code was borrowed from sites such as Flashkit and other actionscript tutorial sites. Thre's no denying. however none from levitated.net. I don't think I was aware of his work back in 2001. Now, I am familar with Jared Tarbell and I'm a fan but I absolutely used none of his code in this project. :) y http://www.c505.com TJ ODonnell wrote: > yoshi sodeoka wrote: > > > this digital psychedelic piece means to provoke viewers to judge > > whether noise is just noise, or noise could be pleasantly presented > in > > 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: Mon, 25 Jul 2005 21:29:54 +0200 message-id: references: no_parent from: Alessandro Ludovico subject: RHIZOME_RAW: History of Networked Art conference History of Networked Art, people, places, events, technologies and theories. a conference curated by Tommaso Tozzi and Alessandro Ludovico. Friday, July 29, 2005 Accademia di Belle Arti (Academy of Fine Arts) Via Roma 1 - Carrara (Tuscany, Italy) tel. +39 0585 71658 9.30am - 1.30pm / 3pm - 7pm with (in alphabetical order): Robert Adrian (Wien, AU) Hans Bernhard (Wien, AU) Arturo Di Corinto (Roma, IT) Steven Kovats (Rotterdam, NL) Enrico Pedrini (Genova, IT) Cornelia Sollfrank (Hamburg, DE) Luca Toschi (Firenze, IT) installation: Giuseppe Chiari (Firenze - IT) "Audio and Video recording from the seventies and eighties" program: 9.30am - 1:30 pm - Tommaso Tozzi - coordinator of Multimedia Art Department, Academy of Fine Arts Carrara, Florence, IT - Enrico Pedrini - critic, Genova, IT - Luca Toschi - director of the Communication Strategies laboratory and head of the Communication Theory master's degreee, Florence, IT - Robert Adrian - artist - Wien, AT - 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 für Bildende Künste, 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: Mon, 25 Jul 2005 22:16:28 +0200 message-id: <20050725201633.nmem11566.amsfep12-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: =?iso-8859-1?Q?nouvelle_vlaag_de_nA=E2rt? The Cathedral as Spotted in Aubel on 21/7/2005 (3,9 x 8,6 cm, unvarnished watercolour on paper, 2500 x 1112 pixels) 1 Belgian Digit (animation flash bleu-kesseloise, 7kb) greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 25 Jul 2005 17:44:20 -0400 message-id: <40b4b16eee57c15236ed804e92060710@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Member RSS: 300 more feeds! Hey everybody, I just turned on our Member RSS feeds. Starting today, Rhizome Members have the option of publishing their Rhizome activity via RSS. This includes artworks and texts added to Rhizome within the past year. These feeds can be found from a member page. Here's the member page of Minneapolis-based artist Abinadi Meza: http://rhizome.org/member.rhiz?user_id=1036863 Note the line that says "Member RSS feed" and points you to this: http://rhizome.org/syndicate/member/1036863.rss ... which you could then enter into your RSS reader/aggregator/reBlog tool and do whatever with. Every Member has the option of having a syndication feed, though they can also opt out by choosing to be anonymous on their preferences page. This feature adds more than 300 feeds to our mix of syndication feeds. (300 is a lot less than our membership, but that's the number of Members who have posted art or text in the past year _and_ have elected to be anonymous.) Let me know your thoughts, whether this is useful, how it could be made more useful, etc. And don't forget, if you feel like making a Member contribution, go to http://rhizome.org/support/ . 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: Tue, 26 Jul 2005 00:15:46 +0200 message-id: <20050725221551.lxqe8289.amsfep18-int.chello.nl@vilt> references: no_parent from: dv@vilt.net subject: RHIZOME_RAW: FW: ( Corpus spaceship Earth ) kan je een bos-duwtje geven ? ( stuur kaartje ) --------------------NEWSLETTER - NKdeE - NIEUWSBRIEF ------------ Extra wegens van kathedraal belang, sorry voor crossposting, Doen & zet er een Kathedraal op, begot! dv _____ From: wim vandenbussche [mailto:datapanik@scarlet.be] Sent: dinsdag 26 juli 2005 0:02 To: hg datapijn Subject: Fw: ( Corpus spaceship Earth ) kan je een bos-duwtje geven ? ( stuur kaartje ) -----Oorspronkelijk bericht----- Van: Lappersfort Poets Society Aan: daniel.biltereyst@UGent.be CC: daniel.lauwers@brugge.be ; datapanik@scarlet.be 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 (écht 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: Mon, 25 Jul 2005 16:26:37 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: Xul Solar Forwarded: Charles Bernstein on Xul Solar: There is an excellent article on Xul Solar in today's NY Times http://www.nytimes.com/2005/07/25/arts/design/25sola.html Solar (1887- 1963) is one of the greatest modernist painters & poets of the Americas and it was thrilling to see his major retrospective show at MALBA with Ernesto Grosman and Susan Bee, when we were all in Buenos Aires last month. An excellent introduction to his work by Cecilia Vicuna is available on-line in English : http://www.wordswithoutborders.org/article.php?lab=XulSolar While the MALBA show is mainly of his great watercolors, and indeed he is known primarily as a visual artist, Solar was also one of the most significant practitioners of ideolectical modernism, along with Khlebnikov, Schwitters, and others. One of this two invented languages, "Pan Criollo" is a synthesis of Portuguese and Spanish, you might say the esperanto for South America. He also invented a "Pan Lingua," more along the lines of zaum, with its VVV base inflected by mathematics and astrology. Grosman -- who is now teaching at Boston College -- edited a Roof Books anthology of the Argentine poetry magazine, XUL, edited by Jorge Perednik (among others). The magazine, from the 1980s, took its name and inspiration from Xul Solar. Both the Roof Book English as well as all the original issues of the magazine are now on line at http://www.bc.edu/research/xul/ For more information about Xul Solar: http://www.xulsolar.org.ar/ Charles Bernstein + -> 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, 25 Jul 2005 17:55:07 -0700 message-id: <200507260055.j6q0t7a1017743@idx164.idx.net> references: no_parent from: C505 subject: RHIZOME_RAW: Re: Re: http://www.c404.tv/ oh and newer noise from us is here. http://projects.c505.com/adv_index.html no Flash, all quicktime. cheers, y > yoshi sodeoka wrote: > > > this digital psychedelic piece means to provoke viewers to judge > > whether noise is just noise, or noise could be pleasantly presented > in > > 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: Mon, 25 Jul 2005 21:08:46 -0400 message-id: <42e58d1e.704@turbulence.org> references: no_parent from: Jo-Anne Green subject: RHIZOME_RAW: The Upgrade! Boston: Barbara Lattanzi The Upgrade! Boston: Barbara Lattanzi http://turbulence.org/upgrade/index.html WHEN: July 26, 2005 @ 7:00 pm WHERE: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect Street, Cambridge The term "participation" provides a point-of-reference for experimental software art by Barbara Lattanzi. Such projects as Lattanzi's net-based "CSPAN Karaoke" emphasize the improvisational and cooperative dimension of Participation as critical (or ironic) re-figuring of the human-computer interface. Software such as "The Interrupting Annotator" derive partly from late-1980s/early-1990s models of media activism, public access tv, and other versions of community communications. Some of Lattanzi's projects, such as "EG Serene", involve small-scale, cine-software applications for video improvisation, that "open source" key works from the 1970s era of structuralist, experimental filmmaking. In 2005, "C-SPAN Karaoke", received an "Honorable Mention" at Transmediale, the Berlin-based international media art festival. The Artport website of the Whitney Museum of American Art featured, during January, her gatepage, "C-SPAN x 4". The gallery version of "HF Critical Mass Applied to Cinematography by NASA" was included in the 2005 exhibition "Reverse Engineers". The production of Lattanzi's multimedia applets and software has been stimulated in part by the open structures of net-based cooperative venues such as the on-line archive of software art, "Runme.org" and Rhizome "Artbase", where her work is included. She currently teaches at Smith College in Northampton, Massachusetts. -- 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: Mon, 25 Jul 2005 21:08:32 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: =?WINDOWS-1252?Q?BBC_lets_public_=91borrow=92_its_web_content? http://www.newscientist.com/article.ns?id=dn7724&feedId=online- news_atom03 Following the example of internet titans Google and Amazon, the BBC has released software tools which allow programmers to borrow and "remix" its web content for free. Tools have been made available through a project called BBC Backstage, which was launched at Open Tech 2005, a technology conference held in London, UK, on Saturday 23 July. BBC Backstage provides a way for programmers to integrate BBC content into their web applications - the only caveat being that it must not be used commercially. Information is made available through "application programming interfaces" (API) – software-based rules which allow a programmer to harness the BBC’s 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: Mon, 25 Jul 2005 22:15:14 -0700 message-id: <200507260515.j6q5fexv027960@idx164.idx.net> references: no_parent from: You Minowa subject: RHIZOME_RAW: The "project netarts.org" --- call for the nomination "Project netarts.org" 2005 - 1st announcement 1. From "Art on the Net" to the new "Project netarts.org" 2. Call for the nomination 3. The schedule ------------------------------------------------------------- 1. From "Art on the Net" to the new "Project netarts.org" Art on the Net" project promoting the Internet as a space for artistic expression. For nine years, this project had been calling on artists around the world to investigate the relationship between Art, the Internet and the Society. After the years of the "Art on the Net," we launched a new event called the "Project netarts.org" last summer. The " Project netarts.org" consists of an Internet Art exhibition, artist essays, theoretical articles, and an online forum. The Exhibition section of the project will feature recent developments in Internet Art and is open to all forms of creative expression that use 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 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: Mon, 25 Jul 2005 22:56:22 -0700 message-id: <200507260556.j6q5umhw001411@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: Re: Re: what exactly IS new media? kristina maskarin wrote: > there are rabbits and 'rabbits'. > art definitely gave up to design. And there are Designer Jeans http://www.parasuco.com/ and Designer Genes http://www.ekac.org/umich.book.info.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, 25 Jul 2005 23:14:01 -0700 message-id: <200507260614.j6q6e1ma003914@idx164.idx.net> references: no_parent from: Antonio Serna subject: RHIZOME_RAW: petiteMort issue03: Something from Nothing - - - - - - - - - - - - - - - - - - - PETITEMORT - "SOMETHING from NOTHING" ISSUE no. 03, Summer 2005 - 6 new stories ONLINE NOW! http://www.petitemort.org - - - - - - - - - - - - - - - - - - - #23 - E P H E M E R A L A N G E L // ARCANGEL CONSTANTINI ARTIST/CURATOR We discuss with Arcangel Constantini the evolution of his HTML wrestling matches called Infomera. We also discuss the pros and cons of being a net-artist and curator in Mexico City. Through his promotion and support for Latin American digital art and culture he has proven that you can make something from immaterial ones and zeros... http://www.petitemort.org/issue03/23_ephemeral-arcangel #24 - C O D E W A R R I O R S // HTML WRESTLING ON THE WILLD WILD WEB An essay on the experience of Infomera aka HTML wrestling written in two parts by the editor of petiteMort, a.k.a. Muserna... http://www.petitemort.org/issue03/24_code-warriors #25 - T R A S H T A L K // W/PHOTOGRAPHER DANWEN XING I first saw her work in the pages of Wired magazine of all places. Her 2004 work disCONNEXION was series of photos taken of mostly American garbage dump sites in south-eastern China. This interview outlines a path from her humble beginging in China, to the west, and then back, where she lives and works today... http://www.petitemort.org/issue03/25_danwen-xing #26 - J A M M I N G - O U T T O R A T R I T M O S // W/MATMOS Leave it to the experimental duo Matmos to find the rhythm in rats, extract music from human auras, and conjure up the musical spirits in instruments... 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: Tue, 26 Jul 2005 03:56:26 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #47: Jason's Songs 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 -> 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, 26 Jul 2005 03:03:14 -0700 message-id: <200507261003.j6qa3esn024514@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Women in Games (8th-10th August 05) Book Now for Women in Games 2005! The Women in Games 2005 Conference will highlight the most recent, groundbreaking work in this field of computer game research and development to both academic and industrial worlds. Attended by the giants of the games industry, and giving an insight into a vast emerging market, this is event that you cannot afford to miss! The Conference will take place on 8th, 9th and 10th August 2005, at the University of Abertay Dundee, Scotland, UK. A full pass, including lunch each day and the Conference dinner, costs just ÂŁ150. Students and the unwaged may apply for a one-day pass for Wednesday 10 August, at a special price of just 40. Book now on www.womeningames.com to secure your place! Key Speakers Confirmed Some of the most respected names in the industry will take centre stage at the conference. Keynote speakers include: Ernest Adams (UK), an independent games designer, teacher, founder of IGDA, and author. "Developing Games Backwards and in High Heels" Melissa Federoff (US), a Microsoft Games Usability Engineer. "Researching your Target Audience: How to Give the Player the Experience you Intend" Aphra Kerr (Northern Ireland), a game researcher at the Centre for Media Research, University of Ulster. "Gamework: Gameplay - a chilly place for women?" Constance A. Steinkuehler (US), a MMORPG researcher and game columnist. "Gamer Chicks: How a Generation of Young Women Inhabit Virtual Worlds Online" Programmed for Success The three days of the conference will include papers on a wide range of issues related to women in games, as well as question and panel sessions, networking opportunities, and presentations from some of the up-and-coming student stars of the future. A conference dinner will be held on Tuesday 9 August 2005. Highlights of the programme include: Susann Laughton, Electronic Arts European Marketing Manager for Maxis (The Sims). Marketing games to a broader audience, a panel chaired by Aleks Krotoski, which will invite discussion on using fresh marketing approaches to encourage female consumers to engage with interactive entertainment, and how the positions of games marketing will change in the future. Panel members include: Jennie Kong, PR Executive, Sony Computer Entertainment Europe and head of the teams for the campaigns of GBA Colour, GBA SP, GameCube , PS2, PSP, PS3. Faye O'Donohue, Marketing Executive, UbiSoft, for games including Playboy: The Mansion and Myst 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: Tue, 26 Jul 2005 10:52:00 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Spotlit works Hello, Today, we are going to take our featured Member-Curated exhibit off the front page. It will still be highlighted on the Member-Curated page (http://rhizome.org/art/member-curated/) for the rest of the month. We are going to replace the exhibit with a featured art work, which will be the first in a regular series of artists=B9 projects from the ArtBase to be spot-lit on the front page. At this point, Rhizome staff will be choosing the different works =AD if anyone would like to be involved in the selection process, please email me with suggestions. We are starting with Jim Andrews=B9 Nio (2001) Best, Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 26 Jul 2005 11:34:29 -0500 message-id: <85d7931b05072609346ac60c36@mail.gmail.com> references: no_parent from: Steve Dietz subject: RHIZOME_RAW: last calls: ISEA2006 community domain + pacific rim The current calls for ISEA2006 (August 5-13, 2006, San Jose, CA) for Community Domain commissions and Pacific Rim projects close August 1, 2005. See below. For information about upcoming calls to submit work for the ISEA2006: http://isea2006.sjsu.edu./calls.html To join the ISEA2006 mailing list: http://cadre.sjsu.edu/mailman/listinfo/isea2006 Please note there is currently no "general" call for works for ISEA2006. PACIFIC RIM http://isea2006.sjsu.edu/prnmscall/ This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose: A Global Festival of Art on the Edge to groups and individuals to submit proposals for exhibition of interactive artworks and projects reflecting on the thematic of the Pacific Rim. We are seeking proposals that address, but are not limited to, art works that emphasize radical and alternative responses to contemporary cultural conditions throughout the Pacific Rim. Of particular interest are projects that focus on engagements and interaction strategies with Diaspora communities as well as work that enable new discourses, platforms and explorations. http://isea2006.sjsu.edu/prnmscall/ COMMUNITY DOMAIN COMMISSIONS http://isea2006.sjsu.edu/communitydomain1/ This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose: A Global Festival of Art on the Edge to groups and individuals to submit proposals for exhibition of interactive artworks and projects reflecting on the thematic of Community Domain. Up to three commissions will be awarded, and the results will be shown at the ISEA2006 Symposium and ZeroOne San Jose Festival. http://isea2006.sjsu.edu/communitydomain1/ -- 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 -> 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, 26 Jul 2005 12:21:27 -0700 message-id: <200507261921.j6qjlrxz006009@idx164.idx.net> references: no_parent from: Brooke subject: RHIZOME_RAW: San Jose Airport - Artist Focus Groups City of San JosĂ© Public Art Program Invites You To Attend ARTIST FOCUS GROUPS for the MINETA SAN JOSE AIRPORT PUBLIC ART ACTIVATION Three meeting dates/times/locations to chose from: Tuesday, August 9, 2005 6:00 p.m. to 9:00 p.m. San JosĂ© Museum of Art, 110 South Market Street, San JosĂ© Saturday, August 13, 2005 1:00 p.m. to 4:00 p.m. New Langton Arts, 1246 Folsom Street, San Francisco Monday, August 15, 2005 6:00 p.m. to 9:00 p.m. Works/San JosĂ© Gallery, 30 North 3rd Street, San JosĂ© The Mineta San JosĂ© International Airport Public Art Master Plan () creates a framework for a unified program of Art & Technology that will identify San JosĂ© as a diverse global center for innovation and change. Gorbet+Banerjee, a multi-disciplinary artist team working at the leading edge of technology, architecture, engineering, product design, and media arts, was selected as the Arts Activation Team to identify sites and design appropriate infrastructure (platforms) to accommodate the Airport Public Art Program. The initial phase of their design process is to meet with the regional arts community in a series of meetings to inform the design of a number of flexible artwork. Input from a wide array of artists working in both traditional and technologically influenced media is welcome. For further information, please contact: sanjosepublicartprogram@sanjoseca.gov We welcome your RSVP at the same e-mail address. + -> 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, 26 Jul 2005 15:25:48 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: steal this cocept: LOWSRC -- progressive interlacing "Also present, is the sometimes overriding, delight-in-the-process of _acquiring_ the data. I've often had the distinct impression that I was reading/retaining information as I was photo-copying or scanning, or downloading files -- particularly the earlier interlaced gifs. Their apprehension conceptually blends with their comprehension." - brad brace ( http://www.aec.at/fleshfactor/arch/msg00127.html ) ++++++++++ PRECEDENCE net artists have historically exploited the peculiar limitations of the net's formal protocols to their own conceptual ends. Alexei Shulgin used html forms to critique formalism: http://www.c3.hu/collection/form/ Eryk Salvaggio used ascii art to commemorate 9/11: http://anatomyofhope.net/wtc/2/ cf: http://www.ljudmila.org/~vuk/ascii/ http://turbulence.org/spotlight/ASCII_BUSH/ MTAA used the lossiness of jpeg compression (actually, they used vector animation software simulating the lossiness of jpeg compression) as an analogy for the lossiness of the mediated self: http://www.mteww.com/five_small_videos/sliding_compression/index.html But nobody's used progessively loading web images to make a conceptual statement... yet. ++++++++++ TECHNOLOGY Back when everybody was on a dialup modem, nobody wanted to wait for your fat image file to load into their browser page, so you could solve this problem in several ways: 1. create a thin, quick-loading low source version of your fat, hi-res image and code it (via the "lowsrc" attribute of the "img" tag) to load prior to your fat image. This gave viewers an approximation to look at while your intended image was loading. 2. create a progressive jpeg, which initially loads blurry, and then gets progressively crisper in waves, giving your viewer a blurry image that gradually comes into focus. 3. create an interlacede gif that gradually gains resolution as it 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: Tue, 26 Jul 2005 15:01:01 -0700 message-id: <200507262201.j6qm11gb032026@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: The Architectural League: Call for Proposals In celebration of the 125th anniversary of its founding, the Architectural League announces a Call for Proposals for ARCHITECTURE AND. . . . , a year-long series of programs, offering analysis, demonstration, and proposition, about the current state and future potential of architecture. The League seeks proposals from architects, artists, curators, academics, and others for lecture series, conferences, exhibitions, web sites and other projects that consider how architecture is intersecting, or could, with innovative work in other creative and scientific disciplines; and at how architecture is responding to forces shaping contemporary life, such as globalization, urbanization, environmental decline, and the pervasiveness of information technologies. For more information, go to www.archleague.org/competitions.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, 26 Jul 2005 17:26:43 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: =?ISO-8859-1?Q?Fwd:_Subject:_Call_for_Submissions:__=B3Me_and_My? =?ISO-8859-1?Q?_Ozone=B2? Begin forwarded message: > From: orlo > Date: July 26, 2005 2:48:06 PM PDT > To: ALL > Subject: Subject: Call for Submissions: łMe and My Ozone˛ > > CALL FOR SUBMISSIONS > (Writing and Art) > > July 26, 2005 > > “Me and My Ozone” > Wanted: short accounts of personal experiences with global warming. > Response-based Feature Magazine Article. > > To be published in > The Bear Deluxe Magazine > Issue #23, fall 2005 > > Submission guides below > > PLEASE FORWARD AND POST—FAR AND WIDE > > Summary: > > Project: The Bear Deluxe Magazine has reserved space in its next issue > (fall > 2005) for readers’ responses to global warming effects on themselves > and the > planet. Short prose, poems, info graphics, cartoons and illustrations > will > be accepted. Ideas are not limited in scope, degree or geographical > representation. Submissions should be EMAILED to bear@orlo.org, or > mailed to > P.O. Box 10342, Portland, Oregon, 97296. Deadline: August 15, 2005. > This is > not a post-mark deadline. All submissions will be considered for > publication. Submissions from all parts of the world and political > spectrum > welcome. No submission fee. > > “Me and My Ozone” is the third in a series of response-based features > by The > Bear Deluxe Magazine. To be added to future calls, email bear@orlo.org. > > What will happen to submissions: Representative submissions will be > published in print in issue #23 of The Bear Deluxe Magazine. Depending > on > the volume of submissions, a complete listing will be posted on-line at > www.orlo.org. > > Word Length: Short prose preferred. 200-word limit. Indicate any > special > text formatting. > > Submission Deadline: August 15(early submissions accepted) > > Publication Dates: September 15 (print), October 1 (web) > > Submission Formats: Writing: Send as email text along with attached > Microsoft Word doc for Mac if available. Do not send attachment only. > Art: > PDF format highly preferred. Do not send any images over 1 mb. If > image is > too large to send high-res, send low-res and be available for other. NO > FAXES. > > What else to include: Full name, contact phone number, > city/state/country of > 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 you’ve 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 > you’re 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 country’s 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 POST—FAR 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: Tue, 26 Jul 2005 17:29:27 -0700 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: September Project Begin forwarded message: > We are trying to distribute our message to all librarians in all > countries. > Please consider forwarding this email below to any and all librarians > you know -- librarians at your local public library, librarians who > work at your community college, college, or university, librarians you > know who live overseas, etc. And if you blog, please consider blogging > this. Thank you, > > david silver > > *** > > [ PLEASE forward this message to a LIBRARIAN near you ] > > The September Project ( http://www.theseptemberproject.org ) is a > grassroots > effort to encourage public events on freedom, democracy, and > citizenship in > libraries on or around September 11. September Project events are > activities > of reflection, discussion, and dialogue about the meaning of freedom, > the role > of information in promoting active citizenship, and the importance of > literacy > in making sense of the world around us. Events take place on September > 11, on > the weekend of September 11, or throughout the month of September. In > other > words, whenever it works best for your library and community. > > Libraries around the world are collaborating with organizations to > 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: Tue, 26 Jul 2005 22:40:12 -0700 message-id: references: <20050727044912.bff20a102a@gabe.freedesktop.org> from: Eduardo Navas subject: RHIZOME_RAW: FW: Inkscape Announces 0.42 Release :: http://www.inkscape.org :: Draw Freely. ------ 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 27 Jul 2005 08:49:57 +0200 (CEST) message-id: <20050727064957.1dbbc21fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection.com subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART January joinrel Jamaican, JPL jested JPEG, Jr jackies joysticks, . 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 -> 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, 27 Jul 2005 13:13:31 +0200 message-id: references: no_parent from: dg@dgtank.com subject: RHIZOME_RAW: New site, new life. Hello. Things change, sites too. www.DigitalSistersIndeed.org is not there any longer: It has changed into a different name: WWW.DGTANK.COM What's new in it? A multi-layered project called YOU ARE HERE (Quantum Theory Project) that was presented at a parallel exhibition during Biennale of Venezia called Fuori-Biennale /Off-Biennale. IT is a wide work in progress project developed in few years that shows a topic (a map/street signal) in different media. 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: Wed, 27 Jul 2005 04:53:44 -0700 message-id: <200507271153.j6rbri4l015866@idx164.idx.net> references: no_parent from: a minima:: subject: RHIZOME_RAW: a minima 12 spanish magazine english/spanish aminimaestudio@yahoo.es Oron Catts Ionat Zurr Amy M. Youngs Knowbotic Research Jody Zellen Blank & Jeron Roberto Aguirrezabala Daniel GarcĂ­a AndĂşjar Natalie Bookchin - interview Christiane Paul SilentCell Network Edward Shanken Fernando Llanos Derrick de Kerckhove - interview Folksonomias Santofile Liminar Oron Catts (Australia) Artist / researcher and curator. Co-founder and Artistic Director of SymbioticA. Founded the Tissue Culture and Art Project in 1996. Ionat Zurr (Australia) Artist / researcher and curator. Artist in resident and a lectura in SymbioticA. Co-founder of the Tissue Culture and Art Project. Amy M. Youngs (EEUU) Artist. She creates mixed-media, interactive sculptures and digital media Works. She is currently an AsĂ­stanse Profesor and the Director of the Foundations Program in the Department of Art at the Ohio University. Knowbotic Research Knowbotic Research (Yvonne Wilhelm, Christian Huebler, Alexander Tuchacek) was established in 1991. Their more recent projects present artistic practice with media in an attempt to find viable forms of intervention in the public domain. Jody Zellen (EEUU) Artist. She works in many media simultaneously making photographs, installations, net art, public art, as well as artists’ books that explore the subject of the urban environment. Blank & Jeron (Alemania) Artists. They have been working together since 1996. They develop reflective artistic strategies, which deal with questions of information recycling, content, 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 GarcĂ­a 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 (MĂ©xico) 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: Wed, 27 Jul 2005 05:27:45 -0700 message-id: <200507271227.j6rcrjcf018819@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Inkscape - Draw Freely 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 27 Jul 2005 09:08:05 -0400 message-id: <200507270908.05170.rob@robertspahr.com> references: <200507271227.j6rcrjcf018819@idx164.idx.net> from: Robert Spahr subject: Re: RHIZOME_RAW: Inkscape - Draw Freely I use Inkscape. It is a great little drawing program. And if you use Inkscape, The Gimp and Scribus, you might find you no longer need Illustrator, Photoshop, or Quark. :-) -- Rob On Wed July 27 2005 08:27 am, 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 -- -- 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: Wed, 27 Jul 2005 09:35:30 -0400 message-id: <200507270935.aa288555188@mail.smileproject.com> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Inkscape - Draw Freely Thanks Rob. In particular I am wondering how solid the output is (file format support, printing, etc...). J + -> 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, 27 Jul 2005 15:59:31 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Jul 21, 2005 - Jul 27, 2005 nznl.com digest Jul 21, 2005 - Jul 27, 2005 Posts 1150 - 1156 http://nznl.com 1150. Jul 21, 2005 THREE LARGE PIXELS, 2009, C-PRINTS EACH 100 X 100 CM fireworks file http://nznl.com/geert/pop.php?dag=20050721 1151. Jul 22, 2005 THERE IS NO INSIDE AND OUTSIDE, 2009, WORKER CAGE IN PROCESS FLOW, WHITE CUBE googled image with caption http://nznl.com/geert/pop.php?dag=20050722 1152. Jul 23, 2005 LIGHT SCULPTURE, 2009, WHITE CUBE, LIGHT fireworks file http://nznl.com/geert/pop.php?dag=20050723 1153. Jul 24, 2005 REFRAMING WOOD, 2009, E-PRINT (BIRCH GROVE FROM ANDREI TARKOVKKYS MIRROR [FROM MEMORY]) http://nznl.com/geert/pop.php?dag=20050724 1154. Jul 25, 2005 MEMORY ROOM, 2009, WHITE CUBE, LIGHT FLOW fireworks file http://nznl.com/geert/pop.php?dag=20050725 1155. Jul 26, 2005 PLAN FOR A PLACE CALLED HOME, 2009, GOOGLE MAP, WHITE CUBE fireworks file http://nznl.com/geert/pop.php?dag=20050726 1156. Jul 27, 2005 LIGHT SHOW, 2009, WHITE CUBE, TELEVISION, LIGHT http://nznl.com/geert/pop.php?dag=20050727 + -> 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, 27 Jul 2005 08:47:21 -0700 (PDT) message-id: <20050727154722.98068.qmail@web30509.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: the peterbilt sonata the peterbilt sonata by lewis lacook an experiment with video http://lewislacook.corporatepa.com/the_peterbilt_sonata/ Quick Time movie, HTML *************************************************************************** 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, 27 Jul 2005 09:23:35 -0700 message-id: <200507271623.j6rgnzul012233@idx164.idx.net> references: no_parent from: susana mendes silva subject: RHIZOME_RAW: skyphone to artphone For the first edition of prog:ME, the new media festival in Rio de Janeiro (Brazil), Susana Mendes Silva has developed a new version of Artphone, her 2002 project. This time she is using Skype, a program for making free calls over the internet to anyone also using Skype. The software has to be downloaded and installed, her Skype name has to be added to your contacts. If she is online, you can ask her whatever you always wanted to know about art. For more information about Artroom: http://homepage.mac.com/susana_mendes_silva/Artphone.htm For more information about prog:ME http://www.progme.org/ by LuĂ­s Silva in http://vercodigofonte.blogspot.com/2005/07/still-artist-in-chat-room.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: Wed, 27 Jul 2005 11:10:36 -0700 message-id: <200507271810.j6riaa3a024905@idx164.idx.net> references: no_parent from: Damon Rich subject: RHIZOME_RAW: August 11: Lost Futures of Governors Island Lost Futures of Governors Island A slide presentation by the Center for Urban Pedagogy (CUP) Thursday, August 11, 2005, 7-9 pm 45 John Street (near Nassau) Free and open to the public Join CUP, a nonprofit design group, for an exploration of the Governors Island that could have been. Damon Rich, CUP’s Creative Director, will present a series of unrealized plans for the island from the turn of the 19th century to the turn of the 20th, including a luxury housing complex, homeless shelter, casino, and airport. The lecture will examine the rise and fall of these schemes, and how they have left their mark on the Governors Island of today and tomorrow. The Center for Urban Pedagogy (CUP) makes educational projects about places and how they work. Recent projects include the redesign of a high school entrance with 10th-graders, a television program about public housing, and an award-winning strategy for Detroit to deal with population loss. See more at www.anothercupdevelopment.org. Phone: 718-596-7721 Email: info@anothercupdevelopment.org URL: www.lmcc.net/setanddrift, www.anothercupdevelopment.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, 27 Jul 2005 14:37:29 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Farewell to Kevin Hello, After two great years with Rhizome, Kevin McGarry will be moving on as of August 15th. McGarry started out as Content Coordinator overseeing Net Art News and the Rhizome Digest; in this position, McGarry brought a host of ne w writers into the fold and kept both publications on the edge of events, projects and new media arts discourse. As ArtBase Coordinator, a position created for him in 2004, McGarry grew the ArtBase tremendously. He devoted considerable energy to seeking out projects and was also very active in his consideration of submissions. McGarry=B9s work with Rhizome also expanded beyond these two roles: his collaboration was instrumental in the design of our new membership policy, and his vision has underlined countless other projects, particularly our Guest-Curated Exhibitions program in which he worked very closely with the invited curators. His ideas, rigor and energy will be missed, but I=B9m certain his career will keep him close to the Rhizome community. It is with deep appreciation and gratitude that we wish him farewell. Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 27 Jul 2005 14:47:38 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Editor position at Rhizome.org Please distribute widely! Rhizome.org Seeks an Editor Rhizome.org, a leading platform for new media art, is seeking an Editor to oversee its two publications, Net Art News and the Rhizome Digest, and site content. Excellent editorial and writing skills, extensive knowledge of th e new media arts field and strong communication skills are required. The Editor will be responsible for tracking current events, projects and initiatives in the new media arts field, managing and developing a stable o f writers, and supervising the publishing of content on Rhizome=B9s front page. The Editor will work in collaboration with Rhizome staff on strategic planning and program development with a particular focus on Rhizome=B9s onlin e archive, the ArtBase. The position is part-time; salary is commensurate on experience. As Rhizome is an online organization, eligible candidates do not have to be based in New York City. Resumes and cover letter to Lauren Cornell via email: laurencornell@rhizome.org - no calls please. -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 27 Jul 2005 12:15:40 -0700 (PDT) message-id: <48769.64.94.198.252.1122491740.squirrel@www.rhizome.org> references: no_parent from: Jessica Ivins subject: RHIZOME_RAW: Beta Launch of Processing http://processing.org/ Processing is an open source programming language and environment for people who want to program images, animation, and sound. It is used by students, artists, designers, architects, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool. Processing is developed by artists and designers as an alternative to commercial software tools in the same domain. The beta software for Processing 1.0 was released 20 April 2005 and can be 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: Thu, 28 Jul 2005 06:16:30 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: Inkscape - Draw Freely
hi wonder if an open source Flash-like program will follow?
cheers
komninos


rob you wrote:

I use Inkscape. It is a great little drawing program.

And if you use Inkscape, The Gimp and Scribus, you might find you no longer
need Illustrator, Photoshop, or Quark.

:-)

-- Rob


> > Subject: Inkscape Announces 0.42 Release :: http://www.inkscape.org ::
> > Draw
> > Freely.
> >
+ -> 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, 28 Jul 2005 06:17:36 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: a minima 12


all that meat and no potatoes?
what is the url of the work of these bio-artists listed, or is it an exhibition - what?
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 -> 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, 27 Jul 2005 16:26:23 -0400 message-id: <2ee57c99754f6a4885b97c18be34265d01731d0c@millerexch.whitneyny.whitney.org> references: no_parent from: subject: RHIZOME_RAW: intelligent agent Vol. 5 No. 1 -- Special Issue: Artistic Virtual Environments 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: //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: Wed, 27 Jul 2005 16:45:20 -0400 message-id: <42e7f260.7050008@turbulence.org> references: no_parent from: Jo-Anne Green subject: RHIZOME_RAW: Celebrating Turbulence's Networked_Performance Blog July 27, 2005 Celebrating Turbulence's Networked_Performance Blog http://turbulence.org/blog The networked_performance blog is now one year old. With 1,100 entries, and 1,200 visits per day (and climbing), networked_performance has become an important resource for practitioners, scholars and the general blogosphere. Our Guest Bloggers have included Nathaniel Stern (South Africa), Michelle Kasprzak (Canada), Régine Debatty (Belgium), Yukihiko Yoshida (Japan), and Adriana de Souza e Silva (US); Luís Silva (Portugal) will begin in September. Renowned author, Howard Rheingold ("The Virtual Community" and "Smart Mobs"), said "Networked Performance (is) one of my favorite blogs about location-based experiments beyond the usual boring stuff." Helen Thorington and Michelle Riel have been guests on "empyre" this month (http://www.turbulence.org/blog/archives/001078.html), presenting their analysis of the blog contents, and they'll be moderating the "Networked Performance: How Does Art Affect Technology and Vice Versa?" panel at SIGGRAPH 2005 on Monday, August 1 from 3:45-5:30 p.m. Here's a sampling of posts from our current index page (http://turbulence/org/blog): INDIA FOUNDATION FOR THE ARTS: GRANTS FOR INDIAN NEW PERFORMANCE ARTISTS http://www.turbulence.org/blog/archives/001166.html SOCIAL MACHINES: CONTINUOUS COMPUTING http://www.turbulence.org/blog/archives/001164.html AUDIO SIGNAL PROCESSING/DIGITAL SOUND WORKSHOP http://www.turbulence.org/blog/archives/001163.html BODILY (TRANS)FORMATIONS http://www.turbulence.org/blog/archives/001161.html LAURIE ANDERSON: THE RECORD OF THE TIME http://www.turbulence.org/blog/archives/001159.html THE REENTRY SERIES; SYNTHETIC METEOR SHOWERS http://www.turbulence.org/blog/archives/001158.html CRACKS IN THE PAVEMENT: GIFTS IN THE URBAN LANDSCAPE http://www.turbulence.org/blog/archives/001162.html HTML WRESTLING 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: Wed, 27 Jul 2005 14:13:30 -0700 message-id: <200507272113.j6rldunk018534@idx164.idx.net> references: no_parent from: boris kopeinig subject: RHIZOME_RAW: club.ware new url. enjoy. http://www.club-ware.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: Wed, 27 Jul 2005 14:23:12 -0700 message-id: <20050727142312.3c49cb2849c6d1d315f7c3b20f1b9c0f.d5c548bcf3.wbe@email.email.secureserver.net> references: no_parent from: eduardo@navasse.net subject: Re: RHIZOME_RAW: a minima 12 Hello, Given that NAR ( http://netartreview.net ) collaborates with a minima:: I can explain that there is no website at the moment. The publication is an impressivel bi-monthly journal published in English and Spanish. However, you can have access to some of the featured writings as these are approved for online publishing by each contributor. NAR currently has an agreement to release selected texts and I invite you to download the material which can be found on the monthly features. So far you can access PDFs from issue No.11 Here they are: http://netartreview.net/monthly/sanOrtiz.pdf http://netartreview.net/monthly/igor.pdf http://netartreview.net/monthly/minima_marina.pdf More will be released as they are approved by particular a minima writers/contributors. Best, Eduardo > -------- Original Message -------- > Subject: Re: RHIZOME_RAW: a minima 12 > From: Komninos Zervos > Date: Wed, July 27, 2005 1:17 pm > To: list@rhizome.org > > > > > > > all that meat and no potatoes? > > what is the url of the work of these bio-artists listed, or is it an > exhibition - what? > > 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 -> 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, 28 Jul 2005 03:10:08 +0200 (CEST) message-id: <20050728011008.5384121fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Kbps kern , Kaposi's kayaked Kbit, karen 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 -> 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, 27 Jul 2005 21:53:28 -0700 message-id: <200507280453.j6s4rsds006177@idx164.idx.net> references: no_parent from: Greg Smith subject: RHIZOME_RAW: 74 nights 07-02/07-03/07-04 Another 3 batches of images have been uploaded to the 74 nights website which chronicle my photo-wandering through the sprawling postmetropolis of Los Angeles. These images document: several trips to the 'rejuvenated' downtown core of LA, some rare (for me) daytime shots of Koreatown, and signage, signage, and more signage. Click on the 74 nights link on the splash screen of http://www.serialconsign.com to see what I've seen. The 74 nights project is beginning to wind down and I'm in the process of trying to figure out what to do with all of these images, and more importantly if and how they will work into my architecture thesis. Thanks for taking the time to look at my work; I've appreciated all the feedback I have received regarding the project thus far. Ciao, ,g -- greg smith http://www.serialconsign.com http://www.vagueterrain.net 213.480.8050 x202 greg.smith@utoronto.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: Thu, 28 Jul 2005 01:23:48 -0700 message-id: <20050728012348.3c49cb2849c6d1d315f7c3b20f1b9c0f.28f2208c2d.wbe@email.email.secureserver.net> references: no_parent from: eduardo@navasse.net subject: RHIZOME_RAW: search http://www.logogle.com/ggl.php?hl=ja&lo=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, 28 Jul 2005 01:24:07 -0700 message-id: <200507280824.j6s8o7er025123@idx164.idx.net> references: no_parent from: Paul Green subject: RHIZOME_RAW: supersonic - performance Come and join us for a special one-off live performance with LektroLAB and a team of co-conspirators. Sonic sessions dj’s, vj’s and circuit benders DJ performances by Lektrogirl and paul b. davis Videos by Paperrad, beige, and Cory Arcangel A night of music, visuals and sonic sounds created in response to the Rebecca Horn:Bodylandscapes exhibtion at the Hayward Gallery Friday 29 July (new date), 6-9PM Waterloo Sunset(Pavilion) Hayward Gallery Admission FREE http://www.haywardprojects.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: Thu, 28 Jul 2005 01:25:28 -0700 message-id: <200507280825.j6s8psqm025320@idx164.idx.net> references: no_parent from: Paul Green subject: RHIZOME_RAW: Universal Tourist - film project Did the waiter write back? Ever splashed out on a shell ornament? Want two weeks on Mars? Photograph your first Pina Colada? The Hayward Gallery and award-winning filmmakers Chocolate Films are making a film that captures the essence of the tourist experience, be it a weekend in Blackpool or return flights to space. Share your magic moments, quirky souvenirs and travellers’ tales with us Take a trip to the Hayward Gallery’s Universal Tourist multimedia studio between 08 - 22 Oct 2005 and we will copy your film, snaps and super 8, photograph your souvenirs, record your stories and let you try blue screen technology You can send film and photographs direct to the filmmakers. For more information and a submission form visit www.universalexperience.com or call 020 7978 2668 SUBMISSION DEADLINE 19 Nov 2005 Participants will receive a ÂŁ2 discount on tickets for the Hayward Gallery exhibition Universal Experience: Art, Life and the Tourist's Eye, 06 Oct - 11 Dec 2005 and an invitation to the première at the National Film Theatre on 10 Dec 2005 For information on Universal Experience go to: www.hayward.org.uk Keep up to date with Hayward Gallery projects at: www.haywardprojects.blogspot.com The Universal Tourist is part of See Through, an education programme supported by The Paul Hamlyn Foundation http://www.movingsouth.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, 28 Jul 2005 03:40:00 -0700 message-id: <200507281040.j6sae0xq007246@idx164.idx.net> references: no_parent from: SLAM subject: RHIZOME_RAW: WORLD CULTURE FORUM Dead Sea-Jordan WORLD CULTURE FORUM www.meccad.org/wcf Dead Sea, Jordan Sept 4-7, 2005 The rich programme of the Forum includes plenary sessions, seminars, workshops, artistic performances, exhibitions, as well as film & TV screenings. Artists interested in showcasing work at the Forum should contact Event Coordinator, Shannon Riley at s.riley@meccad.org Organized under the Patronage of His Majesty King Abdullah II of Jordan, the WCF convening at the Dead Sea will serve as: (1) a consultative process to stimulate creativity and to mainstream culture in development planning and international cooperation, (2) a program of action for the development of cultural enterprises; and (3) a global platform or convening where representatives from the civil society, government and private sector interact to address critical issues in the field of culture and development. Organized under the theme of “Investing in Culture and Social Justice for Development”, the Jordan edition of the WCF will focus on the mainstreaming of arts and culture in socioeconomic development and the sharing of the rich and diverse artistic and cultural expressions of participants. The Forum will discuss issues related to cultural enterprise development, employment creation and conflict resolution, arts in education, as well as cultural tourism and professional development. Moreover, the Forum will also advocate for an open culture of dialogue and freedom of expression that foster peace and stability in the region and the world. + -> 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, 28 Jul 2005 10:02:46 -0400 message-id: references: no_parent from: Yael Kanarek subject: RHIZOME_RAW: The Upgrade! w/Diane Ludin, Thurs, Aug 4 delsp=yes; format=flowed =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: Thu, 28 Jul 2005 08:54:48 -0700 message-id: <200507281554.j6sfsmft007605@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: TRANSMEDIA :29:59 TRANSMEDIA :29:59 media art in public urban space http://www.year01.com/transmedia2959 August 1 - 31st, 2005 29th minute: Manu Luksch - 'Movie Stars' 59th minute: Jillian Mcdonald - 'Screen Kiss' +++ Launch event: August 3rd, 8-10pm: vjs fluid & faux amie - music by cyan & naw! Dundas Square - Yonge & Dundas Street, Toronto +++ Year Zero One is pleased to announce the launch of TRANSMEDIA :29:59, a year long programme on the pedestrian level video billboard at Yonge-Dundas Square in Toronto. Beginning August 1st 2005, one minute video works will be broadcast 24/7 every half hour on the 29th and 59th minutes. Featured for the month of August is Jillian Mcdonald's 'Screen Kiss' & Manu Luksch's 'Movie Stars'. Jillian Mcdonald's 'Screen Kiss' 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.This work has received funding support from Soil Digital Media Suite at Neutral Ground Gallery and The Canada Council for the Arts, New Media Commissioning program. Manu Luksch's 'Movie Stars' was shot a remote beach in Thailand where Chris and Anthony trained hundreds of starfish to move in a synchronized manner. The starfish execute a formation dance reminiscent of the glamourous choreography by Berkeley Busby for Hollywood movies of the 1930s. MOVIE STARS is an unedited, unprocessed real-time documentation of a starfish performance; the film's length is dictated by the creatures' limited short-term memory for movement. Join us in the square on August 3rd at 8pm for a 2 hour opening launch performance at Yonge-Dundas Square with vjs fluid & faux amie + music by cyan & naw. +++ 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 +++ + -> 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, 28 Jul 2005 09:12:20 -0700 message-id: <200507281612.j6sgckf8010057@idx164.idx.net> references: no_parent from: LĂ©on Cullinane subject: RHIZOME_RAW: call for participation Call â€DIY SURVIVAL’ (There is no Subculture, only Subversion) Publication. C6 invite submissions for a forthcoming publication on strategies, methods and techniques of DIY art practices. We are seeking innovative, critical and radical approaches to diverse art practice and organization focused on how to produce art unbound by market, commerce, and whitecubes. The aim is to produce a guide of tactical means for collective art making. We are looking for a wide range of perspectives, essays, case studies, artworks and interviews to articulate and promote the idea of self generative cultural events and the collective production of art. Contributions from artists, activists, cultural producers, and other related professionals are welcome. C6 wish to keep the possible topics vague enough for interpretation, a starting point may be: • Ethos, history and politics of DIY art and culture • Occupation of territories • Culture jamming, guerrilla art practices • Strategies of audience engagement • Tales of endurance, invention and uncompromising passion • Resistance and the creation of communities • 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 â€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: Thu, 28 Jul 2005 14:47:07 -0400 message-id: references: <200507281554.j6sfsmft007605@idx164.idx.net> from: miklos@sympatico.ca subject: RHIZOME_RAW: 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 + --============_-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: Thu, 28 Jul 2005 13:51:12 -0600 message-id: <002701c593ad$b6751980$2aa30818@vuk> references: no_parent from: abe linkoln subject: RHIZOME_RAW: minimalist mumbo jumbo + -> 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, 28 Jul 2005 15:05:40 -0700 message-id: <200507282205.j6sm5e4c008983@idx164.idx.net> references: no_parent from: susana mendes silva subject: RHIZOME_RAW: A r t p h o n e A r t p h o n e Don't be afraid to ask everything you always wanted to know about contemporary art NĂŁo tenhas medo de perguntar tudo o que sempre quiseste saber sobre arte contemporânea to contact me enter http://www.skype.com/ and download the software. my skype name is susana_mendes_silva. call me. para me contactar entre em http://www.skype.com/ e faça o download. O meu skype name Ă© susana_mendes_silva. ligue-me. + -> 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, 28 Jul 2005 22:46:29 -0700 message-id: <200507290546.j6t5ktdv010534@idx164.idx.net> references: no_parent from: Hye-young Shim subject: RHIZOME_RAW: Curator and Project Manager at Art Center Nabi Dear Perspective Colleagues: Art Center Nabi, a new media art center in Seoul, Korea, is seeking for a new media art curator and a project manager for its lab. Since 2000, Nabi has been leading the field of media arts in Korea through production, exhibition, education, and research on the cross platform of art, technology and social science. (For more information, http://www.nabi.or.kr) We are now moving into the second stage of our development, where we focus on developing projects actively engaging the communications industry, local governments and academia, not only in Korea but also internationally. Projects are now being formed in the areas of urban, wireless and personal media, which require competent project managers. We are in demand more than our current capability, perhaps because Nabi is a unique institution in Korea that can cross the boundaries between technology, humanity and creative communities. Also having a telecommunication company as one of our sponsors helps us experiment communication related projects in test-bed situations. We are a young organization, and in the process of setting up systematic research and curatorial practices. We seek committed professionals who would not only envision new user experiences, but realize them through art and research projects. Here are some basic job descriptions. Further information will be provided by contacting us via (shy@nabi.or.kr) on individual basis with your cv’s. 1. Project Manager for Lab You will be responsible for overseeing location based, wireless media projects, both existing and new. You will work with one or two staffs of Nabi who have experiences in coordinating interdisciplinary works. We offer you 3 years of employment, which can be extended of course. [Required]: general knowledge about communication media, specific interest and knowledge in wireless media, ability to learn quickly about new media technology, ability to network and outsource [Preferred]: industry experience of more than 3 years in related fields as project manager and Korean language skill 2. New Media Curator Responsible for producing knowledge and art events/projects [Required] : knowledge and experience in the field of new media arts [Preferred] : advanced degree in the areas of communication studies, media aesthetics or mediology Thank you for your attention. Sincerely, Soh Yeong Roh Director Art Center Nabi 99 Seorin-dong, Jongro-gu Seoul, Korea http://www.nabi.or.kr + -> 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, 29 Jul 2005 03:09:45 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: re: The Universal Computer I got a little email from Martin Davis, the author of 'The Universal Computer'. He says "The marketing people at Norton decided that the paperback version would benefit from a different title: "Engines of Logic: Mathematicians and the Origin of the Computer". It's the same book (with some errors corrected)." This may be why you were having problems finding the book, Geert. I asked Dr. Davis if he had any recommendations concerning writings by people who have attempted to meditate on the consequences for poetry of the theory of computation? He replied: "Not really." There are some writings by Martin Davis at his site: http://www.eipye.com . Interesting to note the degree to which these concentrate on refuting Roger Penrose's very popular claims in such books as 'The Emperor's New Clothes' that mathematical reasoning is not algorithmic. Davis does not assert the contrary; only that Penrose's proofs are "deeply fallacious". I have been somewhat mystified by the popularity of Penrose's 'proofs' that there are thought processes of which humans are capable but computers are not. I suspect that their popularity is an indication of the strength of the desire, in many people, to believe that humans are, fundamentally, different from machines. My own feeling is that the notion that human thought is algorithmic is no more demeaning of humanity than the Darwinian notion of human (and other species') evolution from lower life forms. The truth of the matter is much to be desired. And it is always preferable to falsehood, however supportive the falsehood is of religious or other doctrine. 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: Fri, 29 Jul 2005 12:06:13 +0100 message-id: <02a101c5942d$88ec64c0$0500000a@atmosfera1> references: no_parent from: Sofia Oliveira subject: RHIZOME_RAW: Processing Workshop @ Atmosferas Lisbon Processing Workshop @ Atmosferas in LisbonDavid Pereira, 26 - 30 September, 05What you always wanted to do with Fl*** and can't. www.atmosferas.net/processing2 Processing is an open source java simplification that allows designers and artists to use computation in their works. The workshop will be an insight into processing and computational design exploring subjects like 3D, particule systems, sound analyses, image and video processing. Schedule 26 to 30 of September 19-22. 23 September: Public presentation of the workshop results at 22.30. Info David Pereira David Pereira Degree in computer science at IPA. In 1990 discovers sound and graphical synthesis and in 1998 studied sound and image at ARTICO. He's an independent Interaction Design researcher and teaches Instruments Methodologies and Objects of Web Design in ESTAL where he also coordinates LABNUI, the Nocturnal Laboratory of User Interface. Info processing Processing is a project initiated by Ben Fry e Casey Reas within the Aesthetics + Computation Group www.processing.org Target People with basic programming knowledge. Price 150 Euros (20 hours; 7,5 Euros/hour). Inscription The workshop has a maximum number of 16 participants. You will be contacted for a selection interview. Place and Dates The workshop will talke place at Espa=E7o Atmosferas, Rua da Boavista, 67 (following Rua de S=E3o Paulo) in Lisbon, Portugal, from 26 to 30 de September, 05. About Atmosferas - Digital Arts Center Atmosferas is a cultural project that stands at the intersection of the arts, the sciences and the technologies. Within this framework Atmosferas is engaged in promoting a cultural dialogue between these different areas trying to bring forward an understanding on the points of contact of their practices. To achieve this objective Atmosferas will organize a number of different events (conferences, exhibitions, etc) and support the production and the distribution of relevant artistic work done for the digital realm. In practical terms Atmosferas presents itself as an entity that: - 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: Fri, 29 Jul 2005 13:52:32 +0100 message-id: <6f79714b1536eae638a2917ff52b87de@ucl.ac.uk> references: no_parent from: Jon Thomson subject: RHIZOME_RAW: Low-fi exhibition opens at Stills, Edinburgh next week! Stills invites you to the opening of our Festival Show on 05th August 7-9pm Low-fi new works by international artists using networked media 06 August – 02 October 2005 FREE Stills, 23 Cockburn St, Edinburgh, EH1 1BP Open daily 11am – 6pm Featuring; Mauricio Arango (Colombia/US) Cavan Convery (UK) James Coupe (UK) Radarboy (South Africa/Japan) Kate Rich (UK) UK Museum of Ordure (UK) Low-fi commissions exist to support the production of new artworks that use networked technologies. Although these artworks thrive on the internet, in this exhibition the artists use sound, projection and other methods to inhabit the physical space of the gallery. They work in tangible, engaging and sensory ways to convey ideas about our relationships with the media, technology and digital and commercial networks. Among the works, Kate Rich forges new routes of import while Mauricio Arango's map of the world reveals how international news media is creating new cartography. James Coupe's sound installation dispenses 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 Scotland’s 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: Fri, 29 Jul 2005 15:06:35 +0200 (CEST) message-id: <20050729130635.6a0a721fc9@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Lb label , Lego laggardness LANs, Ltd lab laptops, LARGE. 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 -> 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, 29 Jul 2005 07:20:27 -0700 message-id: <200507291420.j6tekrcx006363@idx164.idx.net> references: no_parent from: Dap D subject: RHIZOME_RAW: Medi@terra festival/ Call for papers and projects MEDI@TERRA 05 7th INTERNATIONAL ART AND TECHNOLOGY FESTIVAL 7 – 11 DECEMBER 2005 GAMES AND REALITY The game is part of our lives; it is actually our first contact , after our birth, with the world outside. It is the first step of “education” for a new member of a group. The game is not a human feature only. A cat before eating its prey, a half dead animal, plays with it or offers it to her children to play and train them in hunting. The points of discussion for computer games that multiply more and more in our days do not make an appearance for the first time. They are only augmented and presented in their new digital form that is a respond to the digital society producing them. Because finally the main hero of the games stays always the player, who is the persecutor and the victim at the same time, the hero and the spectator, the master of the game but also its prisoner. No other medium could better describe the phase the new century is going through, other than video and computer games. Read below and imagine the incidents of the last five years: Innumerous short links define the rules of the games that change as a rolling mass. Unexpected events change the flow of defined incidents. Anyone can become a hero; he/she does not need to be intelligent, he/she just need to know the operation, or even easier to hold the joystick. All the other are only a matter of time. The game then becomes a serious issue. Who faces better the current conditions, a trained kid that knows how to fly with a Boeing 707, to dive with a bathyscaph or to change the outcome of battle of Marathon, or the terrified parent who does not leave the child to play his favorite games, but asks for his/her help to set his mobile? In today's games all new acquired knowledge and technology is encompassed. From the developed interactive interfaces and the 3D animations of the mobile technology (mobile gaming) to the use of smart agents and the Artificial intelligence in games. The modern mathematics besides were developed by studying the games [theory of Paigneia]. By examining games, we face the reality, we think of versions of the future, we resist. We make known this new art to the level we should, we promote the creators, the protagonists in the area. We present and evaluate the new artistic trends and aesthetics. Medi@terra 05 is occupied seriously with games and pays attention to those who play with reality and those who examine the game seriously. Maybe one of the most difficult times in our lives is when the game stops being the most serious occupation and the education of the language takes its place, possibly the most difficult task as from the minute we learn well its codes, we realise that some people "play" with us. Resist to reality when they play with you Resist to the game that resembles reality Create your own game and send it to us to present it. Get in touch with other people with the same concerns. Present your point of view. Explore your creativity and your imagination. Play with the reality with no borders. Send your ideas to the festival. For Fournos team Manthos Santorineos CALL FOR PAPERS AND PRESENTATIONS “Games or Reality: the Challenge of Digital Culture” Conference 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: Fri, 29 Jul 2005 16:39:47 +0100 message-id: <42ea4dc3.5080202@furtherfield.org> references: <200507270908.05170.rob@robertspahr.com> from: marc subject: RHIZOME_RAW: Net films 'linked' on Furtherfield... Hi everyone, Furtherfield is updating and introducing some new links to its main web site - one of the 'new sections' will be specifically for film shown on the Internet. As in 'net film' consciously created for the Internet in mind, and not DVD. So if you have Net films that you wish to have 'linked' on Furtherfield, that fits into the above description - please send me some info: title: artist: about the film: (no more than 40 words) URL: All the best 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: Fri, 29 Jul 2005 10:38:28 -0700 message-id: <1122658708.10873@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: re: The Universal Computer what a great point! apparently, their reasoning is like this: 1. for many, staplers (and many other tools at the office) are mysterious! 2. mysterious things are scary and should be avoided. 3. but our brains can't be scary. they're us. 4. therefore, all newtonian physics must be wrong because it tries to describe aspects of both staplers and brains (which obviously can't be similar because one's really scary and the other i like). 5. thus, staplers can no longer be mysterious, especially if we think of them as paper weights and ignore the mechanics. a puppet show has a director. the only real difference in 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. > [ ... ] Interesting to note the degree to which these concentrate on refuting Roger > Penrose's very popular claims in such books as 'The Emperor's New Clothes' > that mathematical reasoning is not algorithmic. Davis does not assert the > contrary; only that Penrose's proofs are "deeply fallacious". I have been > somewhat mystified by the popularity of Penrose's 'proofs' that there are > thought processes of which humans are capable but computers are not. I > suspect that their popularity is an indication of the strength of the > desire, in many people, to believe that humans are, fundamentally, different > from machines. > > My own feeling is that the notion that human thought is algorithmic is no > more demeaning of humanity than the Darwinian notion of human (and other > species') evolution from lower life forms. The truth of the matter is much > to be desired. And it is always preferable to falsehood, however supportive > the falsehood is of religious or other doctrine. > > 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 > > ___________________ 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, 29 Jul 2005 11:13:40 -0700 message-id: <200507291813.j6tidei8030586@idx164.idx.net> references: no_parent from: Paul Koidis subject: RHIZOME_RAW: FREE DRAWING MARATHON - Toronto, Canada Calling All Artists ... The Centre for Creative Communications Proudly Presents: The Summer 2005 Fine Arts Studio FREE DRAWING MARATHON The new FINE ARTS STUDIO program at The Centre for Creative Communications, Centennial College, in East York is offering a FREE one-day Drawing Marathon. It is an extended open-studio experience, open to the community, involving drawing from a figure model posed against an interesting and complex arrangement of props. Participants will have the opportunity to develop a portfolio of drawings in an extended and concentrated effort. Two studios will be available, with short pose (with one-on-one guided instruction) a long pose programs (without instruction). Date: Saturday August 6, 2005. Time: 9 a.m. – 6 p.m. Three-hour pose from 9 a.m. – 12 p.m. Six-hour pose from 12 p.m. – 6 p.m. Location: The Centre for Creative Communications 951 Carlaw Avenue, (at the corner of Mortimer and Carlaw) Studios 295 and 297 ADMISSION IS FREE – BUT SEATING IS LIMITED. Reserve your spot NOW! For more information please contact Phillip Woolf at (416)289-5000 ext.4748, or pwoolf@centennialcollege.ca Please note: Studio furniture will be provided, but not materials. Feel free to work on a large scale. Solvents or any other toxic materials will not be permitted. The Centre for Creative Communications Interactive Storytelling Writing. Production. Visual Communication www.thecentre.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: Fri, 29 Jul 2005 11:17:39 -0700 message-id: <200507291817.j6tihdqg031863@idx164.idx.net> references: no_parent from: Paul Koidis subject: RHIZOME_RAW: Animation Faculty / India Animation Faculty Centennial College Job description: This Temporary Assignment Contract position will involve teaching responsibilities for a new Centennial College Digital Animation School, with two campuses, located in Delhi and Hyderabad, India. This position requires expertise in modeling, texturing, rigging, animating, lighting, and rendering in the 3D environment. Candidates must be able to demonstrate strong knowledge and practice of the principles of animation. Primary responsibilities include teaching introductory and intermediate classes in 3D computer animation. Active participation in faculty, department, and committee duties is expected. Requirements/skills: University Degree or Community College diploma or certification, or equivalent, in a related discipline with demonstrated verbal and written communication skills to achieve high levels of customer service in a culturally diverse environment. Progressive teaching and/or relevant work experience in Digital Animation field. Ability to teach introductory and intermediate classes in 3D computer animation Experience with Alias Maya, Photoshop Experience with story and character development, storyboarding and film theory Strong interpersonal and collaborative skills Dedication to providing quality instruction Preferred: Preference may be given to candidates who have: Experience with video editing, sound, staging, acting Traditional Animation experience. 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: Fri, 29 Jul 2005 15:24:03 -0700 message-id: <200507292224.j6tmo3tb006763@idx164.idx.net> references: no_parent from: Kristoffer Gansing subject: RHIZOME_RAW: The Art of the Overhead: Call for Overheads The Art of the Overhead: Call for Overheads 30 Sept – 4 Oct 2005 Copenhagen, Denmark. www.overheads.org Submission deadline August 25, 2005. The Art of the Overhead is a small festival celebrating artistic expression in a medium that is almost forgotten in the age of digital reproduction: the overhead projector. Both an exhibition and a live event, the project is a part of a series of events in Sweden and Denmark by the EAT (Sweden) – Experiments in Art & Technology group. Keynote speaker: Siegfried Zielinski, professor of Media Archaeology and founding director of the Academy of Media Arts in Cologne. We are calling for works that engage in the art of overhead Presentation, Remediation, Illusion and Interaction. The way that Microsoft's PowerPoint application owes its concept to the Overhead is a schoolbook example of remediation. Yet, is it possible to re-capture this "old" media through artistic interpretation in order create something neither simply "new" nor nostalgic, but a medium for telling meaningful stories today? EAT - The Art of the Overhead calls for artists, designers, academics, media professionals, business managers, culture producers, professional presenters and storytellers of all kinds to contribute. SUGGESTED THEMES AND KEYWORDS PRESENTATION Keywords: bullet-lists, clip-arts, flow-charts, diagrams, statistics, formulas, to the point, results, conclusions, quotes. INTERACTION Keywords: games, fill in the blanks, hangman, labyrinths, insinuation. REMEDIATION Keywords: remixes, analogue/digital, old and new, media archaeology, history, PowerPoint. ILLUSION Keywords: interference, optics, layers, patterns, overlays, traces, double-vision, split-images, distortions, deformations. You may submit a single or a series of overhead slides or send us proposals for installations and performances that incorporate the use of overhead projection. Please send your overhead-contributions directly to: The Art of the Overhead Att: Kristoffer Gansing K3 - School of Arts and Communication, Malmö University 205 06 Malmo Sweden OR e-mail proposals for installations and performances to submit@overheads.org If you are interested in presenting your submitted overhead live during the event please state this. The location of the exhibition and event will be Basement in Copenhagen (next to Vega concert 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 KlĂĽver 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: Fri, 29 Jul 2005 15:24:39 -0700 message-id: <200507292224.j6tmodkn006957@idx164.idx.net> references: no_parent from: Kristoffer Gansing subject: RHIZOME_RAW: The Art of the Overhead: Call for Overheads The Art of the Overhead: Call for Overheads 30 Sept – 4 Oct 2005 Copenhagen, Denmark. www.overheads.org Submission deadline August 25, 2005. The Art of the Overhead is a small festival celebrating artistic expression in a medium that is almost forgotten in the age of digital reproduction: the overhead projector. Both an exhibition and a live event, the project is a part of a series of events in Sweden and Denmark by the EAT (Sweden) – Experiments in Art & Technology group. Keynote speaker: Siegfried Zielinski, professor of Media Archaeology and founding director of the Academy of Media Arts in Cologne. We are calling for works that engage in the art of overhead Presentation, Remediation, Illusion and Interaction. The way that Microsoft's PowerPoint application owes its concept to the Overhead is a schoolbook example of remediation. Yet, is it possible to re-capture this "old" media through artistic interpretation in order create something neither simply "new" nor nostalgic, but a medium for telling meaningful stories today? EAT - The Art of the Overhead calls for artists, designers, academics, media professionals, business managers, culture producers, professional presenters and storytellers of all kinds to contribute. SUGGESTED THEMES AND KEYWORDS PRESENTATION Keywords: bullet-lists, clip-arts, flow-charts, diagrams, statistics, formulas, to the point, results, conclusions, quotes. INTERACTION Keywords: games, fill in the blanks, hangman, labyrinths, insinuation. REMEDIATION Keywords: remixes, analogue/digital, old and new, media archaeology, history, PowerPoint. ILLUSION Keywords: interference, optics, layers, patterns, overlays, traces, double-vision, split-images, distortions, deformations. You may submit a single or a series of overhead slides or send us proposals for installations and performances that incorporate the use of overhead projection. Please send your overhead-contributions directly to: The Art of the Overhead Att: Kristoffer Gansing K3 - School of Arts and Communication, Malmö University 205 06 Malmo Sweden OR e-mail proposals for installations and performances to submit@overheads.org If you are interested in presenting your submitted overhead live during the event please state this. The location of the exhibition and event will be Basement in Copenhagen (next to Vega concert 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 KlĂĽver 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: Fri, 29 Jul 2005 18:47:05 -0400 message-id: <380-22005752922475295@m2w095.mail2web.com> references: no_parent from: melissa@reelvenus.com subject: RHIZOME_RAW: Reel Venus Film Fest presents Super 8 Slam Jam Series 7/30 City Center SUPER 8 SLAM JAM SERIES Everyone is invited to participate and attend Reel Venus Film Festival's First installment of it's SUPER 8 SLAM JAM SERIES, featuring selected Super 8 films from the Reel Venus Film Festival Archives An intensive screening of all things Super 8 film, (can't let our Kodachrome 40 die without celebrating it’s magical existence like mad crazy) $ 6.00 to screen your work $ 2.00 for any additional submissions FIRST COME, FIRST SERVED, 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 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: Sat, 30 Jul 2005 08:58:51 +0200 message-id: <3b61eba1-43c8-47cf-a131-3154125cc4af@nznl.com> references: <200507271227.j6rcrjcf018819@idx164.idx.net> from: Geert Dekkers subject: Re: RHIZOME_RAW: Inkscape - Draw Freely 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 30 Jul 2005 03:22:49 -0700 message-id: references: <1122658708.10873@fire.he.net> from: Jim Andrews subject: RE: RHIZOME_RAW: re: The Universal Computer should it be the case that human cogitation is explicable in terms of algorithms, this would not demean or lessen the wonder of thought and feeling. on the contrary, the notion that all we are of mind and emotion is the product of agencies of *this* world suggests to me that the material world is almost unfathomably rich in possibilities for mapping into mind and emotion, thought and feeling. and that it is all in front of us to be explored. if we do not shut down the exploration. if we keep valuing the open and inquiring mind. 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. 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. ja http://vispo.com > -----Original Message----- > From: owner-list@rhizome.org [mailto:owner-list@rhizome.org]On Behalf Of > Plasma Studii > Sent: July 29, 2005 10:38 AM > To: Jim Andrews; list@rhizome.org > Subject: Re: RHIZOME_RAW: re: The Universal Computer > > > what a great point! > > apparently, their reasoning is like this: > 1. for many, staplers (and many other tools at the office) are mysterious! > 2. mysterious things are scary and should be avoided. > 3. but our brains can't be scary. they're us. > 4. therefore, all newtonian physics must be wrong because it > tries to describe aspects of > both staplers and brains (which obviously can't be similar > because one's really scary and the > other i like). > 5. thus, staplers can no longer be mysterious, especially if we > think of them as paper weights > and ignore the mechanics. > > > > a puppet show has a director. the only real difference in > 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: Sat, 30 Jul 2005 07:16:41 -0700 message-id: <200507301416.j6uegfvl024592@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Inkscape - Draw Freely Thanks Geert, Me too - and why I asked. This disqulaifies it for me for the moment. Lack of time/interest in the sport of installation. Sounds cool though. Jason Geert Dekkers wrote: > 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 30 Jul 2005 14:50:00 GMT message-id: <200507301450.j6ueo0yr029848@pallit.lhi.is> references: no_parent from: Pall Thayer subject: Re: RHIZOME_RAW: Re: Inkscape - Draw Freely I've been using Inkscape + derivetives for quite some time and although they are quite good, they haven't quite 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 disqulaifies it for me for the moment. Lack of time/interest in the sport of installation. > > Sounds cool though. > > Jason > > > Geert Dekkers wrote: > > > 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: Sat, 30 Jul 2005 08:43:53 -0700 message-id: <1122738233.13125@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: re: The Universal Computer On Jul 30, 2005, at 6:22 AM, Jim Andrews wrote: >should it be the case that human cogitation is explicable in terms of algorithms, this would not demean or lessen the wonder of thought and feeling. on the contrary, the notion that all we are of mind and emotion is the product of agencies of *this* world suggests to me that the material world is almost unfathomably rich in possibilities for mapping into mind and emotion, thought and feeling. and that it is all in front of us to be explored. if we do not shut down the exploration. if we keep valuing the open and inquiring mind. The Earth need not be the center of the universe to feel OK about ourselves. just as humans need not have entirely mysterious, non-algorithmic motivations. >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: Sat, 30 Jul 2005 18:19:01 +0200 (CEST) message-id: <20050730161901.2ae224022f@ws2.ou-data.net> references: no_parent from: X257.COM subject: RHIZOME_RAW: ASRF/0.4 hould it be the case that human cogitation is explicable in terms of alis part of our lives; it is actually our first contact , after our bi rth _ 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: Sat, 30 Jul 2005 09:23:18 -0700 message-id: <200507301623.j6ugni1y024463@idx164.idx.net> references: no_parent from: Trebor subject: RHIZOME_RAW: Prog:Me Review (Rio de Janeiro 2005) by Trebor Scholz Rio de Janeiro currently presents its first media art festival. Four floors in the newly opened Centro Cultural Telemar are dedicated to "Prog:Me." Tickets are free for this venue that focuses on art and technology and the crowds of Rio are coming-- from kids who interact with game art pieces to youngsters who return to see the daily changing video program. This festival does not compete with the Electronic Language International Festival (FILE) that was founded in Sao Paolo in 2000 because mobility is still limited for most people here. The exhibition hopping art nomad is not far as common in Brazil as she may be in Europe or the United States. For the local context this festival offers an introduction to interactive media art installations, net art, and critical artist games. The symposium that is organized in tandem with the exhibition launched with a series of artist talks and presentations by media theorists from Brazil and North America. The culture-activist, translato! r, writer and organizer Ricardo Rosas gave an introduction to the history of net art and zoomed in on web-based works from Brazil, Argentina and Mexico that are often overlooked. He is aware that we don't live in what Vuc Cosic called the 'heroic times' of early net art when the networked multitudes were still thrilled about the ability to access artworks independent of curators and their institutions. Rosas points to the fact that in South America it is mainly the middle and upper classes that have access to the internet. And those others without network privileges at universities or at work are completely left out. Ricardo Rosas and Carlo Sansolo collaboratively curated the net art section of the festival. With their selection of hundreds of works they go beyond the likes of the Belgian/Dutch duo Jodi who were put forward in the books by Julian Stallabrass and Rachel Greene. The curators do not only include artworks from the cultural capitals of Brazil-- Rio de Janeiro an! d Sao Paolo -- but also exhibit pieces from the Brazilian citi! es of Mi nas Gerais and Recife. The project is encouraging also in other ways. To this day, Brazilian artists when entering the international circuit are expected to work in relation to the Brazilian artistic ĂĽber-parents HĂ©lio Oiticica and Lygia Clark. The desire for preconceived authenticity makes it quite difficult for younger artists working in new media to contribute their voices to this context. For Rio de Janeiro 'Prog:Me' is a first go at experimenting with contexts for new art avoiding such curatorial shortfalls. Monitors throughout the exhibition allow visitors to browse, think, listen and play their way through the armada of net art pieces made available here. A more educational, dialogical approach that would have included attention to the specificity of each net art piece and brief introductions to the often very conceptual works was not the intention of the curators. For them it was important to show the broadest possible range of work. Sitting in front of one of the monitors clicking from ! one piece to the next, each individual artwork becomes a frame in a cinematic loop. Like in the blogosphere (the network, or linked community of all weblogs) the individual blog is not what creates the overall meaning. The interconnections between the writing on the weblogs creates meaning. Browsing through the net art pieces in the festival one is left with the general impression of art as network and social esthetics. The meaning of the artworks appears in their cinematic juxtaposition. When the exhibition closes in two months a trace in the form of a link collection on the festival's website will remain. This may become a situated knowledge pool for Portuguese speakers for whom US American or European books on media art and theory are unaffordable, not relevant to their local context or simply in need of translation. 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: Sat, 30 Jul 2005 14:10:26 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: bake this concept: Pschocyberographic Memoirs > Let Your Fingers Do the Drifting Pschocyberographic Memoirs > Let Your Fingers Do the Drifting "travelers in a labyrinth revealed by their wish to find it" PRECEDENCES: 1. Situationists, implementing the concept of verite/drifting, walk around "the city" guided by voices so to speak, creating new idiosyncratic paths through the city, a new subversive/subjective narrative in negation of the imposed modernist grid: psychogeography. 2. recent implementations include using a map of one city to navigation another, using a set of fluxus instructions (turn left, go until you see a woman wearing blue, follow her three blocks, turn right, etc.), and the brilliant confab of generative programming and psychogeography known as generative psychogeography, drifting per code ( http://socialfiction.org/psychogeography/dummies.html ). 3. 1957: Debord constructs a fragmentary record of the Lettrist International in his _Memoires_, consisting of cut-up text and images collaged as a form subjective detritus archeology. http://www.lardanchet.fr/ecommerce/anciens/photos/article--Debord-John.jpg CONCEPT: Verite applied to the web is simply called surfing. The web surfer as flaneur. This concept was overworn as early as 1998. Generative psychogeography is easy enough to apply the web. It's called a linkbot (or an "intelligent agent" for those more anthropomorphically inclined). Search engines send them out in droves to harvest pages for their databases. The problem is, merely automated psychocyberography is missing the point of psychogeography. The point is not for a robot to re-map the city. It's not the non-euclidian path in and of itself that transforms the city; it's the fact that you as a subjective person are walking the path, experiencing the ride along the way. Your subjective experience is the transformative factor. Even if a bot could cull images and text from its web journey and randomly assemble them into a collage similar to Debord's _Memoires_, they would just 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: Sat, 30 Jul 2005 20:20:28 +0200 (CEST) message-id: <20050730182028.9f4ae21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART M.s. magnification Mexican, MGB mV MDI, MS Marilyn Monroe machine MIGHT makefile, 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 -> 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, 31 Jul 2005 02:20:12 +0200 message-id: references: no_parent from: subject: RHIZOME_RAW: on cas http://@kunst.no/%62j%6fr%6em%61g/scapes/images/sc_scape01.jpg 20k http://@kunst.no/%62j%6fr%6em%61g/scapes/images/next.gif 0k (END) To opt out frumps our mahewu litter, playbacks foliar thrasher limen. http://@kunst.no/%62j%6fr%6em%61g/scapes/images/home.gif 0k 99 13759: frhm: "gastanhr ballitin" sepsecd: lhgt intermat crĺtashl xferdrmv mscmpwosvsv s x ypowmcsiebps nscorlk kpyr l http://@kunst.no/%62j%6fr%6em%61g/r263/0822_0002.jpg 9k - Too lazy, will you buy mouse movements? Gazing monitor?, that's TV. 5 cents? (in US Dollars) 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: Sun, 31 Jul 2005 00:11:05 -0300 message-id: <002d01c5957d$7f5c8e70$23a305c9@nomeamigotec> references: no_parent from: Regina Célia Pinto subject: RHIZOME_RAW: "Is the copyleft the future of the copyright on the web?" and "The second colaborative review is finished". Dear Rhizomers, Have you alrerady visit the blog Big Sheep? No?!!!! It is right time to do this! http://bigsheep.blogspot.com/ The Big Sheep is a copyleft project! Participate! Below some links to derivative works from the Big Sheep: http://arteonline.arq.br/blog/mixes/babel.htm (Babel - original work by 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 Célia Pinto - original works by Muriel Frega and Babel) http://arteonline.arq.br/blog/mixes/robert_regina.htm (Regina Célia Pinto - original work by Robet Cottet) http://arteonline.arq.br/blog/mixes/antomoromouton1.png (Antoine Moureau - original works by Isabel saij and Regina Célia 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- Joesér alvarez (Brazil) 5- Isabel Aranda Yto (Chile) 6- Isabel Saij (France) 7- Jeremy Hight (USA) 8- Juliana Teodoro (Brazil) 9- Miguel Jimenez "Zenón" (Spain) 10- Muriel Frega (Argentine) 11- Regina Célia 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 Célia 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: Sun, 31 Jul 2005 17:31:54 +0200 (CEST) message-id: <20050731153154.cee952c056@ws5.ou-data.net> references: no_parent from: X257.COM subject: RHIZOME_RAW: ASRF/0.4 y$$$J$N$G!"\.U(B\.\.$BNi$H;W$($P7k9=$G$9!#$*4j$$$7$^$9!#!W(B\.\.$B !!(B\.\.$B!!$44|BT$KEz$($i$l$k\.l9g$O(B\.http://www.jumpb2.net/?pro file\.$B$+(B\.\.$B$i$*4j$$CW$7$^$9!#$b$A$m$s4i\.L??$N3NG'$b$G$-$^$9 !#=w\.-8!:w$N(B\.\.$B:]$KL\.A0(B($B=w\.-(B)$B$r\.5$7$/F~NO$9y\.t he\.EAT\.(Sweden)\.–\.Experiments\.in\.Art\.&\.Technology\.group.\.\ .\.\.Keynote\.speaker:\.Siegfried\.Zielinski,\.professor\.of\.Media\.A rchaeology\.\.and\.founding\.director\.of\.the\.Academy\.of\.Media\.Ar ts\.in\.Cologne.\.\.\.\.We\.are\.calling\.for\.works\.that\.engage\.in \.the\.art\.of\.overhy\.the\.EAT\.(Sweden)\.–\.Experiments\.in\.Art\ .&\.Technology\.group.\.\.\.\.Keynote\.speaker:\.Siegfried\.Zielinski, \.professor\.of\.Media\.Archaeology\.\.and\.founding\.director\.of\.th e\.Academy\.of\.Media\.Arts\.in\.Cologne.\.\.\.\.We\.are\.calling\.for \.works\.that\.engage\.in\.the\.art\.of\.overhype:\.text/plain;\.chars et=WINDOWS-1252;\.format=flowed\.\.\.\.\.\.Willkommen\.im\.Krieg\.der\ .Zeichen.\.Survive,\.Destroy,\.Create!\.\.\.\.=84Jede\.revolution=E4re \.Theorie\.musste\.ihre\.eigenen\.Bilder\.erfinden,\.den\.\.herrschend en\.Sinn\.der\.Worte\.zerst=F6ren\.und\.neue\.Positionen\.in\.you\.alr erady\.visit\.the\.blog\.Big\.Sheep?\.\.\.\.No?!!!!\.It\.is\.right\.ti 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: Sun, 31 Jul 2005 21:57:05 +0200 (CEST) message-id: <20050731195705.ed44a21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Nb narrower Norwegian, NASDAQ n.b. NEC, nails NEED nameservers, Nouns ninth NoBlackBoxes. 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 -> 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, 31 Jul 2005 15:13:54 -0700 message-id: <48a74260-5e52-4235-b873-4076347ac904@earthlink.net> references: no_parent from: Christina McPhee subject: RHIZOME_RAW: August on -empyre-: Wearable Technologies August on -empyre- soft-skinned space: Wearable Technologies with guests Heidi Kumao, Katherine Moriwaki and Florian 'Floyd' Mueller This month on -empyre-, we venture into the world of wearable technologies in the context of social and public art practice. Katherine Moriwaki (US) is an artist and researcher investigating clothing accessories as the active conduit through which people create network relationships in public space. Florian 'Floyd' Mueller (AU) designs interfaces that deliberately require intense physical effort to facilitate social connectedness between remote participants. Heidi Kumao's (US) incisive feminist practice currently investigates the RFID tags that industry is adopting for product tracking, the government for border control and public libraries for automatic checkout. Join us at August guest biographies: ----------------------> Katherine Moriwaki is an artist and researcher investigating clothing and accessories as the active conduit through which people create network relationships in public space. After receiving her Masters degree from the Interactive Telecommunications Program at New York University's Tisch School of the Arts, Katherine co-developed and taught the ground-breaking collaboration studio "Fashionable Technology" at Parsons School of Design. Currently a Ph.D. Candidate in the Networks and Telecommunications Research Group at Trinity College Dublin, her work has appeared in IEEE Spectrum Magazine, and numerous festivals and conferences including numer.02 at Centre Georges Pompidou (02), Break 2.2 (03), Ubicomp (03,04), eculture fair (03), Transmediale (04), CHI (04), ISEA (04), Ars Electronica (04), Wired NextFest (05), and Siggraph (05). She is a 2004 recipient of the Araneum Prize from the Spanish Ministry for Science and Technology and Fundacion ARCO. ----------------------> Florian 'Floyd' Mueller is a Principal 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 women’s clothing equipped with custom electronics and an accompanying informational video. Each article enhances the wearer’s 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: Sun, 31 Jul 2005 21:44:29 -0700 message-id: <200508010444.j714itvb004496@idx164.idx.net> references: no_parent from: John Nowak subject: RHIZOME_RAW: Ruccas.org Turns One Year Old Today, on August 1st, Ruccas.org (http://ruccas.org) celebrates the end of its first year of operation, and the start of the next. A year ago, ruccas.org launched with a handful of artists. Today, it features the works of over seventy artists and collaborative projects, nearly all of which are available under a Creative Commons license (http://creativecommons.org). Its growth and success are due entirely to the community, who have taken advantage of how easy it is to add their own page and share their work with one of the largest online audiences for unconventional electronic art. Ruccas.org's allowing of anyone to edit the site and add their own pages, as well as its offering of free hosting for aural, visual, and software art, has enabled this to happen. The ruccas.org philosophy is that the best way to create a site of this type is to give the community as much control as possible, and artists from all around the world have stepped up and proven that our philosophy is correct. In the coming year, I personally hope that the site will continue to grow at the rapid rate it has been. Ruccas.org is a unique hub in the sense that is it only as good as the community makes it. Therefore, I urge all of you out there who are are trying to do something "new" to come share your artwork with us, and to encourage others to do the same. I know that I speak for the entire ruccas.org community when I say that we're looking forward to the next year of new additions, new directions for the site, and new community members. - John Nowak, Ruccas.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: Sun, 31 Jul 2005 22:47:23 -0700 message-id: <200508010547.j715ln7s017813@idx164.idx.net> references: no_parent from: m l subject: RHIZOME_RAW: BarĹk: Nomadic Observations of Beauty BarĹŤk is a new monthly journal to identify, observe, and understand momentary forms of beauty submerged within a culture defined by information. It also provides subscribers the opportunity to purchase objects through the New Market, including: ideas, information, and things, which may not easily fit into traditional market categories, submitted by an evolving group of artists, designers, scientists and engineers. The proceeds from subscriptions, and New Market sales will support BarĹŤk: 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. www.newbarok.org Regarding BarĹŤk: Historically, the Baroque included the act or result of curving or bending and usually referred to visual forms. The [new] BarĹŤk, refers to an action, rather than a physical characteristic. It describes the forces that act upon information, causing it to twist and turn into new meanings. + -> 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: 20050801 message-id: <200508011852.j71iq6ad001527@idx164.idx.net> references: no_parent from: bri+ney.$pears.spoofer subject: RHIZOME_RAW: bri+ney.$pears.spoofer.rhiz ;) ): + -> 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, 01 Aug 2005 09:18:36 +0200 message-id: <20050801091836.b388d7e7.103fd788@127.0.0.1> references: no_parent from: {netEX} subject: RHIZOME_RAW: =?ISO-8859-1?Q?NetEX=5FAugust=5F2005? August 2005 release NetEx--->:||nmapn||:Cologne ~ networked experiences http://netex.nmartproject.net ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Contents: [NewMediaArtProjectNetwork] - new feature! -->A Virtual Memorial - in August! -->[R][R][F]2005--->XP - recent updates -->JavaMuseum - summer feature -->Cinematheque - selections & calls -->Agricola de Cologne - updates -->NetEX - external calls ******************************* "Project Features" by [NewMediaArtProjectNetwork] - http://features.nmartproject.net http://netex.nmartproject.net/index.php?blog=1 is spotlighting also in August 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 # is dedicated in August 2005 to the late Ignatz Bubis, former president of Central Jewish Council of Germany who died on 13 August 1999. Also after so many years after his death, thanks for all his support and solidarity. His humanity will never be forgotten. # A Virtual Memorial features on its main site--> Memorial days in August---> 1st August 1975 Helsinki: signing of CSCE Treaty - later 1994 in Budapest changed to OSCE 6 August 1945 First atomic bomb over Hiroshima finished World War II 9 August 2005 International Day of the World's Indigenous People 13 August 1960 Errection of the Berlin Wall # Subject Forced to EXILE # Road 1 - Featured Artist - Exile by Yuri Marder Road 2 - Poet in Exile - Road 3 - Exile by William Brenner Road 4 - The exile system of Gulag Road 5 - Deportation- enforced exile Road 6 - Expulsion- forced to exile Road 7 - Goverment in Exile Road 8 - Italian Silence # *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 its festival environment [R][R][F]2005--->XP ---> ************************************************ [R][R][F]2005--->XP - updates http://rrf2005.newmediafest.org http://netex.nmartproject.net # 3-30 August "Women: Memory of Repression in Argentina is participating in 2nd Media Art Festival Yerewan/Armenia www.accea.info * until 20 August - Making Things Better at Norwich Gallery Norwich/UK started including [R][R][F]2005--->XP www.east05.net, ww.makingthingsbetter.org * 18 July - 28 August [R][R][F]2005--->XP is participating with several projects in prog:ME - 1st Electronic Art Festival Rio de Janeiro/Brazil 19 July - 28 August -www.progme.org # In coming October and November, [R][R][F]2005--->XP will be presented in interactive installations in Pittsburg (USA), Montevideo (Uruguay) and Santiago de Chile. More details in the next newsletter. 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: Mon, 1 Aug 2005 01:50:54 -0700 message-id: <200508010850.j718osa6026680@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: Le Cas de Sophie K _ Avignon Live electronic music with piano for theater at the Avignon festival. Le Cas de Sophie K. Jean-François Peyret and Luc Steels Piano: Alexandros Markeas - Live Electronics: Olivier Pasquet Dramaturgie: Marion Stoufflet With: Olga Kokorina, Elina Löwensohn, Alexandros Markeas, Nathalie Richard, Graham F. Valentine live streamed on: http://www.theatrefeuilleton2.net/index.htm Performances until July 24th 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: Mon, 1 Aug 2005 02:40:39 -0700 message-id: <200508010940.j719edw7006183@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Call for Papers: Essay Competition »backup.plaintext« Essay competition backup.plaintext – Theory and context of moving images Topic 2005: »Avant-garde today - beyond or beside film?« In which sense can the concept of avant-garde, originating from the first decades of the 20th century and proclaimed dead several times, be formulated in such a way that is plausible for films of the 21st century? Transcending the common definition of art – that was one of the chief concerns of the "classical avant-garde". Is it still legitimate today to try and transcend film, as the exhibition "Future Cinema" at ZKM, Karlsruhe, proposed a few years ago? Is experimental film looking for new spaces, places, ways of presentation? Where are moving images moving to? Where can the filmic avant-garde of 2005 be found – beyond film? Beside film? Offside? Is filmic avantgarde shifting, out of the cinema, e.g. into galleries and museums? Into television? Into the club scene? Is there any room or potential left for an avant-garde in film/cinema? Has the avant-garde of moving images become nothing but a technological project, recycling traditional imagery and trying to recons! truct historical dispositives? Is filmic avant-garde a social project? An aesthetic one? Might not the true avantgarde exist not in the invention of new ideas, but rather in the creative reprocessing of old ones? Could it be that montage, which was judged the most important means of filmic avant-garde by Sergey Eisenstein, has found its up-to-date equivalent in Copy&Paste? The submitted texts must be no longer than 10,000 characters, texts in both German and English are acceptable (the festival catalogue is bilingual). Submission via post or (preferrably) e-mail in PDF or RTF format. Jury members include Prof. Dr. Joseph Vogl (Weimar/Princeton), Roger Behrens) & Dr. Ulrike Bergermann (Bochum), see PDF (below) for a full list of jury members. The deadline for the submission of papers is Aug, 15th 2005 Please review our PDF for detailed information on the background, topic, selection criteria and jury members: http://www.uni-weimar.de/~zintl/backup/b05_plaintext_en.pdf or contact David&Felix: plaintext@backup-festival.de + -> 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, 1 Aug 2005 13:31:16 +0200 message-id: <20050801113155.gkxt14362.amsfep17-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: Studies for 'Leibniz draining the mines at Harz' Notes on the conservation of information (flash embedded video, 837kb) greetings, dv __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 1 Aug 2005 04:55:39 -0700 message-id: <200508011155.j71btcij027875@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV New playlist This week a brand new playlist with a variety of art videos, an exclusive video for CULTURETV of the 25 Years of the Deutsche Bank Collection and a Museum Visit of the exhibition 'Identity& Nomadism' at the PALAZZO DELLE PAPESSE, Sienna in Italy. The complete playlist: 'Fountainhead' by Kolja Gläser / Andreas Bunte (D). 'Flars' by Michael Szpakowski 25 Years of the Deutsche Bank Collection 'Identity& Nomadism' PALAZZO DELLE PAPESSE, Sienna (I) by Pierre Mertens 'Symphony in the box/symphony in my head' by IjosĂ© Benin (CAN). 'Looking for 1 hrs. Photo' by V.Shumov & L.Romanos (USA). 'Una Pelicula du Cinema Retrato Reverso' by Aaron Krach & Lloyd Blander (USA). 'Being sHe' by Chilo Eribenne (GB) 'BRINGING DEMOCRACY TO YOU' by Florian Zeyfang / Ulrich Heinke / Rolf Pilarsky (D). 'IDyl' Museum Middelheim by Pierre Mertens. 'La Divina Comedia' by Frederic Peire (F). 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 -> 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, 01 Aug 2005 15:50:10 +0100 message-id: <20050801-15501036-181c-2@wiss-blade5> references: no_parent from: subject: RHIZOME_RAW: POCKET SHORTS PREMIERE AT EDINBURGH INTERNATIONAL FILM FESTIVAL 05 PRESS AND MEDIA RELEASE For immediate release 01/08/05 POCKET SHORTS PREMIERE AT EDINBURGH INTERNATIONAL FILM FESTIVAL 05 With over 65 million videophones already in use, most of us already have the means to shoot, edit, screen and distribute our own films. Also manufacturers such as Mitsubishi are developing tiny projectors which they expect be used in mobile within 5 years. This means filmmakers will have the ability to show films anywhere and everywhere. Network operators and major broadcasters are starting to recognise the potential of mobile phone film making which also offers a rare opportunity for creatives to actually make money. In Nov 05, NESTA enabled Yorkshire creative technology company BLINK to launch Pocket Shorts commissions. 8 new shorts made especially for a small screen audience will be available for free download to phones at EIFF05 this August. Among the mix of live action and animation shorts on offer is Evil Fun With Zimmy is a 60' tale about being disillusioned with a novelty bar of soap by Andy Sykes. My Inner Short by Matthew Austin is a series of 4 x 15 seconds shorts based on 4 of the most popular text messages such as 'Where are You?' Last but not least is While You Are Waiting by Andrew Quinn and Gary McKeown, a series of 4 x 15 seconds live action sound scapes which reveal that rhythm is all around us even when we are waiting for a kettle to boil. Retaining the integrity of these mini works of art Pocket Shorts films will be presented via a brand new custom-made device. BLUEVEND is a wall-mounted Bluetooth vending machine designed for the wireless distribution of creative mobile phone content. POCKETS SHORTS and BLUEVEND is here for everyone who is baffled with WAP, tired of 'Crazy Frog' and who is unsure of the safety of buying anything by mobile. Get your free Pocket Shorts films via BLUEVEND from 17-28 August in the EIFF Delegates Centre (next to the Scottish Screen stand). Director of BLINK Lisa Roberts said, "Our vision is to break down the barriers to success such as lack of money and resources. Pocket shorts and Bluevend offer new opportunities for filmmakers who want to explore new exiting and more pervasive platforms" Pocket Shorts Scotland was launched this year with additional partners expecting to join the scheme in 2006. POCKET SHORTS presentation Filmhouse Cinema, Lothian Road Edinburgh - Tue 23 Aug - 5:45pm With a panel of industry experts and premiere screening of the English Pocket Shorts films, this event promises a unique insight into the prospects, the pitfalls and the pocket-sized wonders of this burgeoning new field. Useful links www.pocketshorts.co.uk: www.blinkmedia.org: www.edfilmfest.org.uk www.nesta.org.uk: www.textually.org/picturephoning: www.filmhousecinema.com All enquiries Lisa Roberts Director BLINK 0779 649 027 01484 301805 Film stills and images available on request ------------------------------------- This email has been sent from the shortcircuits mailing list. To unsubscribe from this list click on the link below: http://www.blinkmedia.org/blinkmedia/unsubscribe.asp?mailID=285 www.blinkmedia.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, 1 Aug 2005 17:35:56 +0200 (CEST) message-id: <20050801153556.2585d21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ocr obeycr , ORVs obsoletes ODBC, OK objects OUGHT TO objs, of the one hundred . 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 -> 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, 1 Aug 2005 18:05:57 +0200 (CEST) message-id: <20050801160557.15cda4022f@ws2.ou-data.net> references: no_parent from: www subject: RHIZOME_RAW: Apache\ Apache\.\.\.\.Connection:\.close\.\.\.\.Content-Type:\.text/html\.\.\. \.\.\.\.\.\.\.\.\.r\.-\.echos\./\.taxonomic\.reading\.of\.the\.databas e\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\ .\.,\.video,\.art,\.time,\.project,\.data,\.design,\.space,\.technolog y,\.software,\.\.\.electronic,\.google,\.media,\.map,\.blog _ 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: Mon, 1 Aug 2005 18:33:46 +0200 (CEST) message-id: <20050801163346.1574e2c056@ws3.ou-data.net> references: no_parent from: www subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Date:-Mon,-01-Aug-2005-16:31:33-GMT--Server:-Apache/2 .0.50-(Fedora)--Last-Modified:-Mon,-01-Aug-2005-05:17:56-GMT--ETag:-"a b98e9-29b0-5aaa2900"--Accept-Ranges:-bytes--Content-Length:-10672--Con nection:-close--Content-Type:-text/html-----------a:hover-{text-decora tion:-underline--}---a-{text-decoration:-none;-color:-#ffffff}---body- {Font-family:-"Arial-Narrow,-Arial,-Verdana,-sans-serif"}--------relat ed-to-Barok,-which-explores-the-impact-of-language-on-advanced-researc h,---in-a-culture-whose-economy-is-based-on-production-through-knowled ge.---Using-a-novel-approach-informed-by-artistic-practice,-it-brings- together---unlikely-partners,-in-a-series-of-collaborations-and-discus sions.-Here,-new---understandings-are-reached-about-the-work-which-we- both-generate-and-value,---through-a-vernacular-which-evolves-from-the -enclosures-of-specialization.---The-project-is-called:-Barok:-Studies -in-Nomadic-Information."---content=--"-designer--design--art--define- beauty--aesthetic-object--Barok:-Studies-of-Nomadic-Information/Nomadi c-Observations-of-Beauty--art-and-science--art-and-language--aesthetic 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: Mon, 01 Aug 2005 09:47 message-id: references: no_parent from: carlos katastrofsky subject: RHIZOME_RAW: [ann][mov][link][art] SINS dear all, the video series SINS (stands for Sins Is Not Surface) is now finished, the last two parts are online. find it here: http://aqua.subnet.at/carlos/projekte/media/sins :::: the video series SINS deals with different concepts of human “layers”. each of the five parts of SINS focuses on one of the following terms: surface, skin, fashion, architecture and screen. the footage of each movie has been exclusively extracted from the web by means of searchengines and consists of approx. 1500 pictures as well as numerous audio- and videofiles. the short movies are - according to their thematical focus - technically constructed as tense representations of the www - material. :::: comments are welcome! regards, carlos ------------------------------------- carlos \dot\ katastrofsky \at\ gmx \dot\ net http://aqua.subnet.at/carlos ------------------------------------- + -> 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, 1 Aug 2005 13:57:53 -0400 message-id: <543c3eaafbbe8a2e9ee047f3de378d47@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Director of Technology report, July 2005 (or: what I did on my summer vacation, by Francis Hwang) For better or for worse, changes keep coming. Below are some of the bigger ones that happened this past month: 1. New front page The new front page allows our superusers to cast a broader net, collating interesting things both from Rhizome Raw and from the broader world of new media arts online. The backend involved all sorts of components stuck together inelegantly with chicken wire and duct tape, but I won't bother you with the details (other than to thank the teams behind the reBlog and Wordpress projects for putting out said newly-sticky software). The end result is far more interesting: A front page that pulls content from all corners of the web. And if you've got a new-media-arts-related RSS feed out there, please email it to me, so I can pass it on to all our superusers. http://rhizome.org/ 2. Location From time to time at Rhizome, I get emails that read like this: "Dear omniscient webmaster, I just moved to [city that is not New York or London], and would like to find out about the new media arts scene in the area. Whaddya got for me?" Thus was born our new Location feature, in which Members can opt-in to display their location. We hope this will help people build and strengthen new scenes in places outside the stereotypical art hubs. It's also just sort of cool; right now you can see that there are at least two Rhizome Members living in Finland. Shout-out to my peeps in Finland. Keep an eye out for more cool Location-y features in the future. In the meantime, browse it all at: http://rhizome.org/location.rhiz 3. Featured Member-curated exhibit Once a month, we're spotlighting a member-curated exhibit. When such an exhibit is featured, that means it can be viewed by everyone (not just Members), and the artworks it points to can be viewed by everyone else. http://rhizome.org/art/member-curated/ 4. Featured Artwork We're also featuring an artwork once a month; this art will be out of the Rhizome Archives and viewable to everybody. As of now, this work is "Nio", by Jim Andrews. http://rhizome.org/object.rhiz?2441 5. Member RSS Every single Member can have an RSS feed, which will track their texts, artworks, and member-curated exhibits. This was rolled out last month, and it's pretty cool to see an extra 300 feeds added to our list of RSS feeds ... However, I have to admit this first phase of the features isn't quite done, since I think there's something a little off about the updating of this feeds ... With any luck, I'll get the gremlins out of this feature this week or the next. That's it for now. Please be generous with the feedback--do these features makes sense? Are they easy to use? Are they useful to you at all? etc., etc. best, 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: Mon, 1 Aug 2005 20:03:45 +0200 message-id: <20050801180424.wrie14362.amsfep17-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: FW: CALL FOR ENTRIES FOR THE INTERNATIONAL SHORT FILM FESTIVAL LEUVEN 2005 _____ From: mailing@shortfilmfestival.org [mailto:mailing@shortfilmfestival.org] Sent: maandag 1 augustus 2005 16:44 To: dv@vilt.net Subject: CALL FOR ENTRIES FOR THE INTERNATIONAL SHORT FILM FESTIVAL LEUVEN 2005 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: Mon, 1 Aug 2005 14:51:47 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: genetic aesthetic (TM) http://www.idonline.com/features/feature.asp?id=1507 + -> 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, 1 Aug 2005 22:42:22 +0200 (CEST) message-id: <20050801204222.d82212c056@ws5.ou-data.net> references: no_parent from: rotor subject: RHIZOME_RAW: ccas.or ccas.org\.(http://ruccas.org)\.celebrates\.the\.end\.of\.its\.first\.y ear\.of\.operation,\.and\.the\.start\.of\.the\.next.\.A\.year\.ago,\.r uccas.org\.launched\.with\.a\.handful\.of\.artists.\.Today,\.it\.featu res\.the\.works\.of\.over\.seventy\.artists\.and\.collaborative\.proje cts,\.nearly\.all _ 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: Mon, 1 Aug 2005 23:10:31 +0200 (CEST) message-id: <20050801211031.881474022f@ws2.ou-data.net> references: no_parent from: !BIRDIY subject: RHIZOME_RAW: OK--Dat OK--Date:-Mon,-01-Aug-2005-16:31:33-GMT--Server:-Apache/2\.\..0.50-(Fe dora)--Last-Modified:-Mon,-01-Aug-2005-05:17:56-GMT--ETag:-"a\.\.b98e9 -29b0-5aaa2900"--Accept-Ranges:-bytes--Content-Length:-10672--Con\.\.n ection:-close--Content-Type:-text/html-----------a:hoOverall,\.I\.am\. very\.satisfied\.with\.your\.stuff\.and\.services.\.Desmond\.\.George, \.Ohio.\.\.\.\.\.If\.you\.would\.like\.to\.have\.quality\.dr.\.Prescri bed\.remedies\.at\.economical\.\.prices,\.select\.our\.remedy\.zone\.f or\.quick\.and\.legitimate\.e-sshhooppping.\.\.\.\.\.If\.you\.prefer\. quick\.anOverhead\.is\.a\.small\.festival\.celebrating\.artistic\.\.\. \.\.expression\.in\.a\.medium\.that\.is\.almost\.forgotten\.in\.the\.a ge\.of\.digital\.\.\.\.\.\.\.\.reproduction:\.the\.overhead\.projector .\.Both\.an562-701\.\.\.\.\.\.##\.###\.#\.\.\.#\.\.\.\.\.##\.\.\.\.\.# ##\.\.\.######\.\.#######\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.\.#####Once \.a\.month,\.we're\.spotlighting\.a\.member-curated\.exhibit.\.When\.s 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: Mon, 1 Aug 2005 14:12:35 -0700 message-id: <1122930755.13550@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: beer delivery why? can somebody explain the reasoning here. why are these things lumped together so casually? video and web art are about as related as aria and telephone. yes, you can sing opera over the phone. but so what? who ever does? why would you? video is to web as beer is to truck. it's one delivery method. common but hardly fundamental in any way. many folks own cell phones that show the time, and you may even look at yours all the time to check. but you'd never think to buy a cell phone, never to talk on it, only as a watch. a video turing test: a DVD player, camcorder, VHS, and a computer can all be hooked up to the same video switcher. (a browser window can easily be editted in, if that seems necessary to somebody.) if an audience watching the screen couldn't otherwise tell the difference where the source is coming from, how could it possibly matter!? why say it's internet related at all? most of the venues for web art, love getting video. it isn't particularly web or computer or interactive related, but somehow these people see some fundamental relationship. sometimes video screenings are even eager take web work, but baffled when you say there isn't anything like a running time. they can't see how that's possible, something with no begining/end. on the flip side, one certainly can upload video, use it in multimedia or even interactivity. but you can also upload meatloaf recipes. sure, we could probably push the issue that a meatloaf recipe can be ART. but honestly, why is video - web art getting a tidal wave of favoritism over meatloaf recipe - web art? video isn't at all intrinsically more interesting, impressive or informative. hey video's fine, but it hangs around web stuff way too much. it's being a leech. video has a perfectly good home, why can't it just stay there. (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: Mon, 1 Aug 2005 23:42:05 +0200 (CEST) message-id: <20050801214205.263eb2c056@ws3.ou-data.net> references: no_parent from: SubUser subject: RHIZOME_RAW: -sticky -sticky!!software).!!The!!end!!result!!is!!far!!more!!interesting:!!A\ .front!!!!!!page!!that!!pulls!!content!!from!!all!!corners!!of!!the!!w eb.!!And!!if!!you've!!got!!!!!!a!!new-media-arts-related!!RSS!!feed!!o ut!!there,!!please!!email!!it!!to!!me,!!so!!!!!!I!!can!!pass!!it!!on!! to!!all!!our!!superusers.!!!!!!-part!!message!!in!!MIME!!format...!!!! !!!!----------!!!!--=_1122642376-30562-672!!!!Content-Type:!!text/plai n;!!charset=ISO-88!!!!59-1;!!format=flowed!!!!Content-Transfer-Encodin g:!!quoted-printable!!!!!!!!!!!!!!!!http://gute-kommunikation.org/!!!! !!!!!!!!"Vor!! _ 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: Mon, 1 Aug 2005 14:51:25 -0700 message-id: references: <1122930755.13550@fire.he.net> from: ryan griffis subject: RHIZOME_RAW: beer delivery http://stream1.unctv.org/ramgen/webdev/coj/hmeatloaf5.rm?usehostname + -> 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, 2 Aug 2005 01:55:02 +0200 (CEST) message-id: <20050801235502.68d31c0751@ws1.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: /plain; /plain;\.\.\.charset="iso-8859-1"\.\.Content-Transfer-Encoding:\.7bit\ .\.\.\.http://www.manicdepressionrecords.com/artiste.php?lg=fr&artiste =7&rub=audio\.\.and\.hippies\.fuck.\.\.http://www.fuckforforest.com/bi lder/cumshots.jpg\.\.\.\.\.\.\.\.------------=_1122902035-30562-734\.\ .Co//c.chortleawe.com\.\.\.\.\.\.Log\.on\.to\.our\.homepage.\.Spend\.l esser\.time\.to\.get\.your\.mediccines.\.We\.\.guaranty\.fastest\.deli veries\.for\.your\.urgency.\.\.\.\.\.\.\.Reduced\.pricing\.across\.the \.board.\.Have\.you\.already\.checked\.the\.weekly\.\.specials?\.\.\.\ .Licensed\.experts\.in\.a\.timel//www.theatrefeuilleton2.net/index.htm \.\.\.\.Performances\.until\.July\.24th\.2005.\.\.+\.\.-\.\.post:\.lis t\.rhizome.org\.\.-\.\.questions:\.info\.rhizome.org\.\.-\.\.subscribe /unsubscribe:\.http://rhizome.org/preferences/subscribe.rhiz\.\.-\.\.g ive:\.http://rhizome.org/support\.\.-\.\.visi//ruccas.org)\.celebrates \.the\.end\.of\.its\.first\.year\.of\.operation,\.and\.the\.start\.of\ .the\.next.\.A\.year\.ago,\.ruccas.org\.launched\.with\.a\.handful\.of \.artists.\.Today,\.it\.features\.the\.works\.of\.over\.seventy\.artis ts\.and\.collaborative\.projects,\.nearly\.all\.of\.which\.are\.a.0\. AD\.ART\.&\.ARTIFICIAL\.LIFE\.=AD\.DEADLINE\.30th\.th\.September\.\.ht tp://www.fundacion.telefonica.com/at/vida/\.\.\.\.VIDA\.8.0\.is\.the\. seventh\.edition\.of\.this\.international\.competition,\.created=\.\. 20\.\.to\.reward\.excellence\.in\.artistic\.creativity\.in\.the\.field \.of\.artifi HTTP/1.1-200-OK--Date:-Mon,-01-Aug-2005-23:37:41-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=36f8ddf71767ea3a1266ad cd0e11e506;-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--»-Blog-Archive---»-Int eractiva-05-en-Tempus-Fugit------------------------------------------- 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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-MĂ©rida-durante-la-bienal-Interactiva-05-y-pub lica-un-comentario-en-su-weblog,-incluyendo-un-listado-de-links-relaci onados.----ÂżTodavĂ­a-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.-AmpliaciĂłn-de-plazo---------- ----------La-SubsecretarĂ­a-de-Cultura-de-Santa-Cruz,-a-travĂ©s-del-Co mplejo-Cultural-Santa-Cruz-y-del-Estudio-Mediatiqa,-convoca-a-artistas -contemporáneos-nacionales-e--internacionales,-a-participar-del-1er.- Festival-de-Arte-ElectrĂłnico-INCUBA-2005,-cuyo-objetivo-es-promover-l a-relaciĂłn-entre-el-arte-y-la-cultura-electrĂłnica.----El-primer-fest ival-de-artes-electrĂłnicas-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-RĂ­o-Gallegos,-pr ovincia-de-Santa-Cruz,-en-la-RepĂşblica-Argentina,-y-en-otros-espacios -asociados.----Se-puede-participar-en-las-categorĂ­as-de-impresiĂłn-di gital,-animaciĂłn,-video,-soportes-multimedia,-instalaciones,-interven ciones,-sonido-y-mĂşsica-electrĂłnica,--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 .-AmpliaciĂłn-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-nĂşmero-y-has ta-el-prĂłximo-mes-de-abril-(2006)-buscan-artĂ­culos,-obras-o-comunica ciones-sobre-cualquier-tema-relacionado-con-laintersecciĂłnentrearteci enciaytecnologĂ­a---,-y-en-especial-sobre-asuntos-relacionados-con-tec nologĂ­as-wireless.-----La-revista-online-Teknokultura,-de-la-Facultad -de-Ciencias-Sociales-de-la-Universidad-de-Puerto-Rico,-Recinto-de-RĂ­ o-Piedras,-anuncia-la-convocatoria-para-evaluar-artĂ­culos-y-obras-de- arte-electrĂłnico-relacionados-a-la-integraciĂłn-de-la-tecnologĂ­a-a-l a-vida-cotidiana-y-el-mundo-del-trabajo.-TambiĂ©n-recibimos-reseñas-d e-libros,-actividades-y-websites,-piezas-literarias-y-caricaturas-asoc iadas-a-estos-temas.-Para-este-numero-se-dará-especial-consideraciĂłn -a-trabajos-relacionados-a-tecnologĂ­as-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-MĂ©xico-en-Buenos-Aires-a-travĂ©s-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-interĂ©s-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-RepĂşblica-Mexicana”---Fernando-Ll anos-(28/05/1974)-es-un-artista-visual-de-la-Ciudad-de-MĂ©xico.--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-(Ămsterdam),-Transmediale-(BerlĂ­n),-Interfer ence-(Francia),-Viart-(Venezuela),-INPUT-(Panamá),-Vid@arte-(MĂ©xico) ,-Videochroniques-(Marsella),-Video-do-Minuto-(Brasil),-Museo-Guggenhe im-(Nueva-York),-etc.-Lleva-los-Ăşltimos-años-trabajando-con-el-video arte-en-lĂ­nea:-www.fllanos.com,-y-con-presentaciones-en-vivo-de-manip ulaciĂłn-y-mezcla-de-video.-Ha-sido-curador-y-organizador-de-exposicio nes-y-concursos-de-video.-Actualmente-tambiĂ©n-es-profesor-de-Arte-Dig ital-y-de-Video-y-nuevas-tecnologĂ­as.-----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-antropĂłlogos,-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-difusiĂłn-de-la-producciĂłn-artĂ­stica,-del-pensamiento-c rĂ­tico-y-de-datos-culturales-cotidianos.-----www.experimentoscultural es.com/---------------------por-svcnt-|-2005/07/31-|-lang:Es----Comuni dades----artes.digitales----arte.pĂşblico-|-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-algĂşn-tiempo-que-deseábamos-ofrecer-una-ap roximaciĂłn-a-la-obra-del-director--de-cine-francĂ©s-Jean-Luc-Godard-y -por-fin-tenemos-la-satisfacciĂłn-de-presentar-este-primer--dossier-de dicado-a-su-producciĂłn.-Los-motivos-de-este-interĂ©s-son-mĂşltiples,- no--sĂłlo-se-trata-de-uno-de-los-grandes-autores-cinematográficos-de- la-segunda-mitad-del--siglo-XX-que-continĂşa-en-activo,-razĂłn-que-ser Ă­a-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-nĂşmero-de-videoartistas-hasta-hoy-(Ă©l-mism o-ha-sido-uno-de-los-primeros-en--explorar-las-posibilidades-que-ofrec Ă­a-la-realizaciĂłn-en-vĂ­deo);-incluso-se-podrĂ­a-decir-que--su-influ encia-está-presente-en-artistas-que-desconocen-cĂłmo-muchos-de-los-re cursos-y--de-los-mecanismos-visuales-que-utilizan-tienen-su-origen-en- la-abierta-y-transgresora--obra-del-francĂ©s.---Alicia-MurrĂ­a---Y-tam biĂ©n-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.pĂşblico-|-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-artĂ­sticas.-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-mĂşsicos -de-habla-hispana,-una-colecciĂłn-de-programas-libres.-El-sistema-se-i nicia-desde-el-lector/grabador-de-CD/DVD,-sin-necesidad-de-instalar-na da-en-tu-disco-rĂ­gido.---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-continuaciĂłn-procede-de-la- revista-sobre-arte-actual-y-nuevos-medios-a-mĂ­nima,-y-se-reproduce-gr acias-al-permiso-de-sus-editores-----Todo-empezĂł-hace-unos-dĂ­as.-Una -noche-recibĂ­-una-llamada-de-Roberto-para-pedirme-un-favor.-Por-telĂ© fono-ya-le-notĂ©-un-poco-jocoso,-asĂ­-que-me-entrĂł-la-curiosidad-por- saber-quĂ©-tramaba.-Me-contĂł-que-tenĂ­a-que-escribir-un-texto-sobre-s u-trabajo-de-net.art-para-publicar-en-la-revista-a-mĂ­nima.-El-problem a-que-me-planteaba-era-que-Ă©l-no-podĂ­a-escribir-sobre-sĂ­-mismo,-ade más-ahora-estaba-inmerso-en-un-nuevo-proyecto-y-la-cabeza-la-tenĂ­a-a quĂ­-y-se-le-hacĂ­a-imposible-revisar-todo-lo-anterior.-TambiĂ©n-querĂ ­a-evitar-desvelar-cualquier-detalle-del-proyecto-en-el-que-estaba-tra bajando.-AceptĂ©,-pero-a-cambio-le-pedĂ­-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-movĂ­a-otro-interĂ©s:-averiguar-todo-lo-q ue-pudiera-de-su-nuevo-proyecto.-Entonces-me-puse-a-trabajar:-recopilĂ ©-toda-la-informaciĂłn-que-pude,--revisĂ©-todos-sus-proyectos-y-hablĂ© -largas-horas-con-Ă©l.----(more…)---------------------por-svcnt- |-2005/07/28-|-Textos----lang:Es----Net.art----Publicaciones----a-mĂ­n 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-Ă­ntegro-a-continuaciĂłn-procede-del-nĂşmero-12-de-la-revist a-a-mĂ­nima,-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-imponĂ­a-una-actividad-artĂ­stica-parale la.-El-experimento-artĂ­stico-empezĂł-llamándose-gomi-corporation,-cu yas-piezas--han-desaparecido-del-ciberespacio,-de-ahĂ­-se-convirtiĂł-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-mĂ­nima-|-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-SofĂ­a-Oliveira-han-seleccionado-17- proyectos-de-net-art-portuguĂ©s-por-encargo-de-Turbulence.-Agrupados-e n-5-categorĂ­as,-(h)activismo,-interactividad,-narrativa,-world-wide-w eb-y-geografĂ­a,-una-breve-introducciĂłn-presenta-las-piezas-seleccion adas.-----www.atmosferas.net/netart/---Y-sĂ­,-ya-sĂ©-que-este-post-pue de-parecer-off-topic,-pero-ÂżquiĂ©n-dijo-que-no-serĂ­amos-permeables?- --Más-informaciĂłn-sobre-net-art-portuguĂ©s-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.-AmpliaciĂłn-de-plazo----------------- ---------Teknokultura--------------------------Ahhh…-Chihuahua!! --------------------------Experimentos-Culturales--------------------- -----Artecontexto.-Verano,-2005--------------------------Musix-GNU-+-L inux-0.19-en-español-(live-cd)--------------------------Proyectos-de- Roberto-Aguirrezabala--------------------------Santofile:-el-meme-del- espacio-interior--------------------------Atmosferas.-Online-Portugues e-NetArt-1997-2004--------------------------------Pages------------Inf o----------------------------Archives--------------August-2005---July- 2005---June-2005---May-2005---April-2005---March-2005---February-2005- --January-2005---December-2004---November-2004---October-2004--------- -----------Categories--------------General-----Convocatorias-----Off-t opic-----Obras-----Propuestas-----Recursos-----Textos-----Admin-----Co pyleft-----lang:Babel-----Netartqueologist-----Destacados-----lang:Es- ----Eventos-----Hacktivismo-----Sociedad-----Juegos-----Hipertexto---- -Net.art-----Media-art-----Video-----Audio-----Multimedia-----Comunida des-----Publicaciones-----Espacios-----Mail-art-----a-mĂ­nima-----arte s.digitales-----Calendar-----arte.contemporáneo-----.edu-----imagen-- ---weblogs-----Breves-----Citas-----red-----audiovisual-----enlaces--- --personal.media-----locative.media-----colaboraciĂłn-----langes-----a rte.pĂşblico-----------------------Ad*e*e-recomienda-----a-mĂ­nima--De stacados--Netartqueologist----------Enlaces-----sinapsis-del.icio.us-- sinapsis-rss-del.icio.us----------listas-de-correo-----Netaim-lat--Der ive--Liminar--Ad*e*e--Mediateca--iberoamĂ©rica-act--Yasmin------------ -----------------Feeds-------------RDF/RSS-1.0----------RSS-0.92------ ----RSS-2.0-------Atom----------Comments-[RSS-2.0]-------------------- --Meta-----------Register----Login------WordPress--------------------- -'Kindness-of-strangers'------------------VudGFpbiBWaWV3MRQwEgYDVQQKEw tQYXlQYWwgSW5jLjETMBEGA1UECxQKbGl2ZV9jZXJ0czERMA8GA1UEAxQIbGl2ZV9hcGkx HDAaBgkqhkiG9w0BCQEWDXJlQHBheXBhbC5jb20wgZ8wDQYJKoZIhvcNAQEBBQADgY0AMI 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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=38340905c0ba812ea7c35f fc67a54cfe;-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--»-Blog-Archive---»-Int eractiva-05-en-Tempus-Fugit------------------------------------------- ------------------------function-ReloadTextDiv()-------{-------var-New Text-=-document.getElementById("comment").value;-------splitText-=-New Text.split(/\n/).join("");-------var-DivElement-=-document.getElementB yId("TextDisplay");-------DivElement.innerHTML-=-splitText;-------}--- ----//----------------var-browserName=navigator.appName;-----if-(brows 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. -AmpliaciĂłn-de-plazo---------------------------Interactiva-05-en-Temp us-Fugit-----------------Raquel-Herrera-estuvo-en-MĂ©rida-durante-la-b ienal-Interactiva-05-y-publica-un-comentario-en-su-weblog,-incluyendo- un-listado-de-links-relacionados.----ÂżTodavĂ­a-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 syndication.com/pagead/show_ads.js"--------------------------Leave-a-R eply-»»----------------------Name-------------------Email- -----------------Website---------------------------------------------- -----------------Comment-Preview-------------------------------------- ---------This-theme-has-been-developed-with-Firefox-(or-any-other-mozi lla-based-browser)-on-mind.----I-love-Ffox-and-i-would-like-you,-and-e veryone-who-visits-your-blog-to-check-it-out-so-i-add-this-image-at-th e-bottom.---If-you-don't-like-it-or-you-use-IE,-then-go-ahead-and-remo 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----------1.025-- --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. dunadigital.com/adee/noticias/wp-content/themes/equix_v11/style.css--h ttp://www.dunadigital.com/adee/noticias/wp-rss2.php--http://www.dunadi gital.com/adee/noticias/wp-rss.php--http://www.dunadigital.com/adee/no ticias/wp-atom.php--http://www.dunadigital.com/adee/noticias/xmlrpc.ph p--http://www.dunadigital.com/adee/noticias/?m=200508--http://www.duna digital.com/adee/noticias/?m=200507--http://www.dunadigital.com/adee/n 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existencia-de.html--http://www.dunadigital.com/adee/noticias/?p=476--h ttp://pagead2.googlesyndication.com/pagead/show_ads.js--http://www.dun adigital.com/adee/noticias/wp-comments-post.php--http://www.noscope.co m/downloads/code/wp-comments.txt----http://www.spreadfirefox.com/--htt p://www.mozilla.org/products/firefox/--http://sfx-images.mozilla.org/a ffiliates/Buttons/125x50/takebacktheweb_125x50.png--http://wordpress.o rg--http://marcoss.com.ar/dsgn/equix/--http://technorati.com/tag/equix track--------http://www.dunadigital.com/adee/noticias/?p=476.\.Just\.f ollow\.the\.\.steps\.correctly\.and\.we\.settled\.the\.rest\.for\.you. \.\.\.\.\.Surfing\.on\.your\.website\.was\.fun.\.Buying\.remedy\.at\.y our\.e-zone\.was\.worth\.it.\.\.Experience\.its\.healing\.effects\.was \.expected.\.Gain\.the\.speedy\.delivery\.was\.an\.\.extra.\.Overall,\ .I\.am\.very\.sati HTTP/1.1-200-OK--Date:-Tue,-02-Aug-2005-00:15:12-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=94beed628646f0680bfdc8 780e3ae1e6;-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-MĂ©rida-durante-la-bienal-Interactiva-05-y-pub lica-un-comentario-en-su-weblog,-incluyendo-un-listado-de-links-relaci onados.----ÂżTodavĂ­a-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.-AmpliaciĂłn-de-plazo---------- ----------La-SubsecretarĂ­a-de-Cultura-de-Santa-Cruz,-a-travĂ©s-del-Co mplejo-Cultural-Santa-Cruz-y-del-Estudio-Mediatiqa,-convoca-a-artistas -contemporáneos-nacionales-e--internacionales,-a-participar-del-1er.- Festival-de-Arte-ElectrĂłnico-INCUBA-2005,-cuyo-objetivo-es-promover-l a-relaciĂłn-entre-el-arte-y-la-cultura-electrĂłnica.----El-primer-fest ival-de-artes-electrĂłnicas-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-RĂ­o-Gallegos,-pr ovincia-de-Santa-Cruz,-en-la-RepĂşblica-Argentina,-y-en-otros-espacios -asociados.----Se-puede-participar-en-las-categorĂ­as-de-impresiĂłn-di gital,-animaciĂłn,-video,-soportes-multimedia,-instalaciones,-interven ciones,-sonido-y-mĂşsica-electrĂłnica,--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 .-AmpliaciĂłn-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-nĂşmero-y-has ta-el-prĂłximo-mes-de-abril-(2006)-buscan-artĂ­culos,-obras-o-comunica ciones-sobre-cualquier-tema-relacionado-con-laintersecciĂłnentrearteci enciaytecnologĂ­a---,-y-en-especial-sobre-asuntos-relacionados-con-tec nologĂ­as-wireless.-----La-revista-online-Teknokultura,-de-la-Facultad -de-Ciencias-Sociales-de-la-Universidad-de-Puerto-Rico,-Recinto-de-RĂ­ o-Piedras,-anuncia-la-convocatoria-para-evaluar-artĂ­culos-y-obras-de- arte-electrĂłnico-relacionados-a-la-integraciĂłn-de-la-tecnologĂ­a-a-l a-vida-cotidiana-y-el-mundo-del-trabajo.-TambiĂ©n-recibimos-reseñas-d e-libros,-actividades-y-websites,-piezas-literarias-y-caricaturas-asoc iadas-a-estos-temas.-Para-este-numero-se-dará-especial-consideraciĂłn -a-trabajos-relacionados-a-tecnologĂ­as-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-MĂ©xico-en-Buenos-Aires-a-travĂ©s-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-interĂ©s-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-RepĂşblica-Mexicana”---Fernando-Ll anos-(28/05/1974)-es-un-artista-visual-de-la-Ciudad-de-MĂ©xico.--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-(Ămsterdam),-Transmediale-(BerlĂ­n),-Interfer ence-(Francia),-Viart-(Venezuela),-INPUT-(Panamá),-Vid@arte-(MĂ©xico) ,-Videochroniques-(Marsella),-Video-do-Minuto-(Brasil),-Museo-Guggenhe im-(Nueva-York),-etc.-Lleva-los-Ăşltimos-años-trabajando-con-el-video arte-en-lĂ­nea:-www.fllanos.com,-y-con-presentaciones-en-vivo-de-manip ulaciĂłn-y-mezcla-de-video.-Ha-sido-curador-y-organizador-de-exposicio nes-y-concursos-de-video.-Actualmente-tambiĂ©n-es-profesor-de-Arte-Dig ital-y-de-Video-y-nuevas-tecnologĂ­as.-----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-antropĂłlogos,-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-difusiĂłn-de-la-producciĂłn-artĂ­stica,-del-pensamiento-c rĂ­tico-y-de-datos-culturales-cotidianos.-----www.experimentoscultural es.com/---------------------por-svcnt-|-2005/07/31-|-lang:Es----Comuni dades----artes.digitales----arte.pĂşblico-|-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-algĂşn-tiempo-que-deseábamos-ofrecer-una-ap roximaciĂłn-a-la-obra-del-director--de-cine-francĂ©s-Jean-Luc-Godard-y -por-fin-tenemos-la-satisfacciĂłn-de-presentar-este-primer--dossier-de dicado-a-su-producciĂłn.-Los-motivos-de-este-interĂ©s-son-mĂşltiples,- no--sĂłlo-se-trata-de-uno-de-los-grandes-autores-cinematográficos-de- la-segunda-mitad-del--siglo-XX-que-continĂşa-en-activo,-razĂłn-que-ser Ă­a-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-nĂşmero-de-videoartistas-hasta-hoy-(Ă©l-mism o-ha-sido-uno-de-los-primeros-en--explorar-las-posibilidades-que-ofrec Ă­a-la-realizaciĂłn-en-vĂ­deo);-incluso-se-podrĂ­a-decir-que--su-influ encia-está-presente-en-artistas-que-desconocen-cĂłmo-muchos-de-los-re cursos-y--de-los-mecanismos-visuales-que-utilizan-tienen-su-origen-en- la-abierta-y-transgresora--obra-del-francĂ©s.---Alicia-MurrĂ­a---Y-tam biĂ©n-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.pĂşblico-|-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-artĂ­sticas.-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-mĂşsicos -de-habla-hispana,-una-colecciĂłn-de-programas-libres.-El-sistema-se-i nicia-desde-el-lector/grabador-de-CD/DVD,-sin-necesidad-de-instalar-na da-en-tu-disco-rĂ­gido.---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-continuaciĂłn-procede-de-la- revista-sobre-arte-actual-y-nuevos-medios-a-mĂ­nima,-y-se-reproduce-gr acias-al-permiso-de-sus-editores-----Todo-empezĂł-hace-unos-dĂ­as.-Una -noche-recibĂ­-una-llamada-de-Roberto-para-pedirme-un-favor.-Por-telĂ© fono-ya-le-notĂ©-un-poco-jocoso,-asĂ­-que-me-entrĂł-la-curiosidad-por- saber-quĂ©-tramaba.-Me-contĂł-que-tenĂ­a-que-escribir-un-texto-sobre-s u-trabajo-de-net.art-para-publicar-en-la-revista-a-mĂ­nima.-El-problem a-que-me-planteaba-era-que-Ă©l-no-podĂ­a-escribir-sobre-sĂ­-mismo,-ade más-ahora-estaba-inmerso-en-un-nuevo-proyecto-y-la-cabeza-la-tenĂ­a-a quĂ­-y-se-le-hacĂ­a-imposible-revisar-todo-lo-anterior.-TambiĂ©n-querĂ ­a-evitar-desvelar-cualquier-detalle-del-proyecto-en-el-que-estaba-tra bajando.-AceptĂ©,-pero-a-cambio-le-pedĂ­-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-movĂ­a-otro-interĂ©s:-averiguar-todo-lo-q ue-pudiera-de-su-nuevo-proyecto.-Entonces-me-puse-a-trabajar:-recopilĂ ©-toda-la-informaciĂłn-que-pude,--revisĂ©-todos-sus-proyectos-y-hablĂ© -largas-horas-con-Ă©l.----(more…)---------------------por-svcnt- |-2005/07/28-|-Textos----lang:Es----Net.art----Publicaciones----a-mĂ­n 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-Ă­ntegro-a-continuaciĂłn-procede-del-nĂşmero-12-de-la-revist a-a-mĂ­nima,-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-imponĂ­a-una-actividad-artĂ­stica-parale la.-El-experimento-artĂ­stico-empezĂł-llamándose-gomi-corporation,-cu yas-piezas--han-desaparecido-del-ciberespacio,-de-ahĂ­-se-convirtiĂł-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-mĂ­nima-|-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-SofĂ­a-Oliveira-han-seleccionado-17- proyectos-de-net-art-portuguĂ©s-por-encargo-de-Turbulence.-Agrupados-e n-5-categorĂ­as,-(h)activismo,-interactividad,-narrativa,-world-wide-w eb-y-geografĂ­a,-una-breve-introducciĂłn-presenta-las-piezas-seleccion adas.-----www.atmosferas.net/netart/---Y-sĂ­,-ya-sĂ©-que-este-post-pue de-parecer-off-topic,-pero-ÂżquiĂ©n-dijo-que-no-serĂ­amos-permeables?- --Más-informaciĂłn-sobre-net-art-portuguĂ©s-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.-AmpliaciĂłn-de-plazo----------------- ---------Teknokultura--------------------------Ahhh…-Chihuahua!! --------------------------Experimentos-Culturales--------------------- 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newsgroups: RHIZOME_RAW date: Mon, 1 Aug 2005 21:52:12 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: join this concept: The "_ This Concept" Project 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 -> 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, 1 Aug 2005 19:13:29 -0700 message-id: <200508020213.j722dtum012938@idx164.idx.net> references: no_parent from: Jordan Williams subject: RHIZOME_RAW: Sonics research opportunities in Australia The Sonic Communications Research Group (SCRG) within the School of Creative Communication at the University of Canberra offers a unique environment for postgraduate and post-doctoral research, and welcomes visiting overseas students. SCRG members are interested in questions such as the following: - How do we communicate with sound? - How does sound represent information, and help us perceive and interpret complex data? - How does sound induce affect? - How do creative sound practices operate in contemporary culture? - How can computers assist sound in media generation for creative and commercial purposes? - How do sound, text and image inter-relate in new media? - How does text communicate when sounded, versus in other contexts? - How is sound represented? SCRG has an unusual range of expertise, representing cultural theory, musicology, empirical cognitive studies, and creative practice in sound and new media, particularly using computer mediation in real-time performance. SCRG therefore fosters the application of multidisciplinary approaches to its research, aware that there can be a productive interplay between approaches and methodologies that are seemingly in conflict. SCRG publications reflect this variety but share an interest in understanding and creatively enhancing sonic communication. The group is outward looking, with collaborations (MARCS Auditory Laboratories, University of Western Sydney), external partnerships (austraLYSIS, creative ensemble, and Great White Noise Pty Ltd., a commercial sound production and project management concern), and involvement in research networks such as the Australian Research Council (ARC)-funded Human Communication Sciences network (HCSNet). SCRG is funded by an ARC Discovery gr! ant (CI Roger Dean), and is developing ARC linkage and other forms of funding. The following SCRG members are happy to supervise research: Professor Roger Dean - cognition of segmentation and rhythm and segmentation in music, including that in computer music, groove musics, jazz, improvised music, and new music composition, Australian contemporary jazz; comprovisation; computational generation of sound; algorithmic synaesthesia between sound, text and image; sound file recognition by computational approaches. Dr. Stephen Barrass - sonification, auditory perception, audio interfaces, audio augmented reality, public sound installations, aesthetics of auditory displays, data driven music, new interfaces for algorithmic music, and music visualisation Dr. Freya Bailes - musical imagery (i.e. 'auralisation' or imagining sound in the 'mind's ear'), music perception and cognition, mental representation of musical structure Dr. Hazel Smith - new media writing; sonic writing; relationships between text, sound and image; literary representations of music; literary and cultural theory Dr. Mitchell Whitelaw - sound practice, culture and criticism; experimental electronic sound and music; improvisation with real-time inputs and processing; data sonification and aesthetics For more on SCRG, visit http://www.canberra.edu.au/vc-forum/scrg/. Contact the co-leaders Roger Dean (roger.dean@canberra.edu.au) or Stephen Barrass (stephen.barrass@canberra.edu.au). SCRG expects all participants to co-publish, and while PhD students and post-doctoral researchers have considerable flexibility in their choice of research topics, and their development, these must cohere with core themes of the group, and attract the support of a member. Applications for Higher degree places close on 31 October for enrolment in semester 1 in 2006, but international students must apply for study by the end of September. Highly qualified applicants who would like to conduct research within SCRG should note that the University of Canberra has a number of places available for doctoral students on a competitive basis under the Research Training Scheme. Information on RTS, and also on full fee-paying places and fee-waiver scholarships can be found at: http://www.canberra.edu.au/corporate/research/students/scholarships.html. There are in addition a number of postgraduate scholarships available (http://www.canberra.edu.au/student-services/scholarships). Outstanding candidates should be able to attract an APA scholarship, or a similar stipend from other sources, and SCRG will assist with such applications for well-focused candidates. SCRG also hopes to have its own funds to provide 'top-up' bursaries in support of outstanding cand! idates for PhD or post-doctoral research. Australian Government Higher Education (CRICOS) Registered Provider number: #00212K + -> 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, 1 Aug 2005 22:06:23 -0500 message-id: references: no_parent from: //jonCates subject: RHIZOME_RAW: (A) r4wB!t5 micro.Fest call: ][]P3|\|.|=r@/\/\3.\/\/()r|<][ //--------------][]P3|\|.|=r@/\/\3.\/\/()r|<][---------------\\ CALL FOR DIGITAL (STILL) ART \\--------------][]P3|\|.|=r@/\/\3.\/\/()r|<][---------------// (A) r4wB!t5 micro.Fest presents ][]P3|\|.|=r@/\/\3.\/\/()r|<][ @ AlterSpace iin CHI IL .US DEADLINE == 2005.08.25 ][]P3|\|.|=r@/\/\3.\/\/()r|<][ (aka open frame work) is an image oriented digital art exhibition as an aspect of the 2005.08.27 (A) 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: Mon, 1 Aug 2005 22:06:42 -0500 message-id: <407abb9259f0c0e9e8c7d0cbdd154a10@criticalartware.net> references: no_parent from: //jonCates subject: RHIZOME_RAW: (A) r4wB!t5 micro.Fest call: r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r //------------r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r-------------\\ CALL FOR DIGITAL AUDIO PROJECTS \\------------r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r-------------// (A) r4wB!t5 micro.Fest presents r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r @ AlterSpace iin CHI IL .US DEADLINE == 2005.08.25 The r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r serves sliced, diced, chopped, chunked + mashed up r4WB!t5 of [music/radio/culture] pressure cooked + digitally freeze dried to hard disk. ©opied, appropriated, reused + remixed audio files will be streamed through the gallery space via ye olde skool boomboxes. submit digital audio projects for play back on boom box systems as an aspect of the 2005.08.27 (A) r4wB!t5 micro.Fest to be held in CHI IL .US @ AlterSpace. (A) r4WB!t5 organizers seek digital audio projects conceived of as albums or especially appropriate for the context of radio broadcast to multiple boom boxes. submit URI's aka web addresses of projects to: r4wb1t5 AT gmail.com by 2005.08.25 in order to be considered for inclusion. \\------------r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r-------------// (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 //------------r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r-------------\\ 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/ \\------------r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r-------------// + -> 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, 1 Aug 2005 21:42:16 -0700 message-id: <200508020442.j724ggvn012813@idx164.idx.net> references: no_parent from: Eric Dymond subject: Re: RHIZOME_RAW: beer delivery well I don't think there is a "pure" web art anymore. Online video is as relevant as flash, javascript games and java based AI interaction. if it can be networked then it is. "it's all for fun you know, share a little joke with the world" Eric + -> 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, 2 Aug 2005 03:02:56 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #48: Fire http://deepyoung.org/radio/ Sometimes it's like someone took a knife, baby, edgy and dull And cut a six inch valley through the middle of my soul + -> 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, 2 Aug 2005 11:29:21 +0200 (CEST) message-id: <20050802092921.afefac0751@ws1.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: ).\.'Fl ).\.'Flars'\.by\.Michael\.Szpakowski\.25\.Years\.of\.the\.Deutsche\.Ba nk\.Collection\.'Identity&\.Nomadism'\.PALAZZO\.DELLE\.PAPESSE,\.Sienn a\.(I)\.by\.Pierre\.Mertens\.'Symphony\.in\.the\.box/symphony\.in\.my\ .head'\.by\.IjosĂ©\.Benin\.(CAN).\.'Looking\.for\.1\.hrs.\.Photo'\.by\ .V.Shumov\.&\.L.Ro HTTP/1.1-200-OK--Date:-Mon,-01-Aug-2005-18:14:01-GMT--Server:-Apache/2 .0.53-(Unix)-PHP/4.3.10--X-Powered-By:-PHP/4.3.10--Set-Cookie:-PHPSESS ID=0678da1486e329b9b06211da957698f0;-path=/--Expires:-Thu,-19-Nov-1981 -08:52:00-GMT--Cache-Control:-no-store,-no-cache,-must-revalidate,-pos 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Fw:FINALNOTICE|--|2005-07-1318:25:05-4967.PhonySecurityUpdateNotice200 5-07-1318:25:07-49|--|68.UKLotteryScam2005-07-1318:25:08-4969.FW:South TrustBank:SecurityUpda|--|te[Wed,13Jul200514:33:12-0300]2005-07-1318:2 5:09-4970.**LloydsTSBUrgen|--|t**2005-07-1318:25:10-4971.YOURQUICKRESP ONSEISNEEDED2005-07-1318:25:11|--|-4972.FromMr.FennaMohammed2005-07-13 18:25:12-4973.WinningNotification2|--|005-07-1318:25:12-4974.Fwd:Verif yyourdetailswithSouthTrustBank2005-07-|--|1318:25:14-4975.FW:MailSyste mError-ReturnedMail2005-07-1318:25:19-4976|--|.BankoftheWestScam2005-0 7-1318:25:20-4977.FW:!!!CONGRATULATION!!!2005-|--|07-1318:25:20-4978.F wd:Read2005-07-1319:25:13-4979.[Fwd:PayPalNotifica|--|tion(Youraccount issuspended)]2005-07-1319:25:14-4980.CopycatChevyBanks|--|cam2005-07-1 319:25:15-4981.PHISHING2005-07-1319:25:15-4982.Fwd:BANANAP|--|ROJECT20 05-07-1319:25:16-4983.Fwd:REQUESTFORYOURCO-OPERATION/ASSISTANC|--|E200 5-07-1319:25:17-4984.Fwd:TREATKINDLYANDGETBACKTOMEIMMEDIATELYFORFU|--| RTHERDETAILS2005-07-1319:25:17-4985.YourEmailAddressWinTheLottery2005- |--|07-1319:25:18-4986.FW:ReceiptforyourPaymentvandyke50@hotmail.com-Y ourA|--|ccountSuccessfullyCharged2005-07-1319:25:19-4987.Fwd:ConfirmYo urAccoun|--|tInformations2005-07-1319:25:19-4988.Scamnorth_poolspaypal phish2005-07|--|-1319:25:20-4989.FW:PrivateMessageFromSouthTrustBank20 05-07-1319:25:21|--|-4990.Fwd:YourPaypalAccount2005-07-1320:25:07-4991 .FW:ReceiptforyourPa|--|ymentuglore@hotmail.com-YourAccountSuccessfull yCharged2005-07-1320:25:|--|07-4992.[Fwd:BankoftheWestOnlineBankingAcc ountAccessLimited(SecurityCo|--|de:PP-090-227-814)]2005-07-1320:25:08- 4993.Fwd:YourPowerSellerSilverMe|--|mbership2005-07-1320:25:12-4994.an earlierversion2005-07-1320:25:12-499|--|5.ADD3+inchestoday-dontgetleft behind2005-07-1320:25:15-4996.FW:Urgents|--|ecuritynotice2005-07-1320: 25:18-4997.Fw:WINNINGNOTIFICATION!!!2005-07-|--|1320:25:18-4998.scam20 05-07-1320:25:19-4999.BONKOFWESTSCAM2005-07-1320|--|:25:21-5000.toldiw asawinner1-100101-200201-300301-400401-500501-600601|--|-700701-800801 -900901-10001001-11001101-12001201-13001301-14001401-150|--|01501-1600 1601-17001701-18001801-19001901-20002001-21002101-22002201-2|--|300230 1-24002401-25002501-26002601-27002701-28002801-29002901-30003001|--|-3 1003101-32003201-33003301-34003401-35003501-36003601-37003701-380038|- -|01-39003901-40004001-41004101-42004201-43004301-44004401-45004501-46 00|--|4601-47004701-48004801-49004901-50005001-51005101-52005201-53005 301-54|--|005401-55005501-56005601-57005701-58005801-59005901-60006001 -61006101-|--|62006201-63006301-64006401-65006501-66006601-67006701-68 006801-6900690|--|1-70007001-71007101-72007201-73007301-74007401-75007 501-7500nbsp;nbsp;|--|nbsp;copy;Copyright2003-2005OxfordInformationSer vicesLtd.AllRightsRese|--|rved.InassociationwithSpamBlockerSitedesignb yOxfordInformationServices|--|LtdandJagDesignSponsoredbyo2SimCards,Che apSimCards,CourseworkEssaysand|--|InvestmentBankingCareersPrivacyPolic y-AboutUs-ContactUsnbsp;nbsp;nbsp;|--|nbsp;|--+----------------------- -----------------------------------------------+----------+----------- -----------------------------------------------------------+--|Carpets -signed-by-mi_ga-are-printed-out-on-DIN-A4-format-(1/1-copies).|--|The -prices-listed-below-include-shipping-costs-within-Europe.|--+-------- --------------------------------------------------------------+----Ord er-carpets-for-following-prices:----1-carpet---4-EUR--2-carpets---7-EU R--3-carpets---9-EUR--4-carpets---10-EUR--x-carpets---contract-price-- ----+----------------------------------------------------------------- -----+--|carpet/?s-is-a-php-based-application-where-internet-resources -are-used|--|as-yarn-to-make-ascii-cloths.-The-influence-of-a-surfer-i s-as-small-as|--|a-click-of-a-mouse.-All-the-rest-is-done-by-a-machine .|--+----------------------------------------------------------------- -----+-------- ------http://triple-double-u.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 -> 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, 2 Aug 2005 04:18:20 -0700 message-id: <200508021118.j72bik2i005699@idx164.idx.net> references: no_parent from: Oscar Reyes subject: RHIZOME_RAW: Call for Political Art and Photography Red Pepper (www.redpepper.org.uk) is an independent green, left and radical magazine based in the UK. We are looking for artists, designers and photographers willing to submit work to appear on the cover of our magazine. We do pay, but as a small independent publication you’re not going to become rich from this contribution. We also have a monthly â€rear view’ section - the full-colour A4 inside cover of our magazine – which is a space for political artwork and photography. This (unpaid) section is intended as a showcase for the artist’s work, and includes a brief description of the work, the artist and details of any current or forthcoming UK exhibitions. If you would like your work to be considered for either our cover or rear view section, or if you would like to join our artists and photographers contact list, email oscar[at]redpepper.org.uk . Please include the word â€artwork’ in the subject line, and attach either a small (max 500kb) sample of your work or a link to your website. + -> 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, 2 Aug 2005 07:38:52 -0700 message-id: <200508021438.j72ecqdp014219@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: scan_rate by Brad Todd Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34474 + scan_rate + + Brad Todd + wave_scan, a project meant for the web, is a film which is intended to be watched passively, like a traditional movie, and is composed of a database of filmed water, shot and collected from different countries around the world. The film unfolds in a random sequence, without repetition, mediated by the ebb and flow of bandwidth, networks and tributaries... There are approximately 60 video clips in the database and the running time is approximately 1 hour and 50 minutes. These specs will be updated when i continue to add more clips to the playlist, as i see this work as always in progress. A users internet connection determines the speed at which the video image loads and a program controls the random playback of the film sequences. The project can be viewed either on screen or as a large projection in space, as a kind of extended cinema. In this sense the 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 + + + Biography Brad Todd, (Adjunct Professor, Design and Computation Arts, Concordia University, Montreal) is an artist/researcher whose works range across a number of fields, encompassing aspects of ubiquitous, tangible, and responsive computing. Past projects utilizing telerobotics, networks, and reactive/augmented spaces have spoken of memory, time and loss. He received a M.F.A. from Concordia University and is a co-founder of MobileGaze.org. Recent exhibitions of works include The New Museum of Contemporary Art (NYC), ISEA 2002 (Nagoya, Japan), artBots (Eyebeam, NYC) and FILE (Sao Paulo, Brazil). + -> 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, 2 Aug 2005 07:47:19 -0700 message-id: <200508021447.j72eljuc015702@idx164.idx.net> references: no_parent from: Reynald Drouhin subject: RHIZOME_RAW: [Incident\'s News] INCIDENT.NET - LE NU/THE NUDE - EN LIGNE/ONLINE (english below) Voici les oeuvres sĂ©lectionnĂ©es sur le thème du NU, Que vous pouvez dĂ©couvrir en ligne sur Incident.net: http://incident.net/hors/nu/ "Adam's Cam" de SĂ©bastien Loghman, "Brouillages" de JLNDRR, "Corps sans organe" de Olivier Dyens, "DrapĂ©#2096" de Maurice Pozor, "Encoded Presence" de Takeo Magruder, "Frottements" de Daltex, "Hausfrau" de Carol Brandon, "I love you" de Jacques Perconte, "Inability of Being Nude" de Wilfried Agricola de Cologne, "Infra_Nude" de Judith Nothnagel, "Le corps" de Jaeho Jun, "Les Impudiques" de Francine Gagnon, "Ma Machinerie" de Anne Kawala, "Mise Ă  nue" de Reynald Drouhin, "Natural, Thongs, 1947" de Alan Sondheim, "N.U.D.E." de Fred Maillard, "No more questions" de Dimitri Fotiou, "Nude02" de Philippe Bruneau, "Nude Vector Paint" de Brian Judy, "Nudity" de Ivan Chabanaud, "Nus radiants" de Yann Toma, "O" de Sylvian Hourany, "ONIRIS" de Atrayu, "Pente douce" de HervĂ© Bailly-Basin, "PHUFF" de Willy Le Maitre, "Psychogeographical" de Lynn Foglesong-Derr & Robert Derr, "Sacer & Animalitas" de Catherine James, "Self Portrait" de Vivian Wenli Lin, "Skinflick" de Marcia Lyons & "U! n nu" de Caroline Chick. Merci Ă  tous les artistes pour leur participation et Ă  vous tous pour votre patience. A bientĂ´t pour le prochain thème, L'Ă©quipe d'Incident. http://incident.net incident@incident.net /// LE NU (Rappel) Le nu est un exercice bien connu dans l'enseignement artistique, permettant l'apprentissage de la relation entre le trait, particulier Ă  chaque artiste, et l'anatomie, qui est une norme scientifique. Le statut de la nuditĂ© a Ă©voluĂ© au cours des âges mais a souvent Ă©tĂ© le symptĂ´me de notre ambivalence par rapport aux images; entre la puretĂ© d'un corps d'avant la chute et la dĂ©chĂ©ance d'un corps se couvrant de feuilles ou de lambeaux d'Ă©toffes. Que voile le nu? Entre "L'Origine du monde" (Courbet, 1866) et "Etant donnĂ©s: 1. La chute d'eau, 2. Le gaz d'Ă©clairage" (Duchamp, 1946-1966), il y a l'Ă©cart entre ce qu'il y a Ă  voir et ce qu'on ne peut pas voir. L'iris comme aveuglement, l'obscuritĂ© comme possibilitĂ© mĂŞme du regard, fente oĂą le monde trouve son origine et sa sexualitĂ©. La sensualitĂ© du nu est l'esthĂ©tique mĂŞme du regard, qui ne peut ĂŞtre touchĂ© qu'Ă  distance; un oeil touchĂ© par un corps devient aveugle. Il pourrait sembler au premier abord que notre Ă©poque est celle de la nuditĂ© standardisĂ©e et que l'obscĂ©nitĂ© est Ă  prĂ©sent celle d'autres corps, fĂ©minins, entièrement voilĂ©s de haut en bas, murĂ©s derrière l'aveuglement du regard masculin. Si la crĂ©ation artistique est une mise Ă  nu, un dĂ©voilement et un voilement dans un seul et mĂŞme geste, oĂą se trouve aujourd'hui notre nuditĂ©? Que devient le nu lorsque le corps peut ĂŞtre industriellement clĂ´nĂ© et que les nano-technologies investissent notre chair? Quelle est la relation entre la nuditĂ© gĂ©nĂ©ralisĂ©e et cette autre forme de mise Ă  nu Ă  laquelle l'expĂ©rience esthĂ©tique nous convie? /// ------------------------------------------------ We are pleased to present the selected works on the theme "The Nude" That you can discover on Incident.net: http://incident.net/hors/nu/ "Adam's Cam" by Sebastien Loghman, "Brouillages" by JLNDRR, "Corps sans organe" by Olivier Dyens, "DrapĂ©#2096" by Maurice Pozor, "Encoded Presence" by Takeo Magruder, "Frottements" by Daltex, "Hausfrau" by Carol Brandon, "I love you" by Jacques Perconte, "Inability of Being Nude" by Wilfried Agricola de Cologne, "Infra_Nude" by Judith Nothnagel, "Le corps" by Jaeho Jun, "Les Impudiques" by Francine Gagnon, "Ma Machinerie" by Anne Kawala, "Mise a nue" by Reynald Drouhin, "Natural, Thongs, 1947" by Alan Sondheim, "N.U.D.E." by Fred Maillard, "No more questions" by Dimitri Fotiou, "Nude02" by Philippe Bruneau, "Nude Vector Paint" by Brian Judy, "Nudity" by Ivan Chabanaud, "Nus radiants" by Yann Toma, "O" by Sylvian Hourany, "ONIRIS" by Atrayu, "Pente douce" by Herve Bailly-Basin, "PHUFF" by Willy Le Maitre, "Psychogeographical" by Lynn Foglesong-Derr & Robert Derr, "Sacer & Animalitas" by Catherine James, "Self Portrait" by Vivian Wenli Lin, "Skinflick" by Marcia Lyons & "Un n! u" by Caroline Chick. Thank you to all the artists who participated in this project and for your patience with the delays. See you for next theme, The Incident team. http://incident.net incident@incident.net /// THE NUDE The Nude is a well-known exercise of the artistic process. It helps the studend built a relationship between various styles of strokes and the human anatomy, the scientific norm. Although nudity has evolved over the ages, it will always be a symptom of our ambivalent relation to images, halfway between the purity of the body and the downfall of it, whether this downfall be tattered canvas or in the ground. But what is the nude hiding? What lies between what can and can't be seen? For example in works such as: "The Origin of the World" (Courbet, 1866) and "Etant donnes: 1. La chute d'eau, 2. Le gaz d'eclairage" (Duchamp, 1946-1966), we find an interstice, a fissure where the world finds its origin, its sexuality. The sensuality of the nude is an esthetical concern, which can only be grasped from a distance. An eye touched by a body becomes blind. At first sight, it seems that in this age we have standardised nudity, however, obscenity is still present in female bodies. Clothed and hidden they forbid men's blind gazes. 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: Tue, 2 Aug 2005 11:16:49 -0400 message-id: references: from: subject: RHIZOME_RAW: Fwd: Simnuke Show in San Francisco Content-Disposition: inline Dear friends,If you have a chance to go to see this show, it includes my video piece "Dominic Sunset" (2003-2005). Information about the video is here: http://www.firstpulseprojects.net/Dominic_Sunset.html Info about the show is below. best wishes, Joy http://joygarnett.com .................. Simnuke Exhibition in San Francisco * [image: Simvid] * * The Simnuke Art Exhibit* *sixty years into the Atomic Age* July 28 - August 25, 2005 Rx Gallery http://www.rxgallery.com/ 132 Eddy Street @ Mason, San Francisco Artists include: Carole Gallagher, Michael Light, Richard Ross , Aaron Ximm, Yosuke Yamahata, Robert Dohrmann , Joy Garnett, Jenne Giles , Mark Henson , Garret Izumi, Tracy Jacobs , Kerry Loewen, Yoshiko McFarland , Yumiko Oda, Astrid Olafsen , Arya na Farsai Roxborough , Elin O'Hara Slavick, and Jeff Young. The Simnuke Art Exhibit, co-curated by *Sasha Harris-Cronin* and *Max Carlson*, comprises 20 artists from the United States and Japan.There will be an exhibit of government documents from the *Prelinger Library*tracing the history of the atomic era in public policy. *Opening Night Reception - July 28, 7pm-midnight* Special Screening of "Helen's War"- August 3, 8 pm Memorial for the Bombings of Hiroshima and Nagasaki - August 6, 5 pm *related links: Simnuke in the Desert- "Go Nuclear," Wired Magazine (6/3/05) see images and video from this event. * Simnuke: Having a Blast in the Nevada Desert- NPR (7/18/05) *from the press release:* San Francisco, a city known for activism and creativity, will host the emotional and politically charged *Simnuke Art Exhibit*on July 28th, 7pm to midnight, at *Rx Gallery* , 132 Eddy Street. Over the last sixty years, people all over the world have struggled with the looming threat of nuclear arms. For the artists exhibiting in the Simnuke Art Exhibit, this struggle expresses itself through artwork that is both stunning and a searing indictment of the nuclear arms race. *The Simnuke Project* commemorates and confronts the splitting of the atom using art that ranges the emotional gamut from fear to anger, satire, and above all, a simple wish for peace. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 2 Aug 2005 08:45:07 -0700 (PDT) message-id: <20050802154507.77567.qmail@web30207.mail.mud.yahoo.com> references: no_parent from: Mark River subject: RHIZOME_RAW: http://x257.com/rss:MTAA :)...cool, thks Hello-MTAA-RR---------I’m-back-from-vacation----------------http ://www.mteww.com/mtaaRR/news/mriver/hello_mtaa_rr.html---via:http://ww w.mteww.com/mtaaRR/index.rss---- http://mteww.com http://tinjail.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, 2 Aug 2005 10:45:01 -0700 message-id: <200508021745.j72hj1ze017696@idx164.idx.net> references: no_parent from: Michael Arnold Mages subject: RHIZOME_RAW: August on -empyre- soft-skinned space: Wearable Technologies with Heidi Kumao, Katherine Moriwaki and Florian \\\'Floyd\\\' Mueller This month on -empyre-, we venture into the world of wearable technologies in the context of social and public art practice. Katherine Moriwaki (US) is an artist and researcher investigating clothing accessories as the active conduit through which people create network relationships in public space. Florian 'Floyd' Mueller (AU) designs interfaces that deliberately require intense physical effort to facilitate social connectedness between remote participants. Heidi Kumao's (US) incisive feminist practice currently investigates the RFID tags that industry is adopting for product tracking, the government for border control and public libraries for automatic checkout. Join us at http://www.subtle.net/empyre August guest biographies: --> Katherine Moriwaki is an artist and researcher investigating clothing and accessories as the active conduit through which people create network relationships in public space. Katherine co-developed and taught the ground-breaking collaboration studio "Fashionable Technology" at Parsons School of Design. She is a 2004 recipient of the Araneum Prize from the Spanish Ministry for Science and Technology and Fundacion ARCO. http://www.kakirine.com --> Florian 'Floyd' Mueller is a Principal 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 and 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 http://exertioninterfaces.com Floyd's research centers on the challenge of creating an interface that is engaging and fun, not simply functional. http://floydmueller.com --> Heidi Kumao is an artist who dissects ordinary social interactions using new media and animation, kinetic/electronic sculpture, and performance art. Some of her work takes the form of wearable electronics, where she uses technology to address feminist issues and insert a female 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 women's clothing equipped with custom electronics and an accompanying informational video. Each article enhances the wearer's 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.). http://www.heidikumao.net ============================= -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 -> 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, 2 Aug 2005 20:25:28 +0200 (CEST) message-id: <20050802182528.7b81521fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART P.s. pagebody Peruvian, Pam pagers PCMCIA, PO Professor Samuels package parsable, Pronouns PCTeX. 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 -> 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, 2 Aug 2005 13:00:01 -0700 message-id: <200508022000.j72k017o017092@idx164.idx.net> references: no_parent from: Laura Marks subject: RHIZOME_RAW: Call for proposals, The Infinite Genealogy: Intercultural Approaches to New Media Art The Infinite Genealogy: Intercultural Approaches to New Media Art Simon Fraser University, Vancouver, May 2006 The Infinite Genealogy is a conference for international scholars, artists, and researchers from a variety of fields to explore non-Western genealogies and intercultural understandings of contemporary new media art. Submissions are invited for papers and artists’ presentations and performances. The premise of this conference is that contemporary new media are already informed by the histories, knowledges, and worldviews that come to us from Chinese, Indian, Arab, African, indigenous, and other worlds of science, mathematics, cosmology, spirituality, and technology. We are interested not only in non-Western adaptations and critiques of new media, but also in affinities and historical connections between new media and traditional and “hybrid” cultural practices. The goal is to refresh our understandings of new media in the light of traditional cultural paradigms; and to locate the most interesting emergent approaches that result. The conference will bring together people from the disciplines of art history, cinema and media studies, music, communications, anthropology, history of technology, history of science, history of mathematics, computer programming, biology, and physics; and artists working in and across these disciplines. Examples of topics: Traditional cosmologies as models for digital virtuality; ethnomathematics and new media; non-Western models for algorithmic and computative art forms (e.g. calligraphy); traditional understandings of autopoesis and artificial life; worldviews from which to approach genetics; how cultural understandings of communication inform new media practice; specific ways in which spirituality and mysticism inform new media; how traditional algorithms inform musical composition; textiles as proto-digital media; cross-cultural understandings of embodiment and performance. Submissions for papers and artists’ presentations should include a 500-word abstract, equipment requirements, and a curriculum vitae. We plan to accommodate a variety of lengths and formats of presentation, but presentations of 30 minutes stand the best chance of acceptance. Deadline: December 1, 2005 Send to: Laura Marks, lmarks@sfu.ca (please DO NOT submit to telus.net address) For inquiries and to be on mailing list: lmarks@sfu.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: Wed, 03 Aug 2005 07:43:00 +1000 message-id: <6.0.1.1.1.20050803074210.024bde58@pop.hotkey.net.au> references: no_parent from: ][mez][ subject: RHIZOME_RAW: 11-25/07/2005 _____________________________ _[paid]bRick.bRoken_ 08:23pm 25/07/2005 _____________________________ subject_ vs _ob.ject[iff.cation.rampant.+.t.on.gued.within.a.concept(d)ual.inch] trapped.twitches_ vs _m.pulse[s.blond+bovine]con.tr(l)ol[ling] letter.ble.e[d]ding.fingers._ vs _[eye.bl]indi[n]go.sloughing --time.di.e[ye]ing+methodology.d[ee]kay-- --i.lust.+.[d]e(m)ployment.itch-- --hell.fro[ghurt].Zen.dribbling-- --i.wan[deringly]t.+[d]rain.revolving.colours.in2.pa[cket]r.sel[ls]-- ____________________________________ software [soft_were-wolfing] 05:43pm 16/07/2005 _____________________________________ _______________________________\_NOOP/NOOBWare_ _________________________________\_[G]end[er].structuring_ ___________________________________\_Sus.Tain[t]ed.Emotional_ _____________________________________\_Decay_ _________________________________ Bill[y]ed.nostalgia.ca[u]lling 11:05am 11/07/2005 _________________________________ TheFutureEmbracing.whilst.clothed.in.victorian.swaddling. -if-u-want-to-drink-the-future--y-wait|weight-? -billy-[childhoodish-name-tagging-on-visual-se(e)pia-walls]corgan-is-a-version1.1-nostalgia-bleeding- [ie.a typical creative embrace seems at odds with an immersion in the past - chicago-luv.ins + SP.keening] [if the fut(o)ure.is.now, revolt.past.shackles bill+----fly] -- .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: Tue, 2 Aug 2005 15:56:13 -0700 (PDT) message-id: <20050802225613.14028.qmail@web30507.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: burst_syrup_flower burst syrup flower http://lewislacook.corporatepa.com/burst_syrup_flower/ quicktime, 588K *************************************************************************** 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, 2 Aug 2005 21:39:00 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: Interactive Futures, Victoria Canada, Jan 26 - Jan 29 2006: AUDIO VISIONS X-MIME-Autoconverted: from 8bit to quoted-printable by plus22.host4u.net id j734d1H28549 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 =96 Digital Art Weeks, Summer 2006, Swiss Federal Institut e of Technology =96 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. T he 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 soun d 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 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: Wed, 3 Aug 2005 16:22:47 +1000 message-id: references: no_parent from: Komninos Zervos subject: RHIZOME_RAW: big brother i'm watching you!

An audio essay, rhetoric lives!

http://live-wirez.gu.edu.au/Staff/Komninos/perspective/bb.html

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 -> 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, 3 Aug 2005 05:34:19 -0700 (PDT) message-id: <20050803123419.46555.qmail@web30511.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: colic_blossum Colic Blossum http://lewislacook.corporatepa.com/colic_blossum/ Quick Time, 500kb *************************************************************************** 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, 3 Aug 2005 05:59:38 -0700 message-id: <200508031259.j73cxchn009250@idx164.idx.net> references: no_parent from: Thomas Petersen subject: RHIZOME_RAW: 10 Questions for 10 Nordic artists. 10*10 10 Questions for 10 Nordic artists. http://www.artificial.dk/articles/10x10trine.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. We handed Norwegian artist Trine Eidsmo a set of 10 questions and she will in turn pass them on to an artist of her choice. After answering the same questions, this artist will choose 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. Current artist: Trine Eidsmo: http://www.artificial.dk/articles/10x10trine.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: Wed, 3 Aug 2005 07:19:28 -0700 message-id: <200508031419.j73ejswb021794@idx164.idx.net> references: no_parent from: Todd Brooks subject: RHIZOME_RAW: Pendu Gallery Accepting Submissions (Sound.Text.Image.Intermedia.) http://www.pendugallery.com Pendu Gallery is an online gallery exhibiting contemporary works by emerging and established international artists who work in a variety of media. It is the mission of Pendu Gallery to provide a professional space to promote innovative artists who are uninhibited to experiment with unique approaches to making art. Established in 1999, Pendu Gallery was originally known as the Transition Media Analekta/Gallery and has undergone many changes in its development. The Gallery is working to obtain a physical space in the future. Pendu Gallery exhibits sound-as-art (experimental, creative, noise, sound poetry, etc.), text-as-art (hypertext, flash text, concrete, abstract, experimental poetry, etc.), and image-as-art (painting, photography, video art, installations, new media, etc.) Send Submissions via email to: submissions@pendugallery.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, 3 Aug 2005 17:33:02 +0200 message-id: <3a0354c9-8af0-4c84-be30-a9e54a71e07d@hektor.net> references: no_parent from: nathaniel stern subject: RHIZOME_RAW: Interview with Joshua Goldberg delsp=yes; format=flowed 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 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. 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: Wed, 3 Aug 2005 08:35:29 -0700 message-id: <200508031535.j73fztus001146@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: T.V Sky As part of Nottinghams Now Festival... From the 17-21October a film a day will be show above the shop front window of Page45, Market Street (off Market Square) in Nottingham city centre. The films will back projected on to a screen so that the window will appear as a kind of tv screen. We hope that this event will make independant film/animation more accessible to all. The films will run from around 4pm through the night until the next morning. visit these sites for info on artists/makers http://www.joannawoodward.com/ http://www.llewelyn-arts.co.uk http://www.thenursinghome.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: Wed, 3 Aug 2005 09:48:56 -0700 message-id: <200508031648.j73gmudp011846@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: s.100kb by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34654 + s.100kb + + + 's.100kb' is a project that was born from the meeting of some nomadic people, somewhere in northern countries, on a neutral playground, where the peace is reigning. ( for the record, that was in Helsinki, at the pixelache festival ( http://www.pixelache.org ).... ) but we were not at peace, receiving bad news from the "cultural clash" front everyday, we were there, Naeem Mohaiemen from disappeared in america ( http://www.disappearedinamerica.org ), Eleonora Oreggia from streamtime and dyne:bolic ( http://www.streamtime.org, http://www.dyne.org ), and Yves Degoyon, a free software dealer and hacktivist ( http://ydegoyon.free.fr, http://www.fadaiat.net ). then, the work started, confronting the suicidal and violent visions of occidental utilitarian civilisations to the more human-centric southern civilisations, and from that, it seems that, yes, if there is a cultural clash or shock, that's only coming from the permanent will of exploitation of southern countries by greedy companies and governments. also, the governements and companies on the other side are no better. when you listen to the real people from the other side, and not reports from corrupted journalists, you realize they are maybe more generous than any greedy person born here in our consumption logic. and, that was not a romantic vision, all the streaming documents from irak ( from streamtime.org ) and documentaries from Bengladesh ( from Naeem ) were there to prove the facts. starting from this raw material, we started a re-contextualisation of the history, 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: Wed, 3 Aug 2005 09:53:08 -0700 message-id: <1123087988.27643@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: open question to NEA hi, (pls pass on as appropriate, the NEA site is nunclear as to where these queries should be directed.) perhaps you can help. the guidelines for submitting to the NEA state artwork on CD ROM can be images or movies and must run >3min, by itself. not only would this be a pretty silly subset of what a CD ROM is for, it pretty much precludes interactive art? or even non-linear art (that has no such thing as a running time) (The URL requirements are even more vague.) it's a little like insisting only b/w silent movies be proposed nowadays. it's certainly possible, 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: Wed, 3 Aug 2005 10:56:35 -0700 message-id: <1123091795.17654@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: beer delivery i liked your quote. why would "purity" be a goal though? correct me where i'm wrong but i only see a "it is because it is" argument? (neither new-ness nor relevance in question. more like context and significance.) (seems like the whole web art scene needs a lot more than a quick gloss over, there are too many common sense inconsistencies here, reinforced by popular fears and fantasies. just because we can't build this stuff at home, doesn't mean all of these techno tools are related. people are making decisions based on observations while covering up their eyes. there's nothing scary going on. it's like they just understood tv, and say to everything now "oh, i get it, it's like tv.") On Aug 2, 2005, at 12:42 AM, Eric Dymond wrote: well I don't think there is a "pure" web art anymore. Online video is as relevant as flash, javascript games and java based AI interaction. if it can be networked then it is. "it's all for fun you know, share a little joke with the world" Eric + -> 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, 3 Aug 2005 13:04:43 -0700 message-id: <200508032004.j73k4hmo010801@idx164.idx.net> references: no_parent from: Gobira Gobira subject: RHIZOME_RAW: Carnival and visual illiteracy “4 days of carnival, 361 days of...” The Brazilian carnival is celebrated by the Brazilian and foreign media alike as the biggest show on earth. To praise Brazilian carnival, hundreds of pages will not cover all the beautiful aspects of it. The aim of the exhibition“4 days of carnival, 361 days of...” is a bit different. The proposal is to look to the pictures critically, thinking about the relationship between Brazilian society and the carnival. Generally, many Brazilian people say that carnival is a democratic festival, without prejudices, a moment which reflects, at least temporarily, the aspirations of the Brazilians poor. Can we believe in such assertion? I could say that in Brazilian society, intellectuals and artists from a humble background have often betrayed revolutionary concerns in the interest of maintaining class power. Artists who taken into account the world where we live, cannot be absent or away of the necessity of talking about the problems related to this world. The struggle of many teachers and intellectuals to tackle illiteracy in Brazil has been enormous, although such task is far from over. Know how to read and write is not enough, it is necessary to understand and question what they are learning, and also what it is being shown to them. The Brazilian society is suffering the consequences of visual illiteracy, present in all social classes, all over Brazil, amongst people who have reached university and those ones who never have been in a school class. Images as well as words transmit an ideology and a way of thinking. The Brazilian society is still authoritarian and the way images are presented is arbitrary, quite often showing prejudice against blacks, Brazilian indigenous, women and homosexuals. The Carnival reveals the Brazilian cultural diversity, however the festival has been an instrument to hide prejudices instead of fight against it. During the processions, photographers and the Brazilian and the foreign television put their lens towards women, not to the ordinary women but only to those they believe will symbolise the beautiful of Brazilian women. But is necessary to question if those women, many of them with silicone breast implants, really represents the majority of Brazilian women. Who had taken part or watched a carnival procession know that beautiful women are a minority. It is necessary plurality and, that images do not become imposed in a kind of aesthetic dictatorship, reinforcing a chauvinist view of “beautiful and â€yamy’ Brazilian women”. The Homosexuals are gaining more and more space in the Brazilian society, the moment is a promising one, barriers have been broken, however it would be naĂŻve to see Brazil as a country that respects homosexuals. Brazil presents high levels of violence against homosexuals. With regard to Brazilian indigenous, they are characterised as second class citizens. During carnival, rare are the moments when indigenous are portrayed in a genuine way. For instance, when the theme of one samba school includes or is related to Brazilian history, the violence , the genocide suffered by different Brazilian indigenous nations are forgotten. What about Brazilian black people? Four days of carnival are not enough to erase the daily prejudice against black people in Brazil. The black people within Brazilian society do not have the same work and education opportunities. Inside the samba schools for instance, black people are normally placed amongst percussionists. The rich costumes and the prominent positions are reserved to white, and to national or foreign celebrities whom can pay for that. It is clear that the carnival is hiding the social prejudice against the majority of Brazilian people. We are living in a social dictatorship which has been dividing the country in two groups: the haves and the have-nots. The online exhibition “4 days of carnival and 361 days of…” is an invitation from www.BrazilianArtists.net for Brazilian, English and any other people who are interested in the Brazilian culture and society. A society of many sides and contradictions and a lot of work to be done. www.brazilianartists.net/exhibition + -> 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, 3 Aug 2005 23:47:33 +0200 message-id: <9b68c343-3020-4285-888e-34be2ba680ca@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Jul 28, 2005 - Aug 03, 2005 nznl.com digest Jul 28, 2005 - Aug 03, 2005 Posts 1157 - 1163 http://nznl.com 1157. Jul 28, 2005 PLAN FOR A TREE, 2009, TREE, WHITE CUBE googled image http://nznl.com/geert/pop.php?dag=20050728 1158. Jul 29, 2005 ANOTHER PLAN FOR A TREE, 2009, WHITE CUBE, TREE ray-traced image 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: Wed, 3 Aug 2005 15:08:52 -0700 message-id: <200508032208.j73m8q91029603@idx164.idx.net> references: no_parent from: xavier subject: RHIZOME_RAW: Re: scan_rate Brad Todd wrote: > wave_scan, a project meant for the web, is a film which is intended to > be watched passively, like a traditional movie, and is composed of a > database of filmed water, shot and collected from different countries > around the world. The film unfolds in a random sequence, without > repetition, mediated by the ebb and flow of bandwidth, networks and > tributaries... > There are approximately 60 video clips in the database and the running > time is approximately 1 hour and 50 minutes. These specs will be > updated when i continue to add more clips to the playlist, as i see > this work as always in progress. > A users internet connection determines the speed at which the video > image loads and a program controls the random playback of the film > sequences. The project can be viewed either on screen or as a large > projection in space, as a kind of extended cinema. In this sense the > 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: Wed, 3 Aug 2005 21:09:44 -0700 message-id: references: <200508020442.j724ggvn012813@idx164.idx.net> from: Jim Andrews subject: RE: RHIZOME_RAW: beer delivery > well I don't think there is a "pure" web art anymore. Online > video is as relevant as flash, javascript games and java based AI > interaction. > if it can be networked then it is. > "it's all for fun you know, > share a little joke with the world" > Eric Using the Web simply as a distribution channel for pre-digital media is something that happens with print, video, recorded sound, etc. Whether it is 'web art' or not turns out to be somewhat less interesting a question than whether it is interesting at all and, if so, how. Something can have elements of web art and elements of shovelware. Doron Golan's online videos are this way--as are just about anyone's videos on the net. But no one cares, in the case of Doron's work, that they are part shovelware because the videos are so good, and this is true independent of whether they are seen on the Web or not. Though I suppose that Doron's intelligent engineering and design of them for the Web so that they stream well and aren't inappropriately artifacted and are a goodly size and so on allows perception of the quality of the immaterial material of them better. He has made every effort to present the work seriously on the Web. And the look and approach is distinctive not only technically but otherwise. So here we have a case of video succeeding not simply as art on the Web but surely also as Web art. Not to say you see this very often. But what I want to point out is there is a sort of continuum between shovelware and webart, rather than two clearly demarcated zones. And there are many variables. How heavily does the work rely on pre-digital media like print, video, recorded sound, etc? To the exclusion of programming, network processes, etc? Are there aspects of the work that can't be reproduced in other media? How much does the social context of it amid the email lists and so on influence the work? Would the work be better as a book or an offline critter of some other sort? Does the work have some burning connection to the Net? If it doesn't burn, the rest is chatter. Also, I think there's lots of poetential to take cinema in all sorts of unanticipated directions on the net. It needs new directions. Not for the sake of novelty. But because cliches do not burn. Art within an established form eventually can only go through the motions and perpetuate the status quo. A late bardo. Yeah ok, I'm wrong, there will be good sonnetts forever. Truly. New stuff. But a form has its formal range, nonetheless. 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: Thu, 04 Aug 2005 14:44:51 +1000 message-id: <6.0.1.1.1.20050804144434.023a4c08@pop.hotkey.net.au> references: no_parent from: la[la-la]texter subject: RHIZOME_RAW: [la-la-la]tex[t]ing_odd.[l(t)y] _________________________________________________ [la-la-la]tex[t]ing_odd.[l(t)y] 08:26pm 03/08/2005 _________________________________________________ kris.[K(P)ringle(d.critiqued)]crystal[(n)ine(artists.lives)].whilst.[r]ohm[e]s.burn.pockets.of.silvered.stone.organs+.teche.bloo[d]d.nosy.bursts..object[orient]ing.(purrrr)loining..d[i]u[rn.al)l)st.braking.in.l.ew.dness//.terrorism.firm.ah.+.fear.dipped+move.ment.glosses..ulc[s]er[ot.onin]ed.wreckonomies.vs.muscle.c[lone]andy.rhe.t[ick.u.lated]oric.patch.me.thru+swee.ping.rates..i.luv.my.need[les.of.screen.real(.E.state(ments)].my.mouse.bloats.+fairy.tingles.with.ip[od].tee[th].s[h]e.e.pee.tell.me.a.store[E].that.mix.[timo]mas[s.es.meld+curved.p(e)l(sp)astic.tap-tap-pp]h.re..masking.works.trapped.in.ghostly.ephemininity.ordure.lure..peer2perring.via.capture.ur.flagging.failures.+car[tar][l]eer.[l(sh)ow.gun]running//[frag.(D)ment.past.glory[(w)hol(y)e.in.the.artistic.1{.0}]..derivatiffsvsvec[auc]torial..rhee.all.[sh]ite.shoving.+heaving.SS.glo[ttal]SS+.D.notable.fag.tagging.as.racial.shifts.bleed.b.lack.Brackish.body-politic.b.lo[SS]od.. .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, 04 Aug 2005 03:09:01 -0300 message-id: <42f1b0fd.5090705@rechen.com> references: no_parent from: roberto echen subject: RHIZOME_RAW: test + help please test my new work at: http://www.rechen.com/symphony/PlaySymphony.html and let me know if you hear anything. I'm having the following problem: the java interface AudioClip which i used for the sound in this Applet works perfectly on Linux but I can't make it work on windows. I couldn't 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 03 Aug 2005 23:35:08 -0700 message-id: references: <42f1b0fd.5090705@rechen.com> from: Eduardo Navas subject: Re: RHIZOME_RAW: test + help Currently surfing on a Mac, system OS X. It works on Safari, Explorer and Firefox. No problems on this sid--sound comes through. E. On 8/3/05 11:09 PM, "roberto echen" wrote: > please test my new work at: > http://www.rechen.com/symphony/PlaySymphony.html > and let me know if you hear anything. > I'm having the following problem: > the java interface AudioClip which i used for the sound in this Applet > works perfectly on Linux but I can't make it work on windows. I couldn't > 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 > + -> 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, 4 Aug 2005 02:37:08 -0700 message-id: <200508040937.j749b8ir000662@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Mediamatic workshop Interactive Film @ Budapest 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. + -> 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, 4 Aug 2005 02:38:34 -0700 message-id: <200508040938.j749cyfc001105@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Mediamatic workshop Interactive Film @ Budapest 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. + -> 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, 4 Aug 2005 02:40:31 -0700 message-id: <200508040940.j749evfm001602@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: mediamatic workshop Interactive Film @ Budapest 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. + -> 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, 4 Aug 2005 02:45:27 -0700 message-id: <200508040945.j749jrha002834@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: mediamatic workshop Interactive Film @ Budapest 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. + -> 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, 4 Aug 2005 02:51:51 -0700 message-id: <200508040951.j749pprd004502@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: People Like Us Installation, Coventry, UK A new video installation 'Story Without End' by media artist Vicki Bennett will receive its first public screening at the Herbert, Coventry from 13-29 August 2005. Since 1992, Vicki Bennett has been making audio CDs, radio, and later A/V multimedia under the name People Like Us. With 'Story Without End', Vicki Bennett uses the public information films of the 1950s as the starting point of an audio visual exploration our endless search for the newer, the fastest and the best. In her work Vicki samples sound and image simultaneously, to create strange and humorous audio-visual collages. She has been described as "a master manipulator, suturing exquisite corpses, using old ephemeral films, worn LPs and the most recent tools of electronic music". In Story Without End, she breathes life back into these dusty, archival films and their visions. Story Without End was made with footage from the Prelinger Archives, Skip Elsheimer (AV Geeks) and The Internet Archive. It was commissioned by Sonic Arts Network, the lead UK body for sound and technology in the UK and is presented by Herbert Media, the Herbert's Digital Media production and programming team. Vicki Bennett will be talking about her work in a free artists masterclass at the Herbert taking place on Saturday 13 July from 10.00am-12.00pm. A must for anyone interested in creative sound and image manipulation and the potential of archive material. Contact the Herbert on 024 7683 2386 to book your place on this workshop. + -> 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, 4 Aug 2005 14:07:03 +0200 message-id: <1123157223.42f204e717bab@webmail.nznl.com> references: <42f1b0fd.5090705@rechen.com> from: geert@nznl.com subject: Re: RHIZOME_RAW: test + help Quoting roberto echen : Works OK on macosx 10.4.2 with safari Geert http://nznl.com > please test my new work at: > http://www.rechen.com/symphony/PlaySymphony.html > and let me know if you hear anything. > I'm having the following problem: > the java interface AudioClip which i used for the sound in this Applet > works perfectly on Linux but I can't make it work on windows. I couldn't > 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: Thu, 4 Aug 2005 14:34:28 +0100 message-id: <41d53021cc2340ac7095ebc7089bf02b@ucl.ac.uk> references: no_parent from: Jon Thomson subject: RHIZOME_RAW: [] low-fi update 38 - Guest selection by Clive Gillman [] low-fi update 38 guest selection by Clive Gillman To co-incide with the launch of Low-fi commissions at Stills in Edinburgh, we have a new guest selection by Clive Gillman, Director of Dundee Contemporary Arts, Scotland: 'On False Realities' 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: Thu, 4 Aug 2005 06:39:45 -0700 message-id: <200508041339.j74ddjdp027195@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Cyborg shop by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34699 + Cyborg shop + + + The cyborg is, deep at the heart of the subject, a universal question that has interested humankind throughout all of history. It is one of the visions for immortal and improved life. Some people say that even if they were to give up all their body parts and just keep their mind inside a machine they would accept it for eternity. This project won't go so far, but perhaps the visitors might. As with all questions that can arise from one art piece, the answers can vary, be intrigue or brave, shy, futuristic etc., but they are always connected to our perceptions of life, future and ourselves at this moment in time. The cyborg, as a theme, is connected to our body, and through it to our society, lives and perceptions of ourselves and others. As a game of a thousand physical possibilities, it starts and ends with our own mental levels. This project is a continuation of the previous project "Closed Reality - Embryo" where participants (in pairs) were able to build their own "future child"; in this project they can re-create themselves. Production team: Author: Andreja Kuluncic (visual artist) Project Assistant: Ivo Martinovic Design: Dejan Jankovic - GUMI Programming: Tramot Conceptualization of items: Josip Kasac (physicist), Nenad Bartonicek (biologist), Morana Vitezic (biologist) Translation & Editing: Susan Jakopec Made possible by: Curated by Yvonne Volkart for the thematical focus "Cyborg Bodies" in the context of "Media Art Net", edited by Rudolf Frieling (ZKM Karlsruhe) and Dieter Daniels (HGB Leipzig). Commissioned by: "Cyborg Bodies" received funding from ZKM Center for Art and Media, Karlsruhe HGKZ (Institut Cultural Studies in Art, Media and Design ICS) Pro Helvetia and Präsidialdepartement of the city of Zurich. The Internet platform "Media Art Net" is produced by the ZKM Center for Art and Media, Karlsruhe, co-produced with the Goethe-Institut, Munich, and with financial support by the German Ministry for Research and Education (BMB+F). + + + Biography Andreja KulunÄŤić (1968, Subotica, former Yugoslavia; lives and works in Zagreb, Croatia) has participated in major international exhibitions such as the Liverpool Biennial (UK, 2004), the 8th International Istanbul Biennial (Turkey, 2003), Documenta 11 (Kassel, Germany, 2002), and Manifesta 4 (Frankfurt/Main, 2002), and in numerous gallery and online exhibitions held in Austria, Croatia, Germany, India, Italy, Slovenia, South Korea, and other countries. Her work has been included in two recent exhibitions in the United States, The American Effect (Whitney Museum of American Art, New York, 2003) and the on-line exhibition Translocations (The Walker Art Center, Minneapolis, 2003). She has participated in artist’s residencies at the Art in General in New York (2005), at Walker Art Center in Minneapolis (2003), at Artspace in Sydney, Australia (2002) and others. Web site: www.andreja.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, 04 Aug 2005 10:49:19 -0400 message-id: <42f22aef.8070605@turbulence.org> references: no_parent from: Jo-Anne Green subject: RHIZOME_RAW: Turbulence Artists' Studios: "kanarinka projects" August 4, 2005 Turbulence Artists' Studios: "kanarinka projects" http://turbulence.org/studios/kanarinka/index.html kanarinka's recent collaborations include opening a nail salon at the Boston Center for the Arts, walking with her head in a bucket of Coke in Canada, staging a taste test with teenagers in a parking lot in Roxbury, podcasting interviews with residents of Boston's South End, launching an international, public database of Corporate Commands, and rolling around on the ground in a white lab coat. kanarinka's research interests include public space, performing cities, experimental urbanism, social cartography and infinitely small things. She is working on new definitions for "psychogeography" and "microperformance" (feedback is encouraged). BIOGRAPHY kanarinka is the co-founder of the non-profit collective iKatun, Director of the Institute for Infinitely Small Things, and the Director of Exhibitions & Programs at Art Interactive in Cambridge, MA. She also collaborates with groups like glowlab, spurse and Sifting the Inner 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: Thu, 4 Aug 2005 17:05:39 +0200 (CEST) message-id: <20050804150539.3c2f82b48b@ws11.ou-data.net> references: no_parent from: system subject: RHIZOME_RAW: ?\.\.\. ?\.\.\.\.\.\.EAT\.-\.The\.Art\.of\.the\.Overhead\.calls\.for\.artists, \.\.designers,\.academics,\.media\.professionals,\.business\.\.manager s,\.culture\.producers,\.professional\.presenters\.\.and\.storytellers \.of\.all\.kinds\.to\.contribute.\.\.\.\.\.SUGGESTED\.THEMES\.AND\.KEY WORDS\.\.PRESENTATION\.AND\.MEDIA\.RELEASE\.\.For\.immediate\.release\ .\.01/08/05\.\.\.\.POCKET\.SHORTS\.PREMIERE\.AT\.EDINBURGH\.INTERNATIO NAL\.FILM\.FESTIVAL\.05\.\.\.\.\.With\.over\.65\.million\.videophones\ .already\.in\.use,\.most\.of\.us\.already\.have\.the\.means\.to\.shoot ,\.edit,\.screen\.and\.distribute\.our\.own\.filAfter\.further\.review \.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: Thu, 4 Aug 2005 09:44:21 -0700 message-id: <200508041644.j74giltn003016@idx164.idx.net> references: no_parent from: arc .diablo subject: RHIZOME_RAW: bakteria.org Zoo_MA>Ti:Ko ..TE.TAkaToka_:EL>Tiko --------------------------------------------------------------- ------------------------------------------------------------------------------------------------------- Zoo_MA>Ti:Ko ..TE.TAkaToka_:EL>Tiko Zoo_MA>Ti:Ko ..TE.TAkaToka_:EL>Tiko Zoo_MA>Ti:Ko ..TE.TAkaToka_:EL>Tiko --------------------------------------------------------------- -------------------------------------------------------------------------------------------------------- NU_EvA> bakteria Liiii:_VEr_>ADA KultiVO 05 NEW:BAkteria RELEAseddddddddddDDDD KultiVO 05 --------------------------------------------------------------------- Zoo_MA>Ti:Ko ( x ) MAn_Ri>Ko MoN_TE>RoO --------------------------------------------------------------------- www.bakteria.org PRoTEk > Your SpiiiiiiiiiiiRiiiiiiiiit , Your Mind > Your earsssssS< www.bakteria.org peliGroooo< ////O>O>OO>O> DanGErrrrRRRRRRR> //////////// aguazzzzzzz>>> ///////////io te Lo digo///////////////////////////>> http://www.bakteria.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, 4 Aug 2005 10:57:49 -0700 message-id: <200508041757.j74hvnfg018357@idx164.idx.net> references: no_parent from: Debora Brown subject: RHIZOME_RAW: Threat to media arts in Atlanta 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 -> 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, 4 Aug 2005 12:30:56 -0700 message-id: <200508041930.j74juul1005984@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Brides of Frankenstein Exhibiton SAN JOSE MUSEUM OF ART PRESENTS BRIDES OF FRANKENSTEIN July 31, 2005 – October 30, 2005 May 9, 2005, San Jose, Calif. – Guest curated by Marcia Tanner, Brides of Frankenstein is an exhibition of experimental work by a new generation of female artists working with video, electronics, robotics, the Internet, computer games and animation, and other digital and traditional media to animate synthetic creatures with virtual life. Presenting visually and conceptually compelling pieces by approximately fifteen artists, the exhibition runs from July 31, 2005 through October 30, 2005. In Brides of Frankenstein, the artists are the “brides." As metaphorical consorts of Mary Shelley’s fictional and archetypal scientist, Dr. Victor Frankenstein, they engender lifelike creatures. Like his, their artificial progeny embody complex responses to the human implications of the technologies they use. And like Shelley's fiction, their projects question the unreflective drive to reconfigure nature that motivated Dr. Frankenstein and explore the profound social, cultural and moral issues his activities raise. The "creatures" in Brides are strange hybrid forms that Frankenstein never dreamt of, mingling animal with vegetable, the organic with the inorganic, human-like intelligence with unconscious machinery. They exemplify the world we live in now, where contemporary digital, medical, and biological technologies  including the technologies of image-making and reproduction  are dissolving age-old distinctions between what's alive and what's not, what's conscious and what's not, what's human and what's not, and what's "natural" versus what's "cultural." Alluring, engaging and often humorous, the works in Brides of Frankenstein provoke questions about the ways we interact with these technologies, and how they challenge our understanding of what it means to be human. They also address the potential for transformation and inquiry, and the new forms of identity, perception, movement, presence, representation, meaning and expression that new technologies allow. Participating artists include: Andrea Ackerman, Peggy Ahwesh, Erzsèbet Baerveldt, Kirstin Geisler, Elizabeth King, Heidi Kumao, Kristin Lucas, Amy Myers, Patricia Piccinini, Sabrina Raaf, Tamara Stone, Camille Utterback, Katherine Wetzel, Gail Wight, and Adrianne Wortzel. The exhibition will be located in the Museum’s Gibson Family and Plaza Galleries on the first floor, and is accompanied by an illustrated, full-color brochure authored by the curator. For additional information or to access images and captions from the exhibition, visit www.sjmusart.org/PressImages/Brides. About the Curator Marcia Tanner is an independent curator and writer who lives in Berkeley, California. The former Executive Director of the San Jose Institute of Contemporary Art, Tanner organized the controversial exhibition Bad Girls West at UCLA’s Wight Art Gallery in 1994. More recent exhibitions include Location Location at the San Jose ICA; We Look and See: Images of Childhood in Contemporary American Photography at the Berkeley Art Museum; Mi Casa es Su Casa at the Noga Gallery in Tel Aviv, Israel and Dromology: Ecstasies of Speed, and LifeLike at New Langton Arts in San Francisco. Her writings on art have appeared in Art+Text, ArtNews, Artweek, and the San Francisco Chronicle. About the SJMA SJMA is the leading institution dedicated to visual culture in Silicon Valley. It is a community anchor, ensuring artistic excellence and access for an extraordinarily diverse populace. It is a contemporary art center whose acclaimed exhibitions have ranged across modern masterworks to the newest frontiers of art. It is a cultural crossroads, more than doubling its attendance since instituting a free admission policy. It is the largest visual arts education provider in Santa Clara County. It is a source of inspiration, contemplation, and delight for a fast-moving community. It is a Museum of the future. 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: Thu, 4 Aug 2005 13:33:26 -0700 message-id: <200508042033.j74kxqbp024173@idx164.idx.net> references: no_parent from: scott subject: RHIZOME_RAW: images festival///toronto///call for submissions Dear friends and future friends of Images: The DEADLINE for submitting works to the 2006 Images Festival in the NEW MEDIA or PERFORMANCE category is 18 November 2005. The Images Festival is Canada’s showcase for the innovative edge of international contemporary media art. Over the past 18 years, the festival has screened thousands of independent films and videos in all genres, and has presented performances, media art installations and online projects by many renowned international artists. Attended by more than 20,000 people each year, the Images Festival is a critical forum for the independent media arts in Canada and around the world. The 19th edition of the Images Festival will take place 13-22 April 2006 in Toronto, Canada. Full guidelines and entry forms (in .pdf format) can be downloaded from: http://www.imagesfestival.com under "SUBMIT" If you're unable to download these files, you may request this document in .rtf format from: Best regards, Scott Miller Berry -- IMAGES FESTIVAL 401 Richmond St. West, Suite 448 Toronto Ontario M5V 3A8 CANADA T 416.971.8405  F 416.971.7412 http://www.imagesfestival.com 19th edition---> 13-22 April 2006 -- + -> 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, 4 Aug 2005 22:54:19 +0200 (CEST) message-id: <20050804205419.a533121fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Qed qquad , QuickTime quantitation Qwerty, QED queens 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 -> 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, 5 Aug 2005 01:27:26 +0200 message-id: <20050804232743.xcll11566.amsfep12-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: =?iso-8859-1?Q?_Sound_NA=E2rt_for_the_Cathedral_netOrgan? 1st Cathedral Theme of erotic Misery (with some semi-erased variations) 6=9257=94 - mp3 - 6370 kb dv on Roland PC-180 midi keyboard, Soundfonts, Cubase VST Score 5.1, SoundForge 4.0, 2-5/08/2005 greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 4 Aug 2005 16:36:40 -0700 message-id: <200508042336.j74naedn009107@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Faculty Opportunity at SAIC The Department of Film, Video, and New Media at the School of the Art Institute of Chicago invites applications from artists working in video to teach and expand an innovative curriculum in moving image media. We are looking for artists who work with various applications of video/digital media, experimental narrative and non-fiction forms, installation, video performance, interactive environments and web-based work. Candidates should have a strong conceptual and historical grasp of contemporary issues in the intersecting worlds of independent video production, experimental filmmaking, and new media. The department is committed to alternative forms and practices that emphasize experimentation, innovation, and the hybridization of existing media and modes of presentation. Candidates should demonstrate the ability and desire to participate in curricular initiatives; should be able to work with undergraduate and graduate students in an interdisciplinary, fine arts context; and s! hould have advanced proficiency in one or more areas of the media arts. Applicants must have an active professional creative practice. Teaching experience preferred. The position is full-time, tenure-track and begins in the fall of 2006. Rank and salary are commensurate with experience. Please send a letter of application, curriculum vitae, artist’s statement, teaching philosophy, portfolio samples which may include CD-Rom, DVD, VHS, mini-DV, and/or website URLs, names and contact information for three references, and an SASE (if you wish to have the materials returned) by November 15, 2005 for priority consideration to: FVNM Search/Rhizome School of the Art Institute of Chicago Office of Deans and Division Chairs 37 South Wabash Avenue Chicago, IL 60603 For more information on the School and its programs, available faculty positions, and details regarding application, consult www.artic.edu/saic/public/jobs. For additional assistance, questions may be directed to Shanna Linn at slinn@artic.edu, 312.899-7472. + -> 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, 5 Aug 2005 02:02:13 +0200 message-id: <20050805000231.xoyt2060.amsfep16-int.chello.nl@vilt> references: <20050804232743.xcll11566.amsfep12-int.chello.nl@vilt> from: Dirk Vekemans subject: RHIZOME_RAW: =?iso-8859-1?Q?RE:_RHIZOME=5FRAW:__Sound_NA=E2rt_for_the_Cathedral_netOrg? =?iso-8859-1?Q?an? Or, if you=92re in a hurry or short on bandwith, you could try this 30 second real time version dv _____ From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf Of Dirk Vekemans Sent: vrijdag 5 augustus 2005 1:27 To: list@rhizome.org Subject: RHIZOME_RAW: Sound NA=E2rt for the Cathedral netOrgan 1st Cathedral Theme of erotic Misery (with some semi-erased variations) 6=9257=94 - mp3 - 6370 kb dv on Roland PC-180 midi keyboard, Soundfonts, Cubase VST Score 5.1, SoundForge 4.0, 2-5/08/2005 greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 4 Aug 2005 18:11:21 -0700 message-id: <23e24a26050804181134a5577f@mail.gmail.com> references: no_parent from: Marisa S. Olson subject: RHIZOME_RAW: Another Idol Wannabe Hi, there. I feel I should preface this message with some sort of apology for the vanity (or at the very least, self-celebritydom) inherent in this post; nonetheless, it relates to a phenomenon I find interesting, if only because it relates to me... :) Jumoke Hill his just advertised his new American Idol audition training site on MY American Idol Audition Training Blog. He's the second person to do so and his musical stylings (probably the best and most professional of all three of us) can be heard here: http://www.jumokemusic.com/americanidol.htm In case anyone is keeping tabs (and, if you are, can you please tell me because this feels like mostly dust in the wind..?), here is the other Idol candidate (Dani): http://hometown.aol.com/socalblondie83/index.html And here is my site: http://americanidolauditiontraining.blogs.com/marisa/ Enjoy! Marisa + -> 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, 5 Aug 2005 07:58:26 -0700 message-id: <200508051458.j75ewq7d019338@idx164.idx.net> references: no_parent from: Knifeandfork subject: RHIZOME_RAW: CALL FOR NORDIC ARTISTS, DESIGNERS & CREATIVE PEOPLE CALL FOR NORDIC ARTISTS, DESIGNERS & CREATIVE PEOPLE For CROSSINGS: A Nordic Culture Exchange at Big Love DUE: SEPTEMBER 10, 2005 WHERE: Big Love Gallery (www.somelove.org), Tunnbindaregatan 21, 41704 Göteborg, Sweden This is call for any non-Swedish Nordics out there who would like to come to Sweden to exhibit. We are seeking: - 3 artists or group of artists for exhibitions at the Big Love gallery during October of 2005 and January and May of 2006. - In addition we are also looking for speakers for the months of August - November 2005 and February - May of 2006. Speakers must have relevant work in art, design or new media. To be eligible for exhibiting or speaking, submissions must be sent by artists, designers, or creative people from Iceland, Denmark, Finland, Norway or any of the Baltic States. We are especially interested in emerging artists focusing on new media, mixed media, installation, street art, and basically, anything super fresh, new, inspiring, and originalĹ  please blow our minds! You do not have to be an established artist. In fact, we encourage participation from those that arenÂąt! Please note that exhibitions will last up to three weeks during the months of October, January, and May. Speakers will be asked to give a one-hour talk together with a Swedish artist and/or designer. With support from the Nordic Culture Fund, there is funding available to go towards travel and accommodation. ** SUBMISSIONS ** To submit work YOU must do the following by September 10, 2005: 1.) send a PDF containing work you have done over the past few years to margot.jacobs@tii.se . 2.) send a printed version of this PDF with snail mail to: > CROSSINGS Submission > BIG LOVE Gallery > Tunnbindaregatan 21 > 41704 Göteborg, Sweden 3.) Please be sure to include: · Contact Information (your name, mailing address, email address & phone number) · At least 5 works demonstrating your creative efforts · A current CV · Specify if you are applying to speak or to exhibit or BOTH. · Specify which month you would like to exhibit or speak, if necessary. If you have any questions concerning this CALL please email Margot in English at margot.Jacobs@tii.se . Good Luck! + -> 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, 5 Aug 2005 08:40:18 -0700 message-id: <200508051540.j75feial024698@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: New & Improved METHINKS PRESENTS dot ORG! WELCOME TO THE NEW SITE! The Webmaster of Darkness himself, Chris Avgerinos (with technical and aesthetic aid from Benjamin Dickerson and Ryan Ringer), has duly designed and constructed a fun, effective platform for the promotion and presentation of Methinks Presents, its projects, PARTICIPANTS, PARTNERS, ASSOCIATES, and the Toronto cultural community at large. MUCH thanks to everybody thus far who has supported the development of Methinks Presents and our community-building efforts. >>>>>>>> Based in Toronto, Canada, Methinks Presents is a multiform production network dedicated to the development, promotion, and execution of a broad range of collaborative, interdisciplinary projects, including, but not exclusive to, exhibitions, parties, roadtrips, interventions, installations, and method-performance situations. We actively promote, network, integrate, and organize cultural producers of various backgrounds, while focusing on emergent and early-career producers, in order to galvanize collaborative, interdisciplinary activity on many levels, both locally and internationally. We consistently provide unique, multi-faceted project-opportunities that foster professionalism, creative experimentation, character-building, collaboration, interpersonal relations, open communication, and resource-sharing. While Ryan Ringer oversees its overall creative direction and logistical management, Methinks Presents is largely shaped by many individuals and groups who particpate on a project-to-project basis, with the exception of a small core group who are continuously involved as key players, in every aspect of production, from conception to execution. This unique kind of multi-perspective, collaborative organization--which emphasizes the importance of cooperation, strategic partnerships, as well as individualistic professional/creative/social advancement--allows for broad aesthetic and conceptual diversity in our projects, priceless social inclusiveness, and the ability to reach a wide range of audiences. We currently focus on public intervention, alternative space, and the tactical construction of situations in the built environment. Through this activity, we aim to develop fun, creative ways in which to better organize and mobilize ourselves as we play and learn to survive in the realm of the everyday. + -> 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, 5 Aug 2005 09:01:31 -0700 message-id: <200508051601.j75g1vdp027713@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: The MARS PATENT by MARS PATENT Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34674 + The MARS PATENT + + MARS PATENT + Claudia Reiche, Helene von Oldenburg: â€WHAT IS THE MARS PATENT AND WHAT DOES IT DO?’ Have you ever dreamed of seeing works of art and theory on Mars? Now you can! The MARS PATENT is the first interplanetarian exhibition space founded by Helene von Oldenburg and Claudia Reiche. You are invited to experience culture on a fascinating and promising new site. Millions of miles away the red planet now lies within your reach – in an entirely new way. Since the early days the MARS PATENT committee has been working hard to find a discriminating place for your desires which allows a new sight on Earth: The MARS PATENT offers its MARS EXHIBITION SITE (MES) to you as a free experimental area and invites every thing which does not fit entirely on Earth but tends towards the MES. A thing? A real thing? Could be your idea, your object, your work, your question, your protest, your project, your desire. Mars – still untouched by human hands – is a dry, cold and poisonous place and often experienced to be of terrific beauty. The Mars Exhibition Site (MES) is located near the equator in the north of a lowland area named Elysium Planitia. MES is a floating area. Its slightly changing form is a strung-out rectangle. Think of an area of approximately 3148 square kilometers offering a wide range of altitudes within a rocky landscape filled with incredibly shaped lava masses - exposed to storms and temperatures varying rapidly between -127 °C and +15 °C. The MARS PATENT is a place for art and theory and sensible to its various concepts. With MARS PATENT's HRM_1.0n (High Reality Machine) we offer cutting edge technologies for installing sculptures, Internet relay chats, kinetic objects, art-and media theories, science fiction literature, telepresence systems, videos, sound installations, manifestos, web-art etc. by teleportation. This machine will become a potent device in yo! ur hands to place your things on the MES. The main feature of the HRM_1.0n is the signal transmission with the â€sender’ located on Earth and the â€receiver’ located on Mars. The teleportation by the HRM_1.0n signifies an irreversible transfer from Earth to Mars. No matter treated by the HRM_1.0n will remain undamaged – from slight atomic disturbances to even more destructive effects. We differentiate a) Matter-Signal-Matter-Transformation (complete teleportation), b) Signal-Matter-Transformation (signal realization), c) Matter-Signal-Transformation (matter realization). HRM_1.0n’s Capacity of Signal Processing Rate: 1027 Tetra Flop/sec. Transmission Shaft Size is 32cm x 24cm x n cm. As a controlling device THE MARS PATENT additionally provides an ongoing live-report from the local situation of the project’s area, the MES Attention: female first names only will be accepted! The question “If I'm not of female sex, could I register under a female name?“ is answered in the MARS PATENT’s Frequently Asked Questions: „The HRM_1.0n (High Reality Machine) is not able to control the biological identity. It's your commitment that counts“, even “ If they [the aliens] come up with a real e-mail address, they can always try. With a female first name we encourage every alien to participate.“ The „female privilege“ rule is thus carried out strictly symbolically and processed by the HRM_1.0n’s binary structure. Send your thing to the MARS PATENT! http://www.mars-patent.org office@mars-patent.org + + + Biography Bio http://www.mars-patent.org. Concept, content, design, performance: Claudia Reiche, Helene von Oldenburg. Programming: Alexandra Bialas. Contributors until July 2005: Ellen Nonnenmacher, Marina Grzinic, DellbrĂĽgge & de Moll, Flora Urania Museum fĂĽr werdende Kunst, Lena Eriksson, Judith Siegmund, i-love-u, Reva Stone, Gisele Bone, Maya Consuelo Sternel, Iana Krachounova, Stephanie Dean, Claudia Raddatz, Eugenia Gortchakova, Anna Pein, Doro Carl, Susan Chales de Beaulieu, Pio Diaz, Katherine Williams, Jamilia Jazylbekova, Saide Sesin, Paula Hasenzucker, Ma-tha-B Dao-in-space, Ursula Palla, Christina Goestl, Alice Bartle, Sandra Hastenteufel, Maria Deslibes, Maria Miranda, Norie Naumark, Out-of-Sync Collective, ValĂ©ry Grancher, Krista Beinstein, Phyllis Green,Chiara Passa, Louis Christian, Deb King, Amanda Steggell, Pernilla Platou, Anna Bardi, Ulrike Bergermann, Gisela Weimann, Sarah Smiley, Lowry Burgess, Naomi Nooteboom, Helen Varley Jamieson, Ada Frankiewicz Collaborations: Mars Polar Lander Participation Certificate, presented to Mars Gallery by Dr. Wesley T. Huntress, Associate Administrator, Office of Space Science, NASA, 17.4.1998, on transporting the former name of the MARS PATENT on a CD-ROM wih the Mars Surveyor '98 Project to Mars; AIR-BASE, curated by Torsten FlĂĽh, Helene von Oldenburg & Claudia Reiche Introducing The Mars Gallery, Photos, Facts & Fiction, An Internet Project, 30.7.1998, Dublin (IRL), Presentation with information graphics, diapositifs and objects derived from teleportation tests; Opening 26.9.1999, Office of the MARS PATENT, Hamburg (De) with Ellen Nonnenmacher: Strickliesl on Mars, Installation and Presentation; Mondo immaginario, Group Show, curated by Elke aus dem Moore, Shedhalle ZĂĽrich (CH), 1.10.-28.11.1999, Presentation and on-line installation; Shedhalle/Programm 1999, edited by Shedhalle Team, ZĂĽrich (CH) 2000, Helene von Oldenburg/Claudia Reiche: Call to all dreamers and wannabes, p. 86-87! ; Infection manifesto, Zeitschrift fĂĽr Kunst und Ă–ffentlichkeit, no 3, edited by Andrea Knobloch, March 2000, Helene von Oldenburg/Claudia Reiche: Mars Patent: Call to all cyber- and other feminists, p. 84, http://www.fern.at/labor/fern/zeitschriftenprojekte/im.html; netz.kunst-kĂĽnstlerInnen online, [Auswahl und Redaktion: Verena Kuni, Frankfurt/M., Stand: 17.6.2000], http://www.kubiss.de/kultur/projekte/log.in/links/lidat_1.htm; n.paradoxa no 11, Defining Experiences: feminist exhibitions in the 1990s, What is your most memorable experience of a feminist/women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism?, Ulrike Bergermann on MARS PATENT, November 2000, http://web.ukonline.co.uk/n.paradoxa/-define5.htm; FACES | PROJECTS M-R, list showing webworks by women, http://faces-l.net/projects3.html; KunststĂĽcke - ein Galeriespiel unter dem Titel von Liebe, Geld, Abenteuer, curated by Galerie Helga Broll, Claudia Reich! e/Helene von Oldenburg: Presentation of the Mars Patent, 10.12! .2000, B asel (CH), Lecture with information graphics, installation; Tiefenschärfe, edited by Zentrum fĂĽr Medien und Medienkultur der Universität Hamburg (D), March 2001, Ulrike Bergermann: Praktizierte Virtualität. Das Netzprojekt Mars Patent zeigt High Reality, p. 18-20, see: www.upb.de/~bergerma/texte/mars.html; levels #2 talk, curated by Andrea Knobloch in the Galerie am Parkhaus, at the occasion of: Themenheft FrĂĽhling, 27.3.2001, Berlin (De), Presentation, http://blitzreview.-de/b-674.html; n.paradoxa, international feminist art journal, Economies/Exchanges, vol 8/2001, edited by Katy Deepwell, Website Reviews, p. 95; ifu related ressources on the web, edited by Internationale Frauen Universität, net.art and other electronic art, last updated 5.3.2001, http://www.wifu.org/links.html, filiale, zeitgenössische kunst gender vermittlung – schaufenster, curated by Verena Kuni, commented link, last updated 19.4.2001, http://www.thing.de/filiale/fil-show.htm, Opening 30.4.200! 1, Office of the MARS PATENT, Hamburg (De) with Flora Urania Museum fĂĽr werdende Kunst: Romance, Installation and Presentation, The Guardian: Is there conceptual art on Mars?, comment on the MARS PATENT, 27.7.2001; Space, From Earth Gravity to the Surface of Mars, Installation throughout Peformance, curated by Ferens Art Gallery/Hull Time Based Arts, Ferens Art Galley, Kingston upon Hull (GB), 3.9.-14.9.2001, Installation, Poster Presentation; MarsNews.com, NewsWire for the New Frontier, Mars Movies, related Websites, September 2001, Commented link, http://www.marsnews.com/focus/-movies/; Opening 18.9.2001, Office of the MARS PATENT, Hamburg (De) with Judith Siegmund: A Really Short Attempt at Communication with (Wo)mankind and Extraterrestrials, Installation and Presentation, additional link, http://www.kunstimkontext.udk-berlin.de/ngbk/projekte/sigmund.html; i-love-u, additional link to their project on the Mars Patent website, October 2001, http://www.i-love-u.ch/mars/e! ditorial/editorial.htm; Opening 26.3.2002, Office of the MARS ! PATENT, Hamburg (De), with Maya Consuelo Sternel: Visit an Alien Resident, Installation and Presentation, Commented additional link, see http://www.diepatinnen.de/projects.html; Ein unguter Ort - doch besser als die Welt, series of exhibitions, performances, lectures, curated by COPYRIGHT ProjektbĂĽro (Ute Lindner/Patrick Huber/Bernhard Thome), Projektraum in der Galerie Kampl, Claudia Reiche/Helene von Oldenburg: "Ein un-ort-end-licher Ort: der Mars", Berlin (De), 11.5.2002, Presentation, http://www.copyright-projekt.de/presse/pressear-chiv_12.html; COPYRIGHT, Ein unguter Ort – doch besser als die Welt, Rahmenprogramm des XXI. World Congress of Architecture der UIA Berlin 2002, Symposium, curated by COPYRIGHT ProjektbĂĽro (Ute Lindner/Patrick Huber/Bernhard Thome), Akademie der KĂĽnste Berlin (D), 24. - 26.7. 2002, Lecture, Das Mars Patent: Datentransfer und Teleportation. Zu den technisch-konzeptionellen Grundlagen der ersten Ausstellungsfläche auf dem Mars, http://www.copyrigh! t-projekt.de/projekte/-02orte/akademie.html; Motz Berliner StraĂźenmagazin, edited by Friedrich Adolphi, Sonderausgabe by COPYRIGHT ProjektbĂĽro (Ute Lindner/Patrick Huber/Bernhard Thome), Ein unguter Ort – doch besser als die Welt, no. 15/2002, Claudia Reiche/Helene von Oldenburg: Mars Patent - Die erste interplanetarische Ausstellungsfläche auf dem Mars, p. 22; Urtux, Kein Ort, ĂĽberall – Kunst als Utopie, edited by Institut fĂĽr moderne Kunst NĂĽrnberg in collaboration with Verena Kuni, NĂĽrnberg 2002, Claudia Reiche/Helene von Olderburg: Mars Patent, Haben Sie jemals geträumt..., p. 64-75; Open A.I.R. 2002, Die internationale KĂĽnstlerinnenstiftung Die HĂ–GE präsentiet ihre neuen resident artists, 26.5.2002, Högenhausen (De), performance by Claudia Reiche; Galeriespiel part two >>> VERNISSAGE-MARATHON, curated by Galerie Helga Broll in cooperation with Galerie Hinterconti, Hamburg (De), 1.9.2002, presentation and installation; Fundus im bateau bleu, by invitatio! n of Peter Jap Lim, Claudia Reiche/Helene von Oldenburg: Der m! arsianis che Seiltrick (vom bateau bleu zum Mars) Kassel (De) 5.9.2002, presentation and video-screening "String" by Claudia Reiche/Helene von Oldenburg; Aussstellen, Workshop, curated by Andrea Sick, Frauen.Kultur.Labor TheaLit, Bremen (D), 26.10.2002, presentation; n.paradoxa, Online links: n.paradoxa, Women's Art Work on the Net, edited by Katy Deepwell, February 2003, http://web.ukonline.co.uk/n.paradoxa/links.htm; Skrevet i stein. En net.art arkeologi. - Written in Stone. A net.art archaeology, Bergen University (No), Exhibition March 2003, http://rasmus.uib.no/~stud2081/utstilling/index3.htm; Rhizome, Net Art News, Helen Varley Jamieson: Exhibition in Space, 27.8.2003, http://rhizome.org/netartnews/story.rhiz?timestamp=20030827; Joe Jennet's Daily Webthing, 27.8.-2003, MARS PATENT, http://bulltown.com/radio/categories/dailywebthing/2003/week34.shtml; Hall of Fame, edited by bildwechsel, Hamburg (De), September 2003, http://internetfrauen.w4w.net/bildwechsel/mitdenkzentrale/hof.! html; Picatrix, edited by Michael Heinrich, November 2003, Links, http://www.picatrix.de/home.html; 01xy, Allemagne | art rĂ©seaux: artistes et groupe d'artistes, November 2003, http://benjah.free.fr/3a.htm; Engineering Gender. Konfigurationen kybernetischer, virtueller und biopolitischer Existenzen, Conference organized by genus, MĂĽnsteraner Arbeitskreis fĂĽr gender studies, Claudia Reiche/Helene von Oldenburg: MARS PATENT - die erste interplanetarische Ausstellungsfläche auf dem Mars, 6.-8.11.2003, MĂĽnster (De), lecture, http://www.uni-muenster.de/AKGenderStudies/-veranstaltungen/tagung/programm.pdf; MARS PATENT @ Interkulturelle Begegnungsstätte Hamburg St. Pauli e.V, Opening with Eugenia Gortchakova, Susan Chales de Beaulieu, Doro Carl, Anna Pein, Hamburg (De), 14.11.2003, presentation and installation, passing by, Morgana Nawelbuta or Martina Miranda on behalf of Claudia Raddatz, commented additional link, November 2003, http://claudia.va.com.au/pages/stagetwo.htm;! La Mèdiatheque du MusĂ©e d'art contemporain de MontrĂ©al, (C! a), gale ries et musĂ©es virtuels: Allemagne, November 2003, http://media.-macm.org/f/rep/musvirtuel/, http://media.macm.org/f/rep/disci/artsmedia/expo/, Bernie's Links to Art, December 2003, http://www.meyknecht.de/index_w_artlinks.htm, RED Gallery, independent exhibition space and 'laboratory' for contemporary art, Hull (GB), links, 5.12.2003, http://www.red-gallery.com/index/links.html; Beate Engl, Space is a place. Der Weltraum als möglicher neuer Ort fĂĽr Kunst im öffentlichen Raum im Zeitalter seiner Kommerzialisierung, Masterarbeit im Rahmen des Studiengangs “Public Art and New Aritistic Strategies” an der Bauhaus Universität Weimar, Mentor: Ralf Homann, Betreuer/in: Katharina Hohmann, Joseph Vogl, February 2004, discussion of the MARS PATENT p. 45; Annick Bureaud, „art spatial, l’utopie de la rĂ©alitĂ©/Space Art, the Art of the Impossible Made Real“, in artpress, vol. 298, February 2004, mention of the MARS PATENT, p. 37; Presesntation European Space Research and! Technology Centre (ESA-ESTEC) Noordwijk, The Netherlands at the Space: Science, Technology and the Arts (7th Workshop on Space and the Arts), 18 - 21 May 2004, Group exhibition: RĂĽckkehr ins All, Hamburger Kunsthalle, Galerie der Gegenwart, Germany, in Cooperation with Siemens Arts Program, curated by Christoph Heinrich, Markus Heinzelmann, September 23, 2005– February 12, 2006. + -> 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, 5 Aug 2005 16:49:32 -0700 message-id: <200508052349.j75nnw2u016401@idx164.idx.net> references: no_parent from: Lilia Perez Romero subject: RHIZOME_RAW: Call for entries-->>First Video and Electronic Arts Contest-->> Transitio_mx 2005 (MĂ©xico) Transitio_mx 2005 International Video and Electronic Arts Festival is a place for the expression of contemporary artistic creative practices through electronic media. The main focus of this festival is showing the current production and research in the field, in function of the constant mobility of its epistemological, technological, cultural, aesthetic and social boundaries. These dissolutions invite us to explore the nature, scopes and conflicts between, art, technology, sciences and humanities making the Festival a permanent site for the expression and reflection of the above mentioned relationships. This first edition of the Festival has chosen the “Imaginaries in transit: poetics and technology” as its main theme. The thematic proposes to go deep into the paradigm that provides of contents and expands technology right from the poetics or sign’s site, rather that emphasizing the research concerning technological support itself. “Imaginaries in transit: poetics and technology” seeks to explore the aesthetic and cultural re-signification modes that accompany electronic art production and research, inviting the participants of the contest to reflect about production within this context. The National Culture and Arts Council, through the Center for Multimedia of the National Center for the Arts, invites all artists of this field to participate in the First Video and Electronic Arts Contest that will take place within the framework of this 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: Fri, 5 Aug 2005 16:57:01 -0700 message-id: <200508052357.j75nv102017412@idx164.idx.net> references: no_parent from: Lilia Perez Romero subject: RHIZOME_RAW: Call for Entries // Transitio_mx 2005, International Video and Electronic Arts Festival // MEXICO Transitio_mx 2005 International Video and Electronic Arts Festival is a place for the expression of contemporary artistic creative practices through electronic media. The main focus of this festival is showing the current production and research in the field, in function of the constant mobility of its epistemological, technological, cultural, aesthetic and social boundaries. These dissolutions invite us to explore the nature, scopes and conflicts between, art, technology, sciences and humanities making the Festival a permanent site for the expression and reflection of the above mentioned relationships. This first edition of the Festival has chosen the “Imaginaries in transit: poetics and technology” as its main theme. The thematic proposes to go deep into the paradigm that provides of contents and expands technology right from the poetics or sign’s site, rather that emphasizing the research concerning technological support itself. “Imaginaries in transit: poetics and technology” seeks to explore the aesthetic and cultural re-signification modes that accompany electronic art production and research, inviting the participants of the contest to reflect about production within this context. The National Culture and Arts Council, through the Center for Multimedia of the National Center for the Arts, invites all artists of this field to participate in the First Video and Electronic Arts Contest that will take place within the framework of this 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: Fri, 5 Aug 2005 17:10:23 -0700 message-id: <200508060010.j760anoh019569@idx164.idx.net> references: no_parent from: Lilia Perez Romero subject: RHIZOME_RAW: Call for Entries // Transitio_mx 2005, International Video and Electronic Arts Festival // MEXICO Transitio_mx 2005 International Video and Electronic Arts Festival is a place for the expression of contemporary artistic creative practices through electronic media. The main focus of this festival is showing the current production and research in the field, in function of the constant mobility of its epistemological, technological, cultural, aesthetic and social boundaries. These dissolutions invite us to explore the nature, scopes and conflicts between, art, technology, sciences and humanities making the Festival a permanent site for the expression and reflection of the above mentioned relationships. This first edition of the Festival has chosen the “Imaginaries in transit: poetics and technology” as its main theme. The thematic proposes to go deep into the paradigm that provides of contents and expands technology right from the poetics or sign’s site, rather that emphasizing the research concerning technological support itself. “Imaginaries in transit: poetics and technology” seeks to explore the aesthetic and cultural re-signification modes that accompany electronic art production and research, inviting the participants of the contest to reflect about production within this context. Transitio_mx will count with the presence of well known personalities such as Marina Grzinik, Rafael Lozano Hemmer, Arlindo Machado, Jorge Laferla, PrĂ­amo Lozada, JosĂ© Luis Barrios, among others. The jury for the First Video and Electronic Arts Contest will also be made up of important artists and theoretitians in the electronic arts field. Three prizes will be awarded: first prize consisting in N$120,000.00, second prize consisting in N$90,000.00 and third prize of N$75,000.00. The previous amounts are in Mexican pesos. The National Culture and Arts Council, through the Center for Multimedia of the National Center for the Arts, invites all artists of this field to participate in the First Video and Electronic Arts Contest that will take place within the framework of this 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: Fri, 5 Aug 2005 23:49:28 -0700 message-id: <200508060649.j766nsdp028420@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Avatar Body Collision by Helen Jamieson Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34657 + Avatar Body Collision + + Helen Jamieson + Avatar Body Collision is a collaborative, globally distributed cyberformance troupe. We devise, rehearse and perform online using chat software that is cross-platform and free to download. Our live performances are sometimes purely online, and sometimes staged in a physical venue for a proximal audience, but always there are remote performers. "Everything happens in real time, nothing is pre-recorded." We have been experimenting at the interface of theatre and the internet since 2002, and individually developing our art practices for much longer than that. In 2003 we began to develop UpStage, an open source web-based venue for cyberformance. We live (mostly) in London, Helsinki, Aotearoa/New Zealand and cyberspace. Our goal is always to push the boundaries, to discover whether it's possible for remote performers to achieve the magic of live theatre. We are working with relatively new technologies in an unstable environment, but our approach is always to embrace the obstacles as part of the territory and incorporate them into the performance. We also enjoy the low-tech aesthetic: we work with free and open source technologies, often over dial-up connections, and our software UpStage is accessible for people of all ages to learn the basics and have a go. + + + Biography The four members of Avatar Body Collision are Karla Ptacek, Leena Saarinen, Vicki Smith and Helen Varley Jamieson. Karla Ptacek's work spans two decades in New York City as performer, writer and director in multimedia ensembles. She holds an MA in Directing from Goldsmiths College, London, and teaches drama at secondary and tertiary level in London. "What interests me is the diverse qualities of liveliness that occur across the animate and the inanimate in distributed performance practices." http://www.artificialstage.com/ 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: Sat, 6 Aug 2005 12:56:25 +0200 (CEST) message-id: <20050806105625.7dfe821fd7@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Rd raggedbottom Rumanian, RIAA ramblings RFC, ROTC racing re-run, Relbar. 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 -> 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, 6 Aug 2005 22:27:46 +0200 (CEST) message-id: <20050806202746.99ae021fd7@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Sci savebox Scottish, SDI saintly SDK, SD sadism SHOULD scalable, Semicolons six SLITEX. 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 -> 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, 6 Aug 2005 14:04:33 -0700 message-id: <200508062104.j76l4xij024870@idx164.idx.net> references: no_parent from: Paul Slocum subject: RHIZOME_RAW: Readme 100 Deadline Approaching Alexei Shulgin's Readme 100 (that's 4 for the posers) is contest format this year and the deadline for submissions is Monday, August 8th! The festival this year is in Dortmund, Germay and will take place in November. 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 -> 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, 7 Aug 2005 02:30:33 -0400 message-id: <200508070630.j776uznq008141@outgoing.mit.edu> references: no_parent from: subject: RHIZOME_RAW: CALL FOR SUBMISSIONS - THRESHOLDS - MIT Journal of Architecture and Culture CALL FOR SUBMISSIONS - THRESHOLDS 31 - 'EPHEMERA' thresholds, the bi-annual critical journal of architecture, art and media culture of the department of architecture at MIT invites submissions for issue 31 'ephemera' DUE:   31 October 2005 (please see details for submissions below) THRESHOLDS 31 - 'EPHEMERA' We have accelerated into an age in which information is as fleeting as our response to it, and the capacity for its processing the new world currency. The relevance of the moment has become eclipsed by that of its own passage, and absolute position has become an easy sacrifice for the velocity on offer.  We have been at last swept by the flux of our times into a time defined by its own flux.  Time has become both the axis and the function. thresholds 31 seeks to explore this condition through identifying, suggesting, tracing and questioning the notion of ephemera* through time and cultural relevance.  What role does ephemera play within current cultural practice and thought?  What are its historical traces and its cultural import?  What are the projects in which it has become manifest – deliberately, or not – and why?  Are we longing for a future or a past, or neither? Contributions from all fields including, but not limited to, scholarly works are welcome. thresholds 31 will be the first issue to accept both text and time-based media submissions.  Time-based media submissions might include but are not limited to, video, sound, animation, etc. and will be published in digital format. *  ephemera, n., transf. and fig. One who or something which has a transitory existence. [Oxford English Dictionary, 2nd edition 1989] SUBMISSIONS 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: Sun, 7 Aug 2005 20:46:04 +0100 message-id: <01693ecb-8cf8-4e6d-b3b5-d3e28220a2e2@mac.com> references: no_parent from: Rob Myers subject: RHIZOME_RAW: HOWTO Writeup In the second half of 2004 I began exchanging emails with a pair of artists called MANIK (MArija Vauda & NIKola Pipilovic). We had met on the New-York-based Rhizome mailing list. I live in Peterborough in England. Manik live in Belgrade in Serbia (formerly Yugoslavia). The Internet dissolved that distance, allowing us to discuss art, aesthetics, and occasionally old television comedy programs. Early in 2005 MANIK suggested that I have a show of my work in Belgrade, and began working to find a suitable gallery. The gallery that eventually agreed to show my work, O3one, specialises in new media art, and had exactly the kind of space and technology that I needed. With the show confirmed for the end of July, The British Council agreed to pay for me to travel to Belgrade. In Belgrade I stayed with MANIK (who were the perfect hosts) for a week to set up the show, attend the private view and give a talk. Setting up the show went quickly and smoothly, although I had to do some last minute hacking to ensure the software part of the show would run well unattended. The work I showed was: Canto - http://www.robmyers.org/art/canto 1969 - http://www.robmyers.org/art/1969 draw-something - http://rob-art.sourceforge.net/ paintr - http://paintr.robmyers.org/ At the private view people liked the work and some had interesting questions. The talk two days later - about my work, free software and free culture - also went well. I chatted to a couple of other artists before and after. One thing I wasn’t prepared for was giving interviews to radio and television (a music TV channel called Metropolis, and a national TV arts program). That and the heat of Belgrade’s summer were the only two real surprises I had. Whilst in Belgrade I had enough time to see MANIK’s work and talk art with them in real life, to see some of the city, to visit some of MANIK’s artist friends, and to look around some of the city’s galleries and museums. Like Jack White I had to see the Nikola Tesla Museum. This experience has confirmed my belief in the potential of collaboration over the internet, and driven home the importance of real world, international, collaboration between artists. Show photos - http://www.robmyers.org/weblog/2005/08/02/rob-myers- howto-images/ My web site - http://www.robmyers.org/ MANIK’s weblog - http://tiija.blogspot.com/ O3one - http://www.o3.co.yu/ Rhizome - http://www.rhizome.org/ British Council http://www.britishcouncil.org/ Remix Reading - http://www.remixreading.org/ Creative Commons - http://creativecommons.org/weblog/entry/5509 + -> 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, 7 Aug 2005 16:35:25 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #49: None More Black 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 -> 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, 7 Aug 2005 18:56:15 -0700 message-id: <200508080156.j781uf8l016076@idx164.idx.net> references: no_parent from: Jeremy Turner subject: RHIZOME_RAW: Karl Bartos on Greatestbits.com! Karl Bartos on Greatestbits.com! Karl Bartos (ex-Kraftwerk) has 1 second digital audio pieces on Greatestbits.com Be sure to check them out and also to check out his webpage: www.karl-bartos.de 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: Sun, 7 Aug 2005 20:33:14 -0700 message-id: <200508080333.j783xe4l003466@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: live at Paula Cooper http://web.idirect.com/~artseen/door.htm well, this is test, the AI work is evolving nicely + -> 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, 7 Aug 2005 22:43:37 -0700 message-id: references: <200508080333.j783xe4l003466@idx164.idx.net> from: Christina McPhee subject: Re: RHIZOME_RAW: live at Paula Cooper really beautiful, Eric..\\\this piece has progressed some since the spring, hasn't it? christina On Aug 7, 2005, at 8:33 PM, Eric Dymond wrote: > http://web.idirect.com/~artseen/door.htm > > > > > well, this is test, > the AI work is evolving nicely > + > -> 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, 7 Aug 2005 23:46:10 -0700 message-id: references: no_parent from: Jonah Brucker-Cohen subject: RHIZOME_RAW: Report From SIGGRAPH 2005 Report from SIGGRAPH 2005 Los Angeles, CA July 31-Aug 4, 2005 by Jonah Brucker-Cohen (jonah_at_coin-operated.com) In the heat of the LA summer, SIGGRAPH 2005 opened its doors to 50,000+ computer graphics technologists, animators, musicians, artists, geeks, curators, and digital media professionals. This year's Art gallery and emerging tech sections featured hundreds of projects that aimed to showcase the "future" of computer graphics and interaction. Since I was active in this year's conference, I didn't get a chance to visit every presentation or try every demo, but here is a report from the projects and talks that I saw. This year's main event was the keynote address by acclaimed filmmaker 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: Mon, 8 Aug 2005 00:50:57 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: Report From SIGGRAPH 2005 > This year's main event was the keynote address by acclaimed filmmaker > 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." It is certainly reassuring to know that a humble storyteller can be the main event at SIGGRAPH. He *is* a humble storyteller, right? Is this an "immaculate reality"? 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, 8 Aug 2005 02:42:53 -0700 message-id: <200508080942.j789grbm008513@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV New playlist Art from around the globe! Videos from the heart of Africa to the Red Square in Moscow, from the West to the East, from the South to the North. New on the playlist of this week. You will meet the Kenian painter Bertiers, see an impression of the famous COW Parade, now presented in Moscow and the One Minute Museum Visit at the Museum Boymans van Beuningen in Rotterdam with a flash of the Project Rotterdam which shows what the city’s artists and designers currently stand for. New art videos. Like 'A Story' from Isidore Bethel. A sixteen old American schoolgirl.She made a fascinating animation with a typewriter. Playlist: 'Project Rotterdam' Museum Boymans van Beuningen Rotterdam, (NL) 'Fountainhead' by Kolja Gläser / Andreas Bunte (D). 'Art Out of Africa'Bertiers' Painter from Kenia 'Looking for 1 hrs. Photo' by V.Shumov & L.Romanos (USA). 'Being sHe' by Chilo Eribenne (GB) 'Cow Parade' Moscow 'Symphony in the box/symphony in my head' by IjosĂ© Benin (CAN). 'A Story' by Isidore Bethel 'Una Pelicula du Cinema Retrato Reverso' by Aaron Krach & Lloyd Blander (USA). 'Identity& Nomadism' PALAZZO DELLE PAPESSE, Sienna (I) 'BRINGING DEMOCRACY TO YOU' by Florian Zeyfang / Ulrich Heinke / Rolf Pilarsky (D). 25 Years of the Deutsche Bank Collection 'La Divina Comedia' by Frederic Peire (F). 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 -> 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, 8 Aug 2005 13:57:46 +0200 (CEST) message-id: <20050808115746.844c021fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART T-shirts to tab Thai, Touch-Tone tailwinds TCP, the President of the United States taboos taskbars, the three TagsAsText. 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 -> 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, 8 Aug 2005 09:41:38 -0700 message-id: <200508081641.j78gfcsq032241@idx164.idx.net> references: no_parent from: Greg Smith subject: RHIZOME_RAW: 74 nights photoarchive I've completed a modest photo documentation of my summer wanderings through Los Angeles which celebrates much of the city that often goes unseen. East LA, Downtown, Echo Park, Little Armenia, MacArthur Park/Westlake & Koreatown have all been regular targets of mine as well as occasional trips into West LA. This catalogue of photographs will be online for the next month. It's really only the beginning of a much more involved meditation on LA. But, for the time being it is available for viewing at http://www.serialconsign.com/74nights.swf GS -- greg smith http://www.serialconsign.com http://www.vagueterrain.net 213.480.8050 x202 smith@serialconsign.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Aug 2005 11:44:54 -0700 message-id: <1123526694.7148@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: most serial killers don't get that way on accident this is "art" related in the end, but you have to bear with me. i love reading about serial killers, "spree killers", etc. it's like social etymology. what gets sdomeone to that point? who knows if there's a way to never make it happen again, but there certainly is a lot cheaper and easier way to minimize it. by changing philosophy. instead of looking at the killers as killers and preventing them (which is like that Star Wars defence idea from the 80's. if it doesn't work 100% of the time, does no good. since missing 1% is enough to be a huge tragedy. while often by the time they don't even see people as anything but moving targets, obstacles preventing them from happiness, they are too mentally unstable and incoherent to reason with. however, in the vast majority of cases, the killer (so often a white male, social outcast, 20-30, in large industrial cities. (which describes most computer geeks, though clearly most do not end up serial killers.) the "type" is so prevalent, it appears the serial killer's goal is not ultimately destruction or hate as much as a plee for someone to give them some respect, publicity. the serial killer has usually felt ignored or rejected for too long and finally with diminishing options for someone to listen to them, they figure out how to kill a bunch of folks. 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: Mon, 8 Aug 2005 12:43:50 -0700 message-id: <200508081943.j78jhomw014469@idx164.idx.net> references: no_parent from: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 12:58:16 -0700 message-id: <200508081958.j78jwgdp018482@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just opened: "invited | invaded" curated by Jessica Gomula Just opened ... http://rhizome.org/art/member-curated/exhibit.rhiz?269 + invited | invaded + + Curated by Jessica Gomula + The unveiling of the blog - an open window into another's innermost thoughts - has habituated the public into a priviledged knowledge of the intimate experiences and secrets of strangers. Why would anyone place something into the open waters of the world wide web if it is not meant to be seen, read, or experienced by another? Having placed something online, is it possible to un-invite the unknown thousands of web-surfers from you innermost moments?

The works selected for this exhibition all address the notion of invaded privacy. They tap into the need for a private oasis even within a world wide presence. In Awkward Moment #2 and in Inviligate, the artists create intimate spaces through which the viewer is placed in the position of an intruder. In Don't Touch Me the viewer is both rewarded and scolded for interacting with the site's "inhabitant" before being drawn into an increasingly personalized interaction with the "inhabitant." Crying Machine mechanizes an confoundingly intimate experience of emotional release, whereas Uninvited Words is a protest against automated email intrusions. Confess, on the other hand, capitalizes upon the public's impulses to find and reveal ever more intimate experiences.

+ + + 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 13:13:00 -0700 message-id: <200508082013.j78kd0dp023154@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: xml translation of dan graham's "schema" by matt_butler Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34361 + xml translation of dan graham's "schema" + + matt_butler + In 1966 conceptual artist Dan Graham composed a language-based work entitled Schema. The artwork consisted of a formal procedure for how to describe a document, or a "set of pages," with no real reference to the content of that document. This schema, as he called it, shares a remarkable similarity with XML, invented over 30 years later. The conceptual artists of the late 1960's and early 1970's were interested in the nonvisual abstraction of art and how artworks might be represented as information. Using language in a non-literary and non-poetic manner, they sought to continue the tradition of visual artists in a search for abstraction and minimalism. Many conceptual works of this time were simply words on paper, instructions, or thought experiments. Schema allowed the viewer to be aware of the material nature and structure of the document they were holding -- as well as any document they might hold. Using XML, I have created a machine-readable translation of his 1966 work. Schema was originally published in issue 5+6 of Aspen magazine. It is now being archived at UbuWeb. + + + Biography m.f.a. university of iowa (intermedia art). ph.d omega university (unaccredited parapsychology). maybe logic academy (robert anton wilson instructor). matt is currently employed at the iowa city public library where he produces television programs for the library channel. he also teaches digital art at coe college in cedar rapids, ia. matt has participated in a variety of art and technology events including versionfest at the m.c.a. chicago. his published books can be found at printed matter, inc. new york. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Aug 2005 13:14:48 -0700 message-id: <200508082014.j78kemdp023724@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Drug Quilt by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34536 + Drug Quilt + + + The DrugQuilt is a real-time visualization of the drugs registered with the FDA to date. Built in Flash, the application is fed by a database mirroring the Drugs@FDA datafiles. Each square in the Quilt represents a commercial entity which has registered at least one drug. When clicked, the Quilt zooms to the entity and shows all drugs they have registered with the FDA. Similarly, clicking a drug loads links to all documents on file (labels, letters, etc.). All of these steps are dynamic and database-driven. While the project aims to present this information impartially, by providing an alternate, visual way to assess the drug landscape, it hopes to call attention to the fate of collaboration and the dynamic self in an increasingly medicated society. + + + Biography Noah Pedrini is an interactive designer based in Burlington, Vermont. He explores notions of technology's effect on society, the fate of self, etc, through interactive installations and web objects integrating mapping, information visualization and folklore. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Aug 2005 13:15:06 -0700 message-id: <200508082015.j78kf6dp023822@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Trace II by Thomas Petersen Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34581 + Trace II + + Thomas Petersen + Trace II is an interactive drawing. It is a playful game of indirect creativity originating somewhere between the actions of the user, the program and the artist. The user must navigate a simple set of rules to generate drawings by means of a group of semi-autonomous units moving around on the screen. Trace II is created for full screen display on touch screen, but you can try an online version at the project website www.crossover.dk/trace2 The rules are simple. The user must click and keep the mouse in motion. This attracts the nearby units and makes them circle around the mouse pointer leaving drawings in their trail. The old drawings are continuously deleted by new ones. The user can attract more units to the orbit by moving closer to them. When the user stops moving or the mouse button is released, the units move freely again and the drawings are left behind. They slide slowly out of the screen and disintegrate. 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: Mon, 8 Aug 2005 13:17:29 -0700 (PDT) message-id: <11581.142.104.250.115.1123532249.squirrel@142.104.250.115> references: <1123526694.7148@fire.he.net> from: Jim Andrews subject: Re: RHIZOME_RAW: most serial killers don't get that way on accident The Joker in Batman tells the beautiful photo-journalist, in an effort to impress her, that he is "the world's first practicing homicidal artist." And wants to enlist her in the "new avant garde". Conferences of practicing homicidal artists. Symposia. In rat holes. On luxury liners. In Afghanistan. The White House. Slideshows. Long slide show. Knocks em dead. The discussion periods get a little out of hand. A movie just isn't a movie these days without a good psycho. My favorite is "American Psycho". It doesn't cop out by assuming the 'one rotten apple' philosophy. Now he's Batman. 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: Mon, 8 Aug 2005 15:34:54 -0500 message-id: <677105e23f9ce517873e6899313d1656@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: online video and the future of television Begin forwarded message: > Archival TV and Intelligent Television present: > Getting Ready for Prime Time: Online Video and the Future of Television > > Friday, September 30, 2005 > 9.30 a.m. - 4.30 p.m. > The Hillside Club > 2286 Cedar Street > Berkeley, CA 94709 > > More than 30 million hours of unique television programming are > broadcast every year worldwide, and a growing fraction of it is > digital, along with a flood of video from individuals, new production > companies, and archives. The availability of large-scale public and > private archives of television, video, and film offers enormous promise > for educators, entrepreneurs, producers, broadcasters, and investors. > > Nearly every aspect of television and video today is in transition. > Storage is moving from tape to disk, distribution is moving from > broadcast networks to the Internet, schedules are giving way to > unscheduled or on-demand access, and viewing now happens via PCs, > mobile phones, and home theaters. > > This one-day conference brings together archivists, educators, > technologists, entrepreneurs, producers, legal experts, and investors > to explore the enormous promise offered by the availability of online > video and television content. Demonstrations and interactive panel > discussions will highlight new video technologies, services, legal > issues, and economic models. Participants from diverse -- and until > now, largely disconnected -- specialties will be especially encouraged > to interact. > > 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: Mon, 8 Aug 2005 15:37:02 -0500 message-id: <1b2f3382453d577bd2db1844ae6a3086@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: New Media Matters blog on digital audiovisual archiving Begin forwarded message: > This week Media Matters launched DAVA, the Digital Audiovisual > Archiving > blog. Updated weekly, this blog will feature news and announcements on > topics related to the digital transformation and preservation of > audiovisual materials. The blog will also list upcoming conferences > and workshops pertinent to archives and digital libraries, as well as > links to metadata resource sites and other digital archiving resources. > The blog will be maintained by Media Matters, and is intended to help > librarians, archivists, technologists, and anyone else who needs to > stay > on top of information relating to the intersection of digital media and > audiovisual archives. With technology changing so rapidly, and the > general shift to migrating analog media assets to digital files, this > blog is a timely and useful resource for anyone involved with media > collection management. > > > > DAVA can be found at: > http://av-archive.blogspot.com. > > > > For questions or comments about DAVA, please contact Gilad Rosner at > gilad@media-matters.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, 8 Aug 2005 13:38:56 -0700 message-id: <200508082038.j78kcu4p030379@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Regarding The "Anti-Nike" Joe Nolan wrote: > 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. http://www.spark-online.com/issue24/cloninger.html lightning rod as maypole. round and round we go. > 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. http://biblegateway.com/passage/?search=Exodus35:30-37:29 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Aug 2005 13:46:10 -0700 message-id: <200508082046.j78kkaak032236@idx164.idx.net> references: no_parent from: jeremy beaudry subject: RHIZOME_RAW: Place In Place Of: Berlin 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 18:16:13 -0400 message-id: <002601c59c66$ca5d0c20$6501a8c0@yourpa86z1i3g7> references: <200508081943.j78jhomw014469@idx164.idx.net> from: Eryk Salvaggio subject: RHIZOME_RAW: Conceptual Art Joe and Curt, Might I take a stance in defense of conceptual art? One of the ways art is most interesting to me is when it exposes a new possibility, reframes an old problem, or explores limitations of current ways of thinking. 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, 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. ----- 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: Mon, 8 Aug 2005 18:04:09 -0700 message-id: <200508090104.j79149yi022474@idx164.idx.net> references: no_parent from: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 18:04:25 -0700 message-id: <200508090104.j7914pkk022536@idx164.idx.net> references: no_parent from: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 18:07:39 -0700 message-id: <200508090107.j7917dgm022960@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: Conceptual Art Eryck, Clearly we disagree, but I appreciate your eloquence and interesting comments. Joe :) Eryk Salvaggio wrote: > Joe and Curt, > > Might I take a stance in defense of conceptual art? > > One of the ways art is most interesting to me is when it exposes a > new > possibility, reframes an old problem, or explores limitations of > current > ways of thinking. 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, 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. > > > ----- 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: Mon, 8 Aug 2005 18:24:53 -0700 message-id: <200508090124.j791orn8024791@idx164.idx.net> references: no_parent from: t.whid subject: RHIZOME_RAW: Re: Conceptual Art welcome back Eryk :-) Eryk Salvaggio wrote: > Joe and Curt, > > Might I take a stance in defense of conceptual 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 8 Aug 2005 20:49:09 -0700 message-id: <200508090349.j793n9lf009478@idx164.idx.net> references: no_parent from: Troy Innocent subject: RHIZOME_RAW: CFP â THIRD ITERATION: generative systems in the electronic arts 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. We are seeking the submission of papers, technical & artist talks, software art, animation, audio and installation works that address the three conference themes: :: HUMAN-COMPUTER CREATIVITY The relationship of the creative process to generative systems is fundamentally different than that of other modes of design and production. Rather than being engaged with the construction of an artefact, the designer specifies the rules of production for a system that constructs artefacts. What types of generative systems are suited to the new methodologies of generative design and creative evolution? How are artists and designers collaborating with these systems to produce creative human-machine hybrids? Can the computer play a more significant role in the creative process through new developments such as â€creative emergence’? Are new network technologies or hardware systems enabling alternative experiences of generative art? :: GENERATIVE MEANING SYSTEMS Generative systems may be coupled with ontological and semiotic models for the expression of what may be described as â€generative meaning systems’. Can generative systems be used to evolve language via feedback that interprets the meaning of their output? In what ways have generative systems been applied to semiotic and cognitive spaces - such as in the world of digital games? How are generative systems being used to model the growth of language, social and cultural networks? What role does audience interaction and cognitive process play in generating meaning? :: THE COMPUTATIONAL SUBLIME The output of generative systems is characterised by scale, complexity and behaviour that transcend the limits of human perception that can be described as the computational sublime. This idea suggests processes that we cannot comprehend directly, yet can experience through computational machines. How is the theory of the computational sublime placed in relation to other theories of the sublime in nature and art? Although a fundamental understanding of emergence itself remains elusive, it is a defining characteristic of the nature of generative systems. What is the relationship of emergence to the computational sublime? The deadline for submissions is Friday 9th September 2005. 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 The principal sponsor of THIRD ITERATION is the Centre for Electronic Media Art, Monash University. CEMA is an interdisciplinary research and production centre, established to explore critical and technical possibilities for electronic media art. THIRD ITERATION is produced with the assistance of the Film Victoria Digital Media Fund - the Digital Media Fund is funded by Multimedia Victoria as an ICT industry development initiative aimed at bringing together technology, creativity and talent for the benefit of all Victorians. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Aug 2005 21:09:43 -0700 message-id: <200508090409.j7949hcq011825@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Conceptual Art 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 9 Aug 2005 00:33:04 -0400 message-id: <002601c59c9b$6fa9a560$6501a8c0@yourpa86z1i3g7> references: <200508090104.j7914pkk022536@idx164.idx.net> from: Eryk Salvaggio subject: Re: RHIZOME_RAW: Re: Re: Regarding The Hi Joe, I would challenge the idea that there is no physical manifestation of even the most purely conceptual art. If it can be recieved by another person, then it has a medium. The only completely conceptual piece, then, is an idea no one talks about. 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. 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 9 Aug 2005 01:11:59 -0400 message-id: <002901c59ca0$defbee00$6501a8c0@yourpa86z1i3g7> references: <200508090409.j7949hcq011825@idx164.idx.net> from: Eryk Salvaggio subject: Re: RHIZOME_RAW: Re: Conceptual Art Hi Curt, I am trying to resist the line-item quote back, a methodology I think gets me into trouble. :) Let me also say, I think your idea for the conceptual art construction exchange is a great one, even though I sense just the tiniest bit of jest. The importance of the podcast, blogging, etc, to me, is not the quality of its product- I think that is an inevitability as people get used to the tools. But what is more exciting to me is the ability of any individual to access the technology to create and distribute thier product and to allow others to take it, manipulate it, and distribute the manipulations.Which makes me think of the conceptual art exchange that you've been talking about: by giving people the instructions to make a piece of art, you also give them the ability to customize it, interact with it much more directly, something that appeals to our "Pimp My Ride" culture for sure. It is also a different medium because it is designed to be experiential and generated rather than intellectualized and recieved. The thing about it is, conceptual artists have already been doing it. My relationship with Fluxus exists solely because of the Fluxus Performance Work Book. I've never seen a Fluxus piece performed, but it still interested me just to read about them through the "scores" that exist. Also, it has a much earlier analog in music theory. You would go out and buy the instructions for performing a piece of music rather than a recording. You read notation and if you played the piano, you would perform a piece that you would never hear otherwise (Then we had the piano with the tape, remember that thing? The first electronic music, in the western bar rooms amidst spittoons and horses?). Cheers, -e. ----- Original Message ----- From: "curt cloninger" To: Sent: Tuesday, August 09, 2005 12:09 AM Subject: RHIZOME_RAW: Re: Conceptual Art > 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: Tue, 9 Aug 2005 01:29:51 -0400 message-id: references: <002901c59ca0$defbee00$6501a8c0@yourpa86z1i3g7> from: Curt Cloninger subject: Re: RHIZOME_RAW: Re: Conceptual Art >The importance of the podcast, blogging, etc, to me, is not the >quality of its product- I think that is an inevitability as people >get used to the tools. But what is more exciting to me is the >ability of any individual to access the technology to create and >distribute thier product and to allow others to take it, manipulate >it, and distribute the manipulations.Which makes me think of the >conceptual art exchange that you've been talking about: by giving >people the instructions to make a piece of art, you also give them >the ability to customize it, interact with it much more directly, >something that appeals to our "Pimp My Ride" culture for sure. It is >also a different medium because it is designed to be experiential >and generated rather than intellectualized and recieved. right on. Eddo Stern says the net as a whole is more interesting than any individual work of net art, and he may be right. But networked collaborations and remix culture aren't necessarily the exclusive province of conceptual art. >The thing about it is, conceptual artists have already been doing >it. My relationship with Fluxus exists solely because of the Fluxus >Performance Work Book. I've never seen a Fluxus piece performed, but >it still interested me just to read about them through the "scores" >that exist. Also, it has a much earlier analog in music theory. You >would go out and buy the instructions for performing a piece of >music rather than a recording. 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: Mon, 8 Aug 2005 22:35:15 -0700 message-id: <1123565715.2464@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: Conceptual Art some say conceptual art is pretentious bullshit, some love it. but reading both sides of this 5,376th episode of "The Conceptual Art Question", these issues remain untouched for me: why (or why not) is skill necessary? why (or why not) call skill "art" (didn't it used to be - what REALLY, tangibly changed)? why validate work that shows no skill? why does anything NEED to be considered art? On Aug 8, 2005, at 6:16 PM, Eryk Salvaggio wrote: >Joe and Curt, > >Might I take a stance in defense of conceptual art? > >One of the ways art is most interesting to me is when it exposes a new possibility, reframes an old problem, or explores limitations of current ways of thinking. > >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: Tue, 9 Aug 2005 00:08:18 -0700 message-id: <1123571298.23968@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: Re: Conceptual Art skill is just the work, the effort. art without skill is like excersize with no energy expended. what's the point? why would anyone want to say "sitting on the couch is exersize" or insist "conceptualism is art"? why argue it is or isn't? theoretically exersize is possible if the goal of burning calories is dropped. same for art. but it's a phenominally useless endeavor to persue. to say conceptualism is somehow more valid or interesting because no one is excluded, everyone can make it regardless of skill is plain silly. everyone can acquire skill. some have a harder time then others allong the way, but that's the nature of human effort. sometimes it takes some imagination or innovation. but lacking the effort, skipping the hard part, doesn't improve anything. (in fact, it can certainly be said, deeper insights come from experience, getting ones hands dirty. we think with a lot more than our brains.) skipping the work, the gradual acquiring of skill, the investment of time/energy (beyond just sitting on the couch dreaming about it) is trying to get sometghing for nothing. though the literal path may take some work to forge, the option to work or not is free for everyone. DIY doesn't have to imply a "get rich quick" scheme. conceptual art is at the very best like yelling at the game from a lazy boy after finishing a six pack. but i'm not about to argue restricting couch-potato-like behavior. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 10:40:53 +0200 message-id: <50b9c5b4-38f2-4ddc-8256-0687474b63a6@nznl.com> references: <002601c59c9b$6fa9a560$6501a8c0@yourpa86z1i3g7> from: Geert Dekkers subject: Re: RHIZOME_RAW: Re: Re: Regarding The Hi I find this discussion extremely interesting -- and indeed I wish I could be a more eloquent speaker on the subject -- here goes anyway. I'll start with just a critique -- just to form my thoughts -- read between the lines, please Geert http://nznl.com On 9-aug-2005, at 6:33, Eryk Salvaggio wrote: > > Hi Joe, > > I would challenge the idea that there is no physical manifestation > of even the most purely conceptual art. If it can be recieved by > another person, then it has a medium. The only completely > conceptual piece, then, is an idea no one talks about. 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: Tue, 9 Aug 2005 01:51:54 -0700 message-id: <200508090851.j798psiw019018@idx164.idx.net> references: no_parent from: Kristine Ploug subject: RHIZOME_RAW: Interview with Jeremy Blake Interview with Jeremy Blake about his Winchester Trilogy, currently shown at SFMoMA. Read full interview here: http://www.artificial.dk/articles/jeremyblake.htm During the last five years Jeremy Blake has established himself on the international art scene with his fusion of abstract paintings, film footage, sound and animation. A process he himself describes as â€time-based paintings'. His continually looping DVDs have been projected on plasma screens at museums world wide, and outside the traditional art institutions his hallucinatory transmutations of colors and shapes have played an important part in Paul Thomas Anderson's movie Punch-Drunk Love and served as a visual accompaniment to Beck's live shows during his Sea Change tour. Until October 1oth his Winchester trilogy, Winchester (2002), 1906 (2003), and Century 21 (2004) is shown at the San Francisco Museum of Modern Art, where artificial.dk's Torben Olander recently met the artist. -- Kristine Ploug Co-editor artificial.dk Gl. Mont 19 a 1117 Copenhagen K +45 2819 8374 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 11:51:42 +0200 message-id: <2dc74666-0dcc-435e-8ff7-e100ebe9ffd6@nznl.com> references: <002601c59c66$ca5d0c20$6501a8c0@yourpa86z1i3g7> from: Geert Dekkers subject: Re: RHIZOME_RAW: Conceptual Art Another contribution (at least I hope so) Geert http://nznl.com On 9-aug-2005, at 0:16, Eryk Salvaggio wrote: > Joe and Curt, > > Might I take a stance in defense of conceptual art? > > One of the ways art is most interesting to me is when it exposes a > new possibility, reframes an old problem, or explores limitations > of current ways of thinking. 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, 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. Art, conceptual or otherwise, is about retagging, redefining, adding properties. Jenny Holzers LED works are as much a redefinition of a message object. You see the language first, then the object. I see the object first, then the language. But wait! There is more. Jenny Holzer's object is language too. She sets this familiar concept in front of our eyes, we say: "OK, this is a LED sign, not a problem. Let's see, what does it say. Oops. Not supposed to say that! Hmmm." And there we go again, we tell our neighbours -- "saw the strangest thing at the airport/art gallery/ 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: Tue, 9 Aug 2005 03:13:04 -0700 message-id: references: <002601c59c66$ca5d0c20$6501a8c0@yourpa86z1i3g7> from: Jim Andrews subject: RE: RHIZOME_RAW: Conceptual Art "if anyone can make [a thing] with the tap of their finger", then it's value as an artistic form decreases. it becomes a cliche. it becomes like a letter in the alphabet. neither the concept nor the technique can easily be distinguished amid a sea of similar objects. there will be a few that stand out, but not so much by virtue of the concept or technique as by other things such as whether the author has a television show etc. also, the net itself is not more interesting than any work of net art. the net itself is more significant in collective human affairs than any work of net art, but saying the net itself is more interesting than any work of net art is a bit like saying that the language itself is more interesting than any poem written in it. as language, perhaps. as art, no. 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, 9 Aug 2005 12:48:25 +0200 message-id: <43a14da7-3802-4965-922b-3c4346325158@nznl.com> references: from: Geert Dekkers subject: Re: RHIZOME_RAW: Conceptual Art On 9-aug-2005, at 12:13, Jim Andrews wrote: > > "if anyone can make [a thing] with the tap of their finger", then > it's value > as an artistic form decreases. it becomes a cliche. it becomes like > a letter > in the alphabet. neither the concept nor the technique can easily be > distinguished amid a sea of similar objects. there will be a few > that stand > out, but not so much by virtue of the concept or technique as by other > things such as whether the author has a television show etc. But why be so concerned about the amount of time something takes to make, or the amount of effort? To me, that just doesn't seem to be the point. A value is measured -- if I may say so bluntly -- in the resonance a thing makes in a community. How much it is talked about. Not how much it is talked about NOW, because we'd be at the mercy of the man with the most air-time, I absolutely agree with you there. Not how much it is talked about among consumers -- if this group could ever be defined -- I mean the group of consumers consisting of those who stay consumers, never become producers. The resonance is what influences new production. Sometime, somewhere. Now how would we ever measure THAT? Geert http://nznl.com > > also, the net itself is not more interesting than any work of net > art. the > net itself is more significant in collective human affairs than any > work of > net art, but saying the net itself is more interesting than any > work of net > art is a bit like saying that the language itself is more > interesting than > any poem written in it. as language, perhaps. as art, no. > > ja > http://vispo.com > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 09 Aug 2005 11:50:10 +0100 message-id: references: no_parent from: David Rogerson subject: RHIZOME_RAW: The Connectors, Bristol 12-18 September 2005 Sonic Arts Network in partnership with The Watershed Media Centre, Bristol present The Connectors 12-18 September 2005 An international festival at the cutting edge of sound and image processing featuring exclusive performances, specially curated films screenings, artis t led masterclasses and software courses ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The Connectors concert A rare opportunity to witness a line up of today=B9s leading international audio-visual pioneers in performance at The Cube Microplex, Bristol Saturday 17 September, 7.30pm =AD 11.00pm, The Cube Microplex, Dove Street South, Kingsdown, Bristol Rechenzentrum Kurt Ralske Brian O=B9Reilly and Andreas Schlegel Jo Hyde Yasser Rashid =A36/=A34 Credit Card Bookings/Bristol Ticket Shop 0870 4444 400 www.bristolticketshop.co.uk Other outlets: Replay Records, Park Street, Bristol Here Shop, Stokes Croft, Bristol www.cubecinema.com ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Film Screenings Exclusive artist curated film screenings featuring seminal classics and essential contemporary work in sound and moving image, not to be missed Sunday 18 September =AD Cinema 3, The Watershed Media Centre, 1 Canon=B9s Road, Harbourside, Bristol 12.00pm - work curated by Jo Hyde 2.00pm - work curated by Brian O=B9Reilly 3.30pm - work curated by Kurt Ralske =A33.50 each ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 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: Tue, 9 Aug 2005 04:25:46 -0700 (PDT) message-id: <20050809112547.11808.qmail@web54609.mail.yahoo.com> references: no_parent from: Jason Nelson subject: RHIZOME_RAW: this is how you will die (needs homes) All.....a new creation that needs a home, needs space to forecast people's death. Any ideas for fixing, adjusting or places for it to call a living space for a while are so very much desired. "this is how you will die" A slot machine for death. http://www.secrettechnology.com/death/deathspin.htm love, Jason Nelson __________________________________________________ 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: Tue, 9 Aug 2005 13:41:57 +0100 message-id: <73f1a6ea-e56e-41e0-8f0f-5783d75fef8d@mac.com> references: <43a14da7-3802-4965-922b-3c4346325158@nznl.com> from: Rob Myers subject: Re: RHIZOME_RAW: Conceptual Art On 9 Aug 2005, at 11:48, Geert Dekkers wrote: > On 9-aug-2005, at 12:13, Jim Andrews wrote: >> "if anyone can make [a thing] with the tap of their finger", then >> it's value >> as an artistic form decreases. it becomes a cliche. it becomes >> like a letter >> in the alphabet. neither the concept nor the technique can easily be >> distinguished amid a sea of similar objects. there will be a few >> that stand >> out, but not so much by virtue of the concept or technique as by >> other >> things such as whether the author has a television show etc. > > But why be so concerned about the amount of time something takes to > make, or the amount of effort? Indeed. If there were an infinite number of art objects, or if everything was art, some objects would still be better than others. What would make them better? Competence is a better guide than effort. This was the point of Whistler's lawsuit against Ruskin. And sincerity or going for the aura doesn't help. Being all serious and portentious doesn't make bad work good, it just makes is mawkish and embarrassing. See Jake & Dinos Chapman. Or Adrian Mole. > To me, that just doesn't seem to be the point. A value is measured > -- if I may say so bluntly -- in the resonance a thing makes in a > community. How much it is talked about. Not how much it is talked > about NOW, because we'd be at the mercy of the man with the most > air-time, I absolutely agree with you there. Not how much it is > talked about among consumers -- if this group could ever be > defined -- I mean the group of consumers consisting of those who > stay consumers, never become producers. The resonance is what > influences new production. Sometime, somewhere. Now how would we > ever measure THAT? But what causes that resonance, and what gives it that influence? Please not the Institutional Theory. Are we back at quality? 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: Tue, 9 Aug 2005 05:45:53 -0700 message-id: <200508091245.j79cjrhn027469@idx164.idx.net> references: no_parent from: M. River subject: RHIZOME_RAW: Re: Conceptual Art > How we think about the world, and the words and concepts that we use to describe a world to ourselves, are what define us, 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"). Thx ES. http://www.tinjail.com/tintype/?p=100 ;) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 17:04:17 +0200 message-id: <8ddc5622-d06f-4518-be00-bc5eab09eb5d@nznl.com> references: <73f1a6ea-e56e-41e0-8f0f-5783d75fef8d@mac.com> from: Geert Dekkers subject: Re: RHIZOME_RAW: Conceptual Art On 9-aug-2005, at 14:41, Rob Myers wrote: > On 9 Aug 2005, at 11:48, Geert Dekkers wrote: > >> On 9-aug-2005, at 12:13, Jim Andrews wrote: >> >>> "if anyone can make [a thing] with the tap of their finger", then >>> it's value >>> as an artistic form decreases. it becomes a cliche. it becomes >>> like a letter >>> in the alphabet. neither the concept nor the technique can easily be >>> distinguished amid a sea of similar objects. there will be a few >>> that stand >>> out, but not so much by virtue of the concept or technique as by >>> other >>> things such as whether the author has a television show etc. >>> >> >> But why be so concerned about the amount of time something takes >> to make, or the amount of effort? >> > > Indeed. If there were an infinite number of art objects, or if > everything was art, some objects would still be better than others. > What would make them better? > > Competence is a better guide than effort. This was the point of > Whistler's lawsuit against Ruskin. > > And sincerity or going for the aura doesn't help. Being all serious > and portentious doesn't make bad work good, it just makes is > mawkish and embarrassing. See Jake & Dinos Chapman. Or Adrian Mole. > > >> To me, that just doesn't seem to be the point. A value is measured >> -- if I may say so bluntly -- in the resonance a thing makes in a >> community. How much it is talked about. Not how much it is talked >> about NOW, because we'd be at the mercy of the man with the most >> air-time, I absolutely agree with you there. Not how much it is >> talked about among consumers -- if this group could ever be >> defined -- I mean the group of consumers consisting of those who >> stay consumers, never become producers. The resonance is what >> influences new production. Sometime, somewhere. Now how would we >> ever measure THAT? >> > > But what causes that resonance, and what gives it that influence? > Please not the Institutional Theory. Are we back at quality? I suppose you've gathered that I don't feel I can answer that question. And -- are we back at quality? -- if you mean in the way the word was misused in the 80s -- as a synonym for economic value -- then I most certainly hope not. But if quality were to mean a serious try to reposition content/medium/reality/representation then I think we already agree that that would be a good thing. > > 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. Actually, I'd rephrase that. I'd say "one of the ways QUESTIONS WERE 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: Tue, 9 Aug 2005 11:44:18 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: R2D2: Conceptual Art Eryk Salvaggio; "The importance... is not the quality of its product- ... I think that is an inevitability as people get used to the tools ... But what is more exciting to me is the ability of any individual to access the technology." Curt Cloninger; " Eddo Stern says the net as a whole is more interesting than any individual work of net art, and he may be right.". Hi guys, Where quality is lacking the work does not make a significant contribution. Quality is a differentiation of values. "the net as a whole is more interesting..." This statement does not and cannot make sense. Miklos -- + + +Miklos Legrady + 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 9 Aug 2005 11:46:06 -0400 message-id: references: <002901c59ca0$defbee00$6501a8c0@yourpa86z1i3g7> from: miklos@sympatico.ca subject: RHIZOME_RAW: 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 + --============_-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: Tue, 9 Aug 2005 09:00:31 -0700 message-id: <200508091600.j79g0vba025288@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: a bit of "critique" right back atcha Dear Curt Cloninger, "We aim to flood the commodified market of the implemented concept with unimplemented concepts, thus critiquing and "devaluing" the implemented concept." I am unsure as to how such material would "critique" so-called "implemented" concepts, particularly if the only difference between an "implemented" and an "unimplemented" concept was the act of implementation! To me, what you're suggesting actually sounds like advertising. A smart ad exec comes up with endless ideas and ultimately implements very few of them. Those ideas which go unimplemented don't really "critique" the ones that make it to fruition, do they? I would argue that context is very important here. Couldn't it be argued that the Web itself, particularly all of its passionate Lefty bloggers and opiners, already churns out an endless stream of unimplemented ideas on a daily basis? If you're going to deploy inaction as a strategy, you have to make it VISIBLE; I would say that to critique a given situation or institution, an inaction has to RESIST something that is being expected. DQ curt cloninger wrote: > 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: Tue, 9 Aug 2005 09:01:29 -0700 message-id: <200508091601.j79g1taf025528@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: join this concept: The Dear Curt Cloninger, "We aim to flood the commodified market of the implemented concept with unimplemented concepts, thus critiquing and "devaluing" the implemented concept." I am unsure as to how such material would "critique" so-called "implemented" concepts, particularly if the only difference between an "implemented" and an "unimplemented" concept was the act of implementation! To me, what you're suggesting actually sounds like advertising. A smart ad exec comes up with endless ideas and ultimately implements very few of them. Those ideas which go unimplemented don't really "critique" the ones that make it to fruition, do they? I would argue that context is very important here. Couldn't it be argued that the Web itself, particularly all of its passionate Lefty bloggers and opiners, already churns out an endless stream of unimplemented ideas on a daily basis? If you're going to deploy inaction as a strategy, you have to make it VISIBLE; I would say that to critique a given situation or institution, an inaction has to RESIST something that is being expected. DQ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 12:23:54 -0400 message-id: <002501c59cfe$bd363600$6501a8c0@yourpa86z1i3g7> references: from: Eryk Salvaggio subject: Re: RHIZOME_RAW: R2D2: Conceptual Art The importance of (relatively) open-access technology is more that it allows me to create and distribute my work. The quality of the work is obviously still important. But ultimately, "craft"- the ability to get your hands to manipulate something in order to bring out an idea in your head- is probably going to be less important than the artists' choice of stories, structure, aesthetics- the understanding of what they are making is more important to me than their understanding of how to, say, edit tape or play an instrument, or get the cd into my hands or ears. If you have a keyboard plugged into the www, you have an editing suite, a publishing house, every musical instrument and a record label right there. It used to be that you mastered your tools and then did something interesting with them. Now, the very best software says we can just skip ahead to doing something interesting. This conversation reminds me of MRiver and TWhid's update of Sam Hsieh's "Cage" performance, their "One Year Performance Video" piece for turbulence: http://turbulence.org/Works/1year/info.php?page=bg It's interesting because we're sort of talking about the way technology has shifted the way ideas can be presented with less work, and here's a piece about stripping a conceptual art performance to a minimum and "replacing human processes with computer processes" in order to see how it changes the experience of the piece. It shifts the endurance test from the artist to the user, the same way that this distribution stuff puts the challenge on our digital "audience" to start producing work, rather than observe it. Sam Hsieh's piece was about his own endurance as an artist. By shifting this, and treating observation as something the audience endures, it says "you are the artist now". As I watch it, it seems to me that as it is counting up towards collectorship, it is also timing just how long it takes you to stop watching and start taking on the role of producer that it is handing you. "You have been watching X seconds and still aren't making anything." -e. ----- Original Message ----- From: To: Sent: Tuesday, August 09, 2005 11:44 AM Subject: RHIZOME_RAW: R2D2: Conceptual Art > Eryk Salvaggio; "The importance... is not the quality of its product- ... > I think that is an inevitability as people get used to the tools ... But > what is more exciting to me is the ability of any individual to access the > technology." > > Curt Cloninger; " Eddo Stern says the net as a whole is more interesting > than any individual work of net art, and he may be right.". > > > Hi guys, > > Where quality is lacking the work does not make a significant > contribution. Quality is a differentiation of values. > > "the net as a whole is more interesting..." This statement does not and > cannot make sense. > > Miklos > > -- > > + > + > +Miklos Legrady > + > 310 Bathurst st. > Toronto ON M5T 2S3 > 416-203-1846 > 647-292-1846 > + > -website; > http://www.mikidot.com > + > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 9 Aug 2005 09:26:54 -0700 message-id: <1123604814.22534@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: everybody's favorite patch an audience can try to relate what they see to concept. it's pretty much an automatic reflex for many. nothing wrong with it. but artists making some effort to inject concept, rather than try to strip it away, is ... just kinda silly. a feeble hustle, trying to get an audience to buy (fork over attention or money) for something (an art object) that's really nothing (lacks skill to varying degrees). aqt best it's just armchair philosophy. i dig jenny holtzer's sentences, but see no need to call it "art". one of my top 5 favorite things on the net is her web art (that i seriously doubt she touched) from like 1995. it's essentially a blog. things can be cool, have little or no practical purpose, and still not be "art". why do conceptualist even want to be artists? (think it's stilll at http:// adaweb.walkerart.org/project/holzer/cgi/pcb.cgi ) if an artist can make something that stands on it's own, exciting without a "concept", ideas expressable in an essay, ... for instance you don't need to understand anything about it (including English or Italian) to appreciate "The Last Supper". Familiarity with the bible or pre-renaissance perspective is not at all required. (Though granted, many dig that too) Words and meaning are an easy short cut. It is like a drawing where the characters can't really be identified and the artist for some reason feels they should. so he/she adds an arrow and labels them. now the drawing because it lacks skill, makes up using concept. concept comes in many forms but employs the intellect to make up for what the viscera just doesn't react to. the more an artist adds concept, the more the endeavor becomes just a flimsy back-seat driver yammering. concepts are a patch for (what the artist feels) is poor execution. there's no sense in aspiring to "art" and not be willing to put in effort. many grant-type situations, venues and the conservative world of academia further confuse the issue by asking for a "statement". who really cares what the artist has to say? if they couldn't say it in their medium, they just haven't finished, or bit off a bigger job than they can chew. giving documentation some context is simply writing good documentation. aside from an artist's return address, more words are just distraction from the work. ___________________ 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, 9 Aug 2005 09:35:28 -0700 message-id: <200508091635.j79gzq85000757@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Re: Conceptual Art Geert Dekkers wrote: > if quality were to mean a serious > try to reposition content/medium/reality/representation then I think > we already agree that that would be a good thing. But still not good enough. Like Rob is saying, the seriousness of the try matters less than how well it comes off. > 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.) You're just being modest. If the "_ This Concept" Project is proto-conceptual instructionalism in the medium of prose, you've been doing the same (with even more wryness) in the medium of illustration and animation since 2009 -- http://nznl.com/geert/repository.php There is a Bucky Fuller exhibit here in Asheville right now at the Black Mountain College Museum and Arts Center ( http://www.blackmountaincollege.org ). His original patented blueprints for stuff (cars, houses, machines) are hung above photographs of the actual built stuff. The blueprints themselves are exhilarating, much more so than his prose elsewhere describing the concepts behind his constructions. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 10:28:13 -0700 message-id: references: <43a14da7-3802-4965-922b-3c4346325158@nznl.com> from: Jim Andrews subject: RE: RHIZOME_RAW: Conceptual Art > 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 13:49:54 -0400 message-id: references: <002501c59cfe$bd363600$6501a8c0@yourpa86z1i3g7> from: miklos@sympatico.ca subject: RHIZOME_RAW: R3D3: Conceptual Medicine >Eryk; Now, the very best software says we can just skip ahead to >doing something interesting. Or hire someone with great ideas and someone else with great technique, shades of Kostabi and post-modernism. The air force is working on the first generation of pilotless fighter planes. Soon we'll go online and pay by the hour to pilot a real fighter plane wherever a war is in progress. But "doing something interesting"? Doesn't the person have to be interesting to start with? I'm not trashing Eryk, who is interesting... but the root concept bugs me like Kostabi bugs me. "you are the artist now". What about; "you're the brain surgeon now"? As Curt wrote;"how well it comes off"... The stakes rise... "when great software makes things easy.., when technology... with less work", a new (competitive) standard always comes in place that restores the previous obstacle course. When automation permeates, with it's robotic semi-perfection, personal differences seem to gain in value. Then there's low tek / high tek, digital pinhole cameras, you name it. So here it depends on how interesting the idea. Ideas are always transformed by execution; spirit and matter are both transformed when they interact, and that's where discoveries, new values and new standards occur. Mik -- + + +Miklos Legrady + 310 Bathurst st. Toronto ON M5T 2S3 416-203-1846 647-292-1846 + http://www.mikidot.com + + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 9 Aug 2005 10:51:13 -0700 message-id: <200508091751.j79hpdtr020465@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: R2D2: Conceptual Art Miklos Legrady wrote: > "the net as a whole is more interesting [than any individual work of net art.]" This > statement does not and cannot make sense. Hi Miklos, You may be right, but I'd be interested to hear you elaborate. What is it about that statement that cannot make sense? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Aug 2005 11:52:08 -0700 message-id: <200508091852.j79iq8yp004698@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Re: R2D2: Conceptual Art Hi Eryk, I hear what you're saying, but it goes back to the fact that a recording studio is still an instrument. This article seems applicable: http://web.archive.org/web/20040221182544/http://www.artkrush.com/mainframe/fromscratch.html It's all a matter of how close to "scratch" you enjoy working. But moving farther away from scratch doesn't imply a lack of need for craft. It simply means you should be applying craft to a different part of the process. You define "craft" as "the ability to get your hands to manipulate something in order to bring out an idea in your head." That is only a rudimentary function of craft. It satisfactorily describes a technicians (or a conceptual artists) use of craft. But craft as performed by a master craftsman is much more intrinsically related to the idea; it does more than merely objectify the already existing idea. At its best, craft plays a decisive role in forming the idea. Even in prose, as I write, I think. My writing is part of my thinking. Once I'm finished writing, I know more than before I began to write. Having to wrestle with the formation of the sentences clarifies and refines my ideas. The limitations of media (plastic, digital, semiotic, networked, performative, or otherwise) are not hindrances to be eradicated, but rather collaborators and guides to be wrestled with and ultimately embraced. Bypassing such dialogue with media limitations foregoes the very thing tha! t is uniquely cool about art. If you're not into wrestling with media at some level (however close to or far removed from "scratch" interests you), best stick to chartered accountancy, contract law, or blogging. All the messy accidents that happen along the way whilst wrestling with the medium are half the fun of making art (the feedback, the distortion, the manifested ghost in the machine). I want to get into it and hands-on tweak as much as I'm able. And I want such tweaking to be in direct and continual dialogue with the ideas in my head. A back and forth, a dance, a process. Designer Stefan Sagmeister did an ad where he made a trophy out of half-filled coffee cups. He illustrated a mock up of the ad concept in Photoshop to show his clients and they said, "this mockup is great. we'll use it as the piece. youre done." And he said, "no, now I have to go fill up the coffee cups and photograph the actual piece." As if the process of having actually "done it" would somehow come through and inform the final work in an integral way. (cf: http://hillmancurtis.com/hc_web/film_video/source/sag.php ). And Sagmeister doesn't consider himself an artist. In our upside down era, man! y graphic designers get this aspect of artmaking better than many professional artists. It's not that one *can't* bypass wrestling with the media. Of course it's possible, and increasingly so. There are no rules. You can do whatever you want. You can take the next logical step, sit around your room and think up concepts, never even post the concepts or instructions, and call your new out-o-the-box art process "proto-instructional brain-wavism." You can call art whatever you want. You can even call it interesting, good, and useful if you want. But as Exene Cervenka says, "I got something better than this." it's better to burn out than it is to rust, curt - Eryk Salvaggio wrote: The importance of (relatively) open-access technology is more that it allows me to create and distribute my work. The quality of the work is obviously still important. But ultimately, "craft"- the ability to get your hands to manipulate something in order to bring out an idea in your head- is probably going to be less important than the artists' choice of stories, structure, aesthetics- the understanding of what they are making is more important to me than their understanding of how to, say, edit tape or play an instrument, or get the cd into my hands or ears. If you have a keyboard plugged into the www, you have an editing suite, a publishing house, every musical instrument and a record label right there. It used to be that you mastered your tools and then did something interesting with them. Now, the very best software says we can just skip ahead to doing something 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, 9 Aug 2005 20:15:37 +0100 message-id: <3b686e0e-3238-46e9-935d-d73380f7b1ba@mac.com> references: no_parent from: Rob Myers subject: RHIZOME_RAW: paintr paintr is now available to view online: http://paintr.robmyers.org/ The source code is also available under the GPL: http://paintr.robmyers.org/paintr_0.1.tar.gz The source code for the full-screen application that I used to show paintr at O3one is not yet available. I need to rewrite it a bit for public consumption. Paintr was inspired by the writing of Harold Cohen and the projects of Pall Thayer. It is written in PHP, and uses several web services to gather and process aesthetic materials in order to create an analogue to art or artistic activity: * colr * flickr * autotrace All the images from flickr used by paintr are licensed under the Creative Commons Attribution-Sharealike license, and are therefore free to be used in this manner. - 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, 9 Aug 2005 12:48:30 -0700 message-id: <200508091948.j79jmu2l018119@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: a bit of "the music of the future isn't music." - from the liner notes to "Environments 2 – Tintinnabulation (special low frequency version)" Hi DQ, I'll address your critiques in turn: 1. Proto-conceptual instructionalism (my smarmy made-up name for the genre of work that the "_ This Concept" Project establishes) differs from mere ideas posted on blogs in several ways: a. it's not mere ideas posted in blogs b. it's actual instructions for an art project sans implementation c. it's on your art radar 2. For inaction to actively resist something, it need become action, and thus become commodified into the world of implementation. Fool me twice, shame on you. We aim below the mark in order to miss the mark. 3. Anyway, proto-conceptual instructionalism (or just "instructionalism," as it shall come to be known in art history footnotes of the future) is not inactivity. Inactivity would be thinking of the concepts and not posting them (proto-instructional brain-wavism). By posting the concepts and instructions, We've taken an action. It's just a different kind of action. We've placed conceptual art ideas into the marketplace of conceptual art ideas whilst bypassing all the mucky muck of making some conceptual art thing and getting somebody to show it somewhere and then getting somebody else to talk about it. 4. Instructionalism is not invisible. Heck, it's freakin' "net art news" (and sad news at that for the conceptual artist going through all the formal implementation machinations in hopes of making "net art news"). From concept to headline at the click of a mouse! Millions of dissatisfied customers can't be wrong. We haven't flooded the conceptual art market yet, but to do so is our concept. 5. Of course instructionalism involves marketing (what contemporary art worth it's gallery space doesn't!). But this is a new level of art marketing. The instructional proto-object itself collapses the gap between contemporary conceptual art and contemporary conceptual art marketing. Your average contemporary conceptual artists has to pimp herself in a two-step process: a. make the art, and b. market the art. Whereas instructionalism kills several birds in a single post -- proto-art pre-object as conceptual art statement as call for collaboration as exhibition catalog essay as promotional marketing tool as conceptual art critique as new genre of anti-anti-art. Now how much would you pay! I'll be home for Christmans (if only in my dreams), curt - Dairy Queen wrote: > > Dear Curt Cloninger, > > "We aim to flood the commodified market of the implemented concept > with unimplemented concepts, thus critiquing and "devaluing" the > implemented concept." > > I am unsure as to how such material would "critique" so-called > "implemented" concepts, particularly if the only difference between an > "implemented" and an "unimplemented" concept was the act of > implementation! > > To me, what you're suggesting actually sounds like advertising. A > smart ad exec comes up with endless ideas and ultimately implements > very few of them. Those ideas which go unimplemented don't really > "critique" the ones that make it to fruition, do they? > > I would argue that context is very important here. Couldn't it be > argued that the Web itself, particularly all of its passionate Lefty > bloggers and opiners, already churns out an endless stream of > unimplemented ideas on a daily basis? If you're going to deploy > inaction as a strategy, you have to make it VISIBLE; I would say that > to critique a given situation or institution, an inaction has to > RESIST something that is being expected. > > DQ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 12 Aug 2005 11:43:49 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Hire of Marisa S. Olson Hello, It is my pleasure to announce the hire of Marisa Olson as Rhizome's new Editor and Curator at Large--a position created for her. Marisa has a deep commitment to the new media art field, and to the Rhizome Community in particular. A more official release will follow this mail, but I just wanted to share my enthusiasm for her hire a little less formally. I am truly thrilled to have her on board..! All best, Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 12 Aug 2005 11:44:01 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Rhizome Announces Marisa S. Olson as Editor and Curator at Large 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=B9s two publications, Net Art News and the Rhizome Digest; she will also develop special editorial projects and oversee the content published on Rhizome=B9s front page. In her role as Curator at Large, a new position created specifically for her, Olson will promote new media art on Rhizome=B9s behalf in diverse contexts throughout th e country and internationally. She will also be responsible for growing 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: Fri, 12 Aug 2005 11:20:02 -0500 message-id: references: <200508100250.j7a2o2bp021011@idx164.idx.net> from: ryan griffis subject: Re: RHIZOME_RAW: Re: Re: Re: Re: R2D2: Conceptual Art 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: Fri, 12 Aug 2005 09:27:15 -0700 message-id: <200508121627.j7cgrfqi031872@idx164.idx.net> references: no_parent from: Ethan Ham subject: RHIZOME_RAW: Re: Game programmer help needed for video piece! What's your contact 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: Fri, 12 Aug 2005 09:34:48 -0700 message-id: <23e24a2605081209344754f0d1@mail.gmail.com> references: from: Marisa S. Olson subject: Re: RHIZOME_RAW: Rhizome Announces Marisa S. Olson as Editor and Curator at Large Dear Rhizome Raw members, 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 12 Aug 2005 13:19:42 -0400 message-id: <923a6907777641f9d12b45078ec127ae@comcast.net> references: no_parent from: Kenneth Jones subject: RHIZOME_RAW: Adjunct Faculty for Interactive Design + 2D Computer Animation:::::Harford Community College, Bel Air, MD Adjunct Faculty Needed Harford Community College Bel Air, Maryland http://www.harford.edu 30 minutes North of Baltimore 60 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 Both classes run on Thursdays, once per week for a 15 week. Classes are taught in the new Joppa Arts Complex in Mac labs using current software. Submit current CV to Dean, Paul Labe at plabe@harford.edu Please call Dean, Paul Labe at 410-836-4326 for more information. ________________________________________________________________________ ______________________________________________________________________ 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 the processes 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. Course fee. - Software to be listed in schedule of classes 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 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: Sat, 13 Aug 2005 10:19:30 +0800 message-id: <00ed01c59fad$70542b10$f6fd3bcb@oemcomputer> references: no_parent from: Ionat Zurr subject: RHIZOME_RAW: SymbioticA postgraduate degree in Biological Arts MSC (BiolArts) and Grad Dip (BiolArts) SymbioticA will offer as of 2006 a postgraduate degree in Biological Arts MSC (BiolArts) and Grad Dip (BiolArts) designed for art practitioners, scientists, and Humanities scholars who wish to engage with creative bioresearch. The course will focus on recent advances in the Life Sciences, both in theory and practice. Emphasis is placed on developing critical thought, exploring ethical and cultural issues and experimenting with cross-disciplinary art and science projects. SymbioticA: the art and science collaborative research laboratory is based in the School of Anatomy and Human Biology at the University of Western Australia and the course is run by the Tissue Culture and Art Project artists: Ionat Zurr and Oron Catts with some lab components run by Gary Cass from the Faculty of Natural and Agricultural Sciences. Based in a Science Faculty facilitates access to scientific laboratories, techniques and expertise rarely available to arts and humanities students. Students who have previously majored in arts will be required to pick up science units and science graduates will be required to enrol in art units. Students would then join together in the SymbioticA units: Aesthetic Crossovers of Art and Science and Art and Life Manipulation. The course will consist of an equal content/discourse/methodology from the two disciplines. The laboratories will focus on learning scientific techniques in a meaningful way for both the artist and scientist and using these techniques for creative output in order to create a true hybrid unit of Art and Science that is multidisciplinary in nature as well as in title. For more information regarding course requirements and enrolments contact Ionat Zurr: ionat@symbiotica.uwa.edu.au __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 12 Aug 2005 21:12:55 -0700 message-id: <200508130412.j7d4csuw003242@idx164.idx.net> references: no_parent from: Pauline Jennings subject: RHIZOME_RAW: DOUBLE VISION: Evolutionary Patterns and the Lonely Owl (Byte #0) When: September 24 [Sat] 8PM Cost: 8-10$ Where: WORKS/San JosĂ©, 30 North 3rd St, San JosĂ©, California Info: www.double-vision.biz, 510-535-2504 Bay Area intermedia performance group DOUBLE VISION (www.double-vision.biz) is presenting a new work combining elements of dance, music, video, and installation in an immersive evening of cellular struggle, oscillating flesh and digital drama. Adapted from John Conway’s Game of Life, performers and technology dynamically respond to one another creating unusual and sometimes beautiful patterns within the vast gallery space of WORKS/San JosĂ©. Cast of performers include: Liz Bootz, Bonner Butler, Sean Clute, Amanda Crawford, Dorsey Dunn, Dave Holton, Marielle Jakobsons, Pauline Jennings, Jason B Jones, Amy Leonards, Amy Nielson, Sonia Reiter, Isabelle Sjahsam, Max Stoffregen, Agnes Szelag, Bill Wolter and Nicole Zvarik. DOUBLE VISION is a collective of performers, musicians, dancers, video-artists, and technology aficionados. Together, the group creates events and immersive environments utilizing unconventional spaces or transforms conventional spaces through unconventional means. One of their primary objectives is creating links between the physical world and digital worlds using computers, sensors, networks and custom-designed software interfaces. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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 02:04:28 -0500 message-id: <85d7931b050813000434d67b4d@mail.gmail.com> references: no_parent from: Steve Dietz subject: RHIZOME_RAW: Theme: Transvergence - Call for Participation ISEA2006 CALL FOR PARTICIPATION ISEA2006THEME: TRANSVERGENCEhttp://isea2006.sjsu.edu/transvergence/index.htmlDeadline October 3, 2006 This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose:A Global Festival of Art on the Edge to groups and individuals tosubmit proposals for exhibition of interactive art work and projectsreflecting on the thematic of the transvergence. 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 thedynamics subtending this interplay has led to the notion oftransvergence, a term coined by Marcos Novak which overridesdiscipline-bound issues and demands, and serves as the focus of thepresent call. Proposals are sought that address but are not limited tothemes outlined below, challenging the boundaries of disciplines andconventional (art) institutional discourse, and indicating creativestrategies for overriding them. Proposals may consist of art projects,residencies, workshops, standalone conference papers, or groupconference sessions. "While convergence and divergence are allied to epistemologies ofcontinuity, transvergence is epistemologically closer to logics ofincompleteness, to complexity, chaos, and catastrophe theories,dynamical systems, emergence, and artificial life! . While convergenceand divergence contain the hidden assumption that the true, in eithera cultural or an objective sense, is a continuous land-mass,transvergence recognizes true statements to be islands in an alienarchipelago, sometimes only accessible by leaps, flights, and voyageson vessels of artifice. "Central to transvergence is speciation. We want to draw proposalsthat constitute new species of effort and expression and that bothenact and reflect on our construction of new species of culturalreality -- not by being merely novel mutations within known areas, butby boldly challenging known areas and yet being potentially viable tothe point of becoming autonomous entities -- not dancing aboutarchitecture or architecture about dancing, for instance, but dancingarchitecture... or, better still, something else, as yet alien andunnamable, but alive and growing."--Marcos Novak ORGANIZATIONAL MODELS OFFERINGSETTINGS FOR TRANSVERGENCE Transvergence is conditioned by exodus and invention. New idioms ofexpression do not happen in isolation. Although creativity is aresource that works best when shared, there is no clear form ofrevenue or infrastructure for the practices of collaboration thatcharacterize transvergence. Collaboration in this context does notarise from democratically disseminated, proportionally allocatedproperty, but from the permanent re-appropriation of shared resources,and resultant re-territorialization of production, creation andartefacts. The models of the think-tank, media lab and research centrehave shown their limits since the 80s and 90s, as have tactical mediaactivism tied to the logic of events, and NGOs facing the donorsystem's arduous accountability requirements; university research isoften encumbered by best-practice driven managerial culture, and"creative industries" clusters are subject to economies of scale anduneven divisions of labour. As a technics of expression immanent t! omedia of communication, transvergence requires settings thatinstantiate structures of possibility. Such settings might derive frommodels offered by ecologies, fields and membranes, and from theemergent institutional forms of organized networks, whose constantconfiguring of relations between actors, information, practices,interests and socio-technical systems corresponds to the logic oftransvergence. ISEA seeks new visions of organizational and participatory models asstructures of possibility for transvergent practice. TRANSVERGENT ETHICS AND REDEFINTIONS OF ART Institutions which purportedly back new art practices are not alwaysthe bravest when it comes to work which challenges basic assumptionsabout what art is, what the artist is, what the relationship betweenartwork and audience might be, and what the outcome of an artworkmight be. Counter intuitively, business corporations can be muchquicker to support radically new ways for artist, artwork and audienceto speak to each other: every time a viewer/player engages with aninteractive creation, a kind of commerce occurs - a series oftransactions, a litany of offers and purchases. Similarly,organizations devoted to healthcare, social well-being and politicalactivism may more readily recognize exchanges that privilege thecontingent yet compelling "we", and the urgency of the encounter. Artand cultural institutions remain reluctant to take on these new formsbecause they destabilize old views of the artist as a person making aproposition about the world and of the audience as consumer/in! terpreter of this proposition, whereas transvergent work instatesaudiences as key f/actors in communication processes. This implies ashift in – but not necessary the demise of - the artist's role, and achange in the nature of artworks, formulated as public experimentsraising questions as much to do with ethics, as with aesthetics andpoetics. ISEA encourages proposals querying the role and relevance of art inpublic arenas that are being redefined by interactive, inclusiveambitions and tools BIO-TECH-BIOINFO-BIOART-ECOART Over the past 20 years, biotechnology has revolutionized thepharmaceutical and agricultural industries, and the fields of animaland human medicine. Biotechnology implementations direct areas such asfood production and consumption, global trade agreements, human andanimal reproduction, environmental concerns as well as biosecurity andbiodefense. The Human Genome Project and stem cell research havestimulated the merging of computational research with areas of thelife sciences. Disciplines such as bioinformatics and ecoinformaticscurrently enjoy broad public attention and funding. Although artistshave long been engaged with depictions of "nature", BioArt, whichincludes the use of biological matters as part of artistic productionand context creation, and EcoArt, where artists attempt to influencethe ecologies in which we live, are relatively young areas demandingnew exploratory and creative strategies. ISEA is interested in projects engaging with the materials and broaderecology of life sciences, rather than simply their symbolicrepresentation. TECHNOZOOSEMIOTICS AS AN EPISTEMOLOGICAL PLATFORM & PLAYGROUND Technozoosemiotics is the study of signs elaborated by all natural orartificial living species to communicate in intra- or extra-specificways (zoe = life). Humans and their more-or-less intelligent artefactsignore the quality and singularity of information elaborated andemitted through the myriad channels and networks which traverseterrestrial, celestial, marine and intergalactic spaces. As art formsmigrate from institutional sanctuaries to other areas of experience –the everyday, public, intimate/private, the biosphere, the universe –they must tune to the diverse communications that animate thetechnozoosphere. This means inventing interfaces that favourinteractions of like and unlike kinds of intelligence, and emergenceof new species of conversational agents. It means creatingepistemological platforms and playgrounds for the transduction andtranslation of codes that open up novel ways of thinking and domainsof knowledge. ISEA is soliciting art that extends beyond human-centred design, toquestions of living systems and new species of cultural reality. TRANSVERGENCE CALL COMMITTEE: Chair, Sally Jane Norman, Louis Bec, Andy Cameron, Beatriz da Costa,Bojana Kunst, Maja Kuzmanovic, Anne Nigten, Marcos Novak, Ned Rossiter Timeframe:Announcement August 1, 2005Submissions due October 3, 2005Jurying due December 1, 2005Accepted proposals announced December 15, 2005 http://isea2006.sjsu.edu/transvergence/index.htmlIf you have questions contacttransvergence@yproductions.comSign up for the ISEA2006 mailing list:http://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, 2006stevedietz[at]yproductions[dot]comhttp://isea2006.sjsu.edu/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: Sat, 13 Aug 2005 02:22:51 -0700 message-id: <200508130922.j7d9mpts028918@idx164.idx.net> references: no_parent from: Katie Lips subject: RHIZOME_RAW: www.ipodscrubs.com - Animations and Video on iPod. Animators, 3D artists, short film makers - use your iPod to show your work. http://www.ipodscrubs.com View animations / 3D models / Video all on your iPod. Submit you own to share / show / promote your work. 3D Artist Tian Cocker, in conjunction with Kisky Netmedia (Katie Lips and Paul Stringer) has recently created a new project; iPod scrubs, available at ipodscrubs.com. iPod is a perfect device for viewing animated sequences. The tactility of the clickwheel can not only be used to navigate your music or photo collection; it can also support the illusion of movement based on the same elemental principles as traditional flick book animations. Digital artists and animators using applications such as Maya, or even Flash, can test their animations by “scrubbing” the playhead backwards and forwards on the timeline. A podscrub takes the same mechanism and applies it to the functionality of an iPod. The playhead is your finger and the clickwheel is the timeline. Simple as that. The ipodscrubs project is for anyone with an iPod who wants to play with beautiful ipod animations, as well as animators who want to share their content and creations in this way. You can download existing scrubs and submit your own at the site. Preview / Download / Share at http://www.ipodscrubs.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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 11:34:20 -0400 message-id: references: <23e24a2605081209344754f0d1@mail.gmail.com> from: Lee Wells subject: Re: RHIZOME_RAW: Rhizome Announces Marisa S. Olson as Editor and Curator at Large Hi Marisa: Big Congratulations. Cheers, Lee On 8/12/05 12:34 PM, "Marisa S. Olson" wrote: > Dear Rhizome Raw members, > > 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: Sat, 13 Aug 2005 20:40:18 +0200 (CEST) message-id: <20050813184018.8cfee21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Val vadjust Vietnamese, VCRs vaster VBScript, VP vagina vbx, Verbs Vert. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 13 Aug 2005 16:43:18 -0700 message-id: <23e24a26050813164333e81150@mail.gmail.com> references: no_parent from: Marisa S. Olson subject: RHIZOME_RAW: CFP: CAA New Media Caucus Panel on Autonomy & Relationality please forward widely... CALL FOR PAPERSThe New Media Caucus panel at theCollege Art Association's 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, MassachusettsDEADLINE: 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 newmedia: autonomy and relationality. On the outset, these notions seemto contradict each other. The theory of autonomy focuses attention onthe 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 singlepredominant object or viewpoint and no fixed, absolute form. While these theories may seem to be contradictory, contemporary mediaart relies on a notion of autonomy and, yet, suggests that noinformation is autonomous—while discrete variables exist, nothing canbe separate and complete in itself. The same is true of therelationships between viewers, artists, and their work constructed inthe context of media art. While the topics of autonomy andrelationality have long lineages in art history, this panel willdiscuss their contemporary status from the perspective of media artpractice and theory. Papers can address a range of topics including but not limited to:hacktivism and parasitic media, appropriation/sampling/remixing, opensource theory and culture, locational media, biotechnology, videogames, 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 introduceartistic work and practices that contribute to the discussion ofautonomy 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 what—ifany—audio/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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 14 Aug 2005 10:00:01 +1000 message-id: <6.0.1.1.1.20050814095943.02470d48@pop.hotkey.net.au> references: no_parent from: com[mentary]a_cusper subject: RHIZOME_RAW: P][re.][M][enstrual.][][t][E][rror][ _Pre.Menstrual.Tenor_ ][sing][political][authorial][ ][pop.song.corking+flesh.journey.wastes.biological][ ][lumbar.liminal.+t][h][rea][d][ted.blood.sO[OP]uping][ _][war][Premmie][s.in.][Men][stem.sell-off.j(p[o{o}d])a(r)cketry][strew.all][bodies.in.the.us[a]d[r]enial.pit][Ten][2.the.powa.of.death][s.ion_ ---------------------------------//war.pre.d/terminologically.by.men[white.penguined+grey] ----------------------//stem.sell-offs.in.odd.biological.parketry[nature.pods.vs.men.construct.jackets] -------------------------------//all.bodies.strewn.in.the.us[a].adrenal.addiction.pit -------------------------//10.2.the.power.of.death.tension _Pre.][Empt[y]ive.][Menstr][D][ual.Ten][der][_ ][media.ec[(t)m]ono.mies.re:[hym([e]n)versable][*stop*][imagine.a.whorL][E][D.where s][oma][und][ertaker][ay.mourning.tee.V.shows.whurr.all.life.purrr][spectivity][ing][+not.knotted.within.monetary.dross][*stop* ][i.lie.bitch-in][g][-literary-heat.][seeking][reading---s.oak][ewe.calyptic.N.pine][ing.in.reflectivity][*stop*][knot.afeared.of.stillness][*stop*][(s)tilling.the.moment.+juicing.intro][duction.shredding][/][prrrrr][spective.pulp][ -- *don't.stop* -- [Dualised.Tender]-------- ---------------------------------//media.ectoplasmic||hymenised.conceptualisations.of.rigid.fiscalisations.r.re.versable ------------------//engineered.alternative.sublimity. ----------][non-Monet.aried][whorls//imagine.worlds.where: ----------soma-like.undertakerish.sunday.morning.tv.shows. ----------were.all.life[read.cultural-meaning].purrring-like ----------not.economy-obessed ----------+kn][r][otted.within. -- -----------------------//i.lie.[d.raped.intellectual.repose] ------------------//reading.like.a.bitch-in-literary-heat --------------//soaking.in.natured.reflectivity -----------//not.afeared.of.stillness --------//tilling.the.stilled.moment -----//juicing.introspective.perspective --//shredding.constrictive.narrative.pulp - - - - - - --*dont ontologically.stop* - - - - - - // .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 + Subscribers to Rhizome are subject to the 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 18:03:07 -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 __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 __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 __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 convidá-los a acessar meu mais novo trabalho: http://www.rgbdesigndigital.com.br/relacoes/ SOBRE O TRABALHO Este trabalho é um desenvolvimento da exposiçăo Relaçőes de Pertinęncia, apresentada pela primeira vez em novembro de 2005. Os trabalhos desta exposiçăo eram compostos por fotografias, utilizando como esquema de combinaçăo os diagramas de operaçőes entre conjuntos (uniăo, intersecçăo, diferença), utilizados nos livros de matemática escolar. Agora, o que se propőe é que as composiçőes sejam geradas aleatoriamente, a partir de imagens enviadas pelos visitantes. Nosso objetivo é investigar se a sugestăo de uma narrativa permanece, e observar as relaçőes entre as imagens que serăo sugeridas pelas composiçőes, sem termos controle sobre as imagens de cada composiçăo, especificamente. Instruçőes Neste momento, o trabalho é composto por 5 animaçőes que utilizam imagens sorteadas a cada vez que săo acessadas. Para trocar as imagens, basta clicar em Atualizar, ou teclar F5. Para trocar de animaçăo, utilize as setas no canto inferior direito. Por fim, para enviar uma imagem, utilize o formulário disponível na página Enviar Imagens. Para evitar que material inadequado seja enviado, as imagens enviadas ficam numa lista de espera até 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 __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 transféré De : "Gino d'Artali" Société : C.A.U.S.E. Date : Sun, 14 Aug 2005 20:20:18 +0200 Ŕ : 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 transféré + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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 __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 __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 __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 Ł2000 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 __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 __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. • JĂĽrg 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 __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, Midé 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. Midé > 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! - - - PikseliÄHKY // 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 ŕ 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. PikseliÄHKY // 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 __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 __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 __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 __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 Württembergische 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 Förderung der Film- und Medienkultur lädt KünstlerInnen ein, ihre Arbeiten auf dem 19. Stuttgarter Filmwinter zu präsentieren. Wir sind ebenfalls an Medien- und Filmkultur für Kinder interessiert. Die Ausstellung der Medieninstallationen und der Beiträge im Bereich Neue Medien findet im und in Zusammenarbeit mit dem Württembergischen Kunstverein statt. Wettbewerbsbeiträge können bis zum 1. September 2005 über 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 __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 __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 Beuysą 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. Manąs relationship with nature has always been a constant theme in Beuysą 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 dą 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: łDharma of E.N.E.L.˛ created by the artist Marco Bagnoli using the five power company pylons that cross the plantation, and łMňnadi˛ 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 Lüscher 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 Européen de ląEnvironnement, 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 â€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 â€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 artistsÂ’ 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 __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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 11 Jul 2005 20:54:17 +0200 (CEST) from: trashconnection message-id: <20050711185417.EEDA922038@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART B.s. being backslash Belgian, BNC backdated BBS, BS babes be bitmap, BIG. 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 -> 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: Sun, 17 Jul 2005 09:25:25 -0700 (PDT) from: Lewis LaCook message-id: <20050717162526.69227.qmail@web30512.mail.mud.yahoo.com> subject: RHIZOME_RAW: hospital http://lewislacook.corporatepa.com/images/santJosephsHospital.png *************************************************************************** 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Fri, 22 Jul 2005 12:49:07 -0400 from: Francis Hwang message-id: subject: RHIZOME_RAW: Announcing: Rhizome Location Hey kids, I just rolled out the next Member feature here at Rhizome.org: Location. Go here to see what I'm talking about: http://rhizome.org/location.rhiz Location gives Members the option to be searchable by their country of residence. Right now we imagine this will be most useful for those Members who live in countries where the new media arts scene has a ways to grow. For example, right now we've got two Rhizome Members who live in Finland: http://rhizome.org/location.rhiz?location=fi Each specific location also has an RSS feed, so you can be notified of new Members coming on in your country. (RSS for everything! Yay!) For example, Finland's RSS feed is: http://rhizome.org/syndicate/location/fi.rss Not everyone will want to publish this information, of course. So if you want to opt-out, you can do so by following these steps: 1. Log in to the Rhizome web site. 2. Go to your preferences page at http://rhizome.org/preferences/ . 3. Click on the "Hidden" checkbox by the Country field, and then click "Submit" at the bottom of the page. ( I already sent out this info to every Member last week, but you never know. Sometimes people don't read their email. ) And, of course, if you think this is cool and you're not yet a Rhizome Member, you can make a member contribution here: http://rhizome.org/support Best, 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: Sun, 31 Jul 2005 22:47:23 -0700 from: m l message-id: <200508010547.j715lN7s017813@idx164.idx.net> subject: RHIZOME_RAW: BarĹk: Nomadic Observations of Beauty BarĹŤk is a new monthly journal to identify, observe, and understand momentary forms of beauty submerged within a culture defined by information. It also provides subscribers the opportunity to purchase objects through the New Market, including: ideas, information, and things, which may not easily fit into traditional market categories, submitted by an evolving group of artists, designers, scientists and engineers. The proceeds from subscriptions, and New Market sales will support BarĹŤk: 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. www.newbarok.org Regarding BarĹŤk: Historically, the Baroque included the act or result of curving or bending and usually referred to visual forms. The [new] BarĹŤk, refers to an action, rather than a physical characteristic. It describes the forces that act upon information, causing it to twist and turn into new meanings. + -> 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, 5 Aug 2005 08:40:18 -0700 from: message-id: <200508051540.j75FeIAl024698@idx164.idx.net> subject: RHIZOME_RAW: New & Improved METHINKS PRESENTS dot ORG! WELCOME TO THE NEW SITE! The Webmaster of Darkness himself, Chris Avgerinos (with technical and aesthetic aid from Benjamin Dickerson and Ryan Ringer), has duly designed and constructed a fun, effective platform for the promotion and presentation of Methinks Presents, its projects, PARTICIPANTS, PARTNERS, ASSOCIATES, and the Toronto cultural community at large. MUCH thanks to everybody thus far who has supported the development of Methinks Presents and our community-building efforts. >>>>>>>> Based in Toronto, Canada, Methinks Presents is a multiform production network dedicated to the development, promotion, and execution of a broad range of collaborative, interdisciplinary projects, including, but not exclusive to, exhibitions, parties, roadtrips, interventions, installations, and method-performance situations. We actively promote, network, integrate, and organize cultural producers of various backgrounds, while focusing on emergent and early-career producers, in order to galvanize collaborative, interdisciplinary activity on many levels, both locally and internationally. We consistently provide unique, multi-faceted project-opportunities that foster professionalism, creative experimentation, character-building, collaboration, interpersonal relations, open communication, and resource-sharing. While Ryan Ringer oversees its overall creative direction and logistical management, Methinks Presents is largely shaped by many individuals and groups who particpate on a project-to-project basis, with the exception of a small core group who are continuously involved as key players, in every aspect of production, from conception to execution. This unique kind of multi-perspective, collaborative organization--which emphasizes the importance of cooperation, strategic partnerships, as well as individualistic professional/creative/social advancement--allows for broad aesthetic and conceptual diversity in our projects, priceless social inclusiveness, and the ability to reach a wide range of audiences. We currently focus on public intervention, alternative space, and the tactical construction of situations in the built environment. Through this activity, we aim to develop fun, creative ways in which to better organize and mobilize ourselves as we play and learn to survive in the realm of the everyday. + -> 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, 10 Aug 2005 04:42:40 -0700 from: Jason Van Anden message-id: <200508101142.j7ABge6Y023035@idx164.idx.net> subject: RHIZOME_RAW: Re: join this concept Curt, You ought to consider registering your project project with the "World Artistic Property Organization": http://salon-digital.zkm.de/~wapo/ep.html 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: Wed, 10 Aug 2005 06:14:14 -0700 from: Eleanor Gates-Stuart message-id: <200508101314.j7ADEEPN010526@idx164.idx.net> subject: RHIZOME_RAW: New Media Arts at the Australian National University The Centre for New Media Arts (CNMA) forms part of the Faculty of Arts at the Australian National University. CNMA provides a unique environment in Australia for the artistic use of computers and a focus on interdisciplinary education for artists interested in exploring the potential of new technologies and new media. CNMA is a centre dedicated to creative applications of new technology and artistic practice and offers studies in new digital sound and image technologies at both undergraduate and postgraduate level. CNMA offers studies in four principal areas, which are, computer music, digital video, computer animation and interactive digital media. Activities include, research, exhibitions, festivals, recording, publishing and performance of new media and time-based arts. CNMA’s interdisciplinary pursuits within the arts and the sciences associate it with other academic and artistic centres through Australia and around the world, our success is shown through the achievements of staff and students research and their arts practice. Throughout the year, students have the opportunity to present their latest original visual and sound works in a screening performance and a 'hands-on' display of interactive digital media works. The public are invited to attend these showcases of new works and new talent. Recent performances have been held at the CSIRO Discovery Centre, ScreenSound Australia and National Museum of Australia. CNMA through its links to various local, national and international arts, music and media organisations, gives its students every encouragement to participate in these wider cultural environments. CNMA is situated in a new and exciting contemporary styled building. Here, students have access to extensive audio-visual recording and production studios as well as access to courses and activities conducted by the School of Art, the School of Music, the University Faculties and the Humanities Research Centre. An International Student Exchange program exists for students in their second year. PROGRAMS OFFERED: * Bachelor of Arts (Digital Arts) - three years full time (or equivalent part time). An honours year is also available * Bachelor of Arts (New Media Arts) - three years full time (or equivalent part time). An honours year is also available * Master of New Media Arts by coursework and individual practice - 2 semesters * Master of Philosophy by Research - two years fulltime (or equivalent part time) * PhD INTERACTIVE DIGITAL MEDIA: The Interactive Digital Media Stream is a sequence of study that will deal with various modes for producing and presenting art that incorporates a range of digital media. The computer’s ability to deliver a range of time-based media opens up exciting possibilities for artists. These modes will include disk-based works, online works and digital media installation and performance work. COMPUTER ANIMATION: The Computer Animation Stream at CNMA is designed to encourage students to develop their own personal vision. During their time at CNMA students are exposed to various animation techniques. These techniques build up their vocabulary so they are able to find an appropriate means of expression for their ideas. By the end of the program students have a strong identity of their own and are able to place their work in an historical and contemporary context. They also have the technical competence to realize an idea from beginning to end. COMPUTER MUSIC: The Computer Music Stream presents to students a wide-ranging investigation into the rapidly changing world of digital audio arts. The emphasis is on composition, history, signal processing techniques, digital interfacing, programming, aesthetics and presentation of computer music. Students will gain a solid foundation in the art form that will carry them into future computer music activities. DIGITAL VIDEO: Video as a digital medium in combination with the convergence of media has become incredibly diverse and crosses into many different media practices. (Interactive Cinema, 3D-Animation, Motion Graphics, Interactive Television, VJing, Internet Art, Computer Games, Virtual Reality, Mobile Experiences.) This Digital Arts program offers a way to develop innovative Digital Video practices. Contact: cnma@anu.edu.au http://www.anu.edu.au/newmedia/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms 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_1812_23922551.1123680204507" date: Wed, 10 Aug 2005 09:23:24 -0400 from: in-reply-to: <20050810131406.890C5C1816@mail-gw2.walrus.com> message-id: references: <20050810131406.890C5C1816@mail-gw2.walrus.com> subject: RHIZOME_RAW: Fwd: SAC gallery - open call for new media + animation Content-Disposition: inline FYI ----- Original Message ----- From: SAC Gallery Sent: Wed Aug 10 8:54 Subject: Fwd: open call The SAC gallery invites submissions for =ABRevisioning nature=BB which will address contemporary representations of nature and natural forms. New media and animation artisits are strongly encouraged to apply. Open to all media. Deadline August 20, 2005 Submit 5 images via email to sacgallery@yahoo.com If submitting website pleased give links to specific pieces/images. ................................................... SAC ART GALLER, Student Activities Center http://www.art.sunysb.edu/galleries.html Stony Brook University Curator/Interim Director Keith Miller, sacgallery@yahoo.com http://www.keith-miller.com/index.html __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 10 Aug 2005 08:44:39 -0700 from: Teresa Lopez message-id: <200508101544.j7AFidpc012572@idx164.idx.net> subject: RHIZOME_RAW: wanted artist for art project I'm looking an artist from Pau, France to make a joint Web based art project with artist from San Juan, Puerto Rico + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 08:46:12 -0700 from: Teresa Lopez message-id: <200508101546.j7AFkCvO013064@idx164.idx.net> subject: RHIZOME_RAW: wanted artist for art project I'm looking an artist from Pau, France to make a joint Web based art project with artist from San Juan, Puerto Rico + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 08:48:41 -0700 from: Teresa Lopez message-id: <200508101548.j7AFmfbb013657@idx164.idx.net> subject: RHIZOME_RAW: wanted artist for art project I'm looking for an artist from Pau, France to make a joint Web based art project with artist from San Juan, Puerto Rico. Please contact Teresa at zepolt@yahoo.com for more information. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 10 Aug 2005 09:42:02 -0700 from: curt cloninger message-id: <200508101642.j7AGg2U7025662@idx164.idx.net> subject: RHIZOME_RAW: Re: Re: join this concept Hi Jason, I like this from that project: "What we should be talking about with WAPO is not artist's ideas per se, but rather the concrete, or material, manifestations of these ideas. This is the only site where originality and ownership can be effectively contested. Outright copying or forgery. Because, given the same idea, no two people will materialize a concept in exactly the same manner." - kerry james marshall One of the cool things about teaching is that you can give the same concept as an assignment and get back 12 different implementations of that concept. In a way it's like a lab experiment where the concept is the control and the implementation is the variable. What it reveals is that slipshod, unintentional implementation can mute or muddle a concept, whereas inspired implementation can imbue a concept with further nunances and take it to the next level. All this is true if the concept is robust enough to support such variance. A concept that allows for (yea, even invites) variance and invention in the implementation phase is, to me, a more interesting concept than one that discourages and circumvents variance and invention in the implementation phase. The former type of concept is necessarily more dependent on invention in the implementation phase, and as such it invites all the chaos and back-and-forth media dialogue that happens in the implementation phase into itself. (Here I'm using "media" not in the McLuhan-esque sense, but in the classic sense of "artistic medium," the "stuff" with which an artist works.) To reference Milkos' spirit/matter analogy, such a concept can lead to a more integrated, holistic work. It's more risky (if the implementation sucks, the concept greatly suffers), but potentially more incarnational. The latter type of concept (what we've called "hardcore conceptualism") bypasses such risks. In so doing, It always leads to the creation of a more "gnostic" work (in th! at gnosticism makes a hard split between spirit and matter). Here I mean "matter" only by analogy. I'm not talking about a physical art object (the classic new media red herring bunny trail). "New media" (immaterial bits, pixels, networks) are still analagous to "matter" in this sense because all of it is still "stuff" that pushes back during the implementation phase of the artistic process, stuff with which to be wrestled. The artist is forced to wrestle with more than simply instructional prose (the artist statement), and this forced dialogue with media results in a work that somehow "'takes into account" a world beyond the artist's own mind. It acknowledges the physical senses rather than gnostically trying to rise above them. It's not that the artist's mind is necessarily "imposed" onto the world (such post-colonial rhetorical propaganda!), but that her mind changes the world, the world changes her mind, there is a less than simply hermetic dialogue, and the resulting work of art is something more relevant to everyone else wh! o lives in the world. It is very easy to deem the "real world" a relativistic social construct of our own devising. Such a world view provides a ready and convenient rationalization for the artist to avoid dialoguing with media in her implementation phase. But making art that avoids wrestling with media doesn't prove one's world view any more than always staying in your house and never going outside proves that the outside world doesn't exist. Other people are still walking around outside, just as other people are still making art in dialogue with what Francis Schaeffer might have called "the world that is there." All you've proved is that you can make mind-wanking, hermetically sealed, self-referential, conceptual art. peace, curt _ Jason Van Anden wrote: > Curt, > > You ought to consider registering your project project with the > "World Artistic Property Organization": > > http://salon-digital.zkm.de/~wapo/ep.html > > 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: Wed, 10 Aug 2005 09:42:21 -0700 from: "M. River" message-id: <200508101642.j7AGgLD0025766@idx164.idx.net> subject: RHIZOME_RAW: Re: Re: Regarding The >curt cloninger wrote: > Joe Nolan wrote: Truman Capote wrote: It must have been the spring of 1950 or 1951, since I have lost my notebooks detailing those two years. It was a warm day late in February, which is high spring in Sicily, and I was talking to a very old man with a mongolian face who was wearing a black velvet Borsalino and, disregarding the balmy, almond-blossom-scented weather, a thick black cape. The old man was Andre Gide, and we were seated together on a sea wall overlooking shifting fire-blue depths of ancient water. The postman passed by. A friend of mine, he handed me several letters, one of them containing a literary article rather unfriendly toward me (had it been friendly, of course no one would of sent it). After listening to me grouse a bit about the piece, and the unwholesome nature of the critical mind in general, the great French master hunched, lowered his shoulders like a wise old . . . shall we say buzzard?, and said, "Ah, well. Keep in mind an Arab proverb: 'The dogs bark, but the caravan moves on.'" + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 09:52:04 -0700 from: "Rhizome.org" message-id: <200508101652.j7AGq4Dp028120@idx164.idx.net> subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Zones de Convergence by cicero Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34696 + Zones de Convergence + + cicero + â€Zones de Convergence’ treats the days of the summit of the G8 in Evian from 1st to 3rd June 2003. The streets of Geneva, an independent media centre and a colloquium named SoIA, Summit of Interventionist Art. The video images are articulated with statements, analysis and questions on political art and critical cultural production. + + + Biography lives in Geneva, Switzerland //work is essentially an operative link between arts and politics- //artists have the capacities to intervene in social processes- //interdisciplinary collaborations between artists and political movements, networks and associations-[including and excluding activists, artists, politicians, researchers, jurists, journalists...]- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms 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="============_-1088428216==_ma============" date: Wed, 10 Aug 2005 13:16:58 -0400 from: miklos@sympatico.ca message-id: subject: RHIZOME_RAW: Invisible Gift to the AGO / Istvan Kantor INVISIBLE GIFT Donation to the new AGO, by Istvan Kantor I'm happy to inform the Art Gallery of Ontario that I will mix my blood into the concrete used in the construction of the new building. This simple sculptural gift will become an integrated part of the walls of the new AGO as an invisible monument. It will signify that every museum worldwide was built with the blood of artists. NEWS: BLOOD FOR THE ART GALLERY OF ONTARIO ISTVAN KANTOR Invisible Gift / Invisible Monument, designed for the newly constructed Art Gallery of Ontario. Invisible Gift / Invisible Monument presents Kantor's ideas through a guerilla action that is critical, conceptual, and monumental at once. Kantor proposes to integrate his own blood into the foundation and walls of the new AGO by mixing it with the concrete to be used for the construction of the new museum. He insists that art must question institutional authority and refer to creative autonomy within the historical context of today's social reality. Writer/critic Daniel Baird and curator/writer Linda Feesey will accompany Kantor at the press conference to comment on his work. Slides of the new project photographed by Miklos Legrady as well as video documentation of previous works will be part of the visual presentation. Toronto based Istvan Kantor, the founder of Neoism (1979), is known as Canada's number one controversial artist, recipient of the 2004 Governer General's Award for Visual and Media Arts. His work has always been described as rebellious, confrontational, anti-authoritarian, as well as highly innovative and radically experimental. Kantor has been arrested and jailed for his blood interventions many times and he is banned from the National Gallery of Canada since 1991. ___________________________________________________________________ Background Info: Making of Invisible Gift http://www.ccca.ca/mikidot/istvansite/making_inv_gift.html Meaning of Invisible Gift http://www.ccca.ca/mikidot/istvansite/meaning_inv_gift.html Blood Campaign Introduction 2005 http://www.ccca.ca/mikidot/istvansite/blood_intro05.html I Am Istvan Kantor the Neoist http://www.ccca.ca/mikidot/istvansite/i_am.html __________________________________________________ http://www.ccca.ca/mikidot/istvansite/press_ago.html For more information on Istvan Kantor's work please visit www.istvankantor.com contact: amen@interlog.com (416)516-3688 -- + + +Istvan Kantor +416+516+3688 + amen@interlog.com http://www.istvankantor.com --============_-1088428216==_ma=========== Invisible Gift to the AGO / Istvan Kantor
 INVISIBLE GIFT
 Donation to the new AGO,
 by Istvan Kantor

 I'm happy to inform the Art Gallery of Ontario
 that I will mix my blood into the concrete
 used in the construction of the new building.
 This simple sculptural gift will become an integrated part
 of the walls of the new AGO as an invisible monument.

 It will signify that every museum worldwide
 was built with the blood of artists.


 NEWS: BLOOD FOR THE ART GALLERY OF ONTARIO

ISTVAN KANTOR

Invisible Gift / Invisible Monument,
designed for the newly constructed Art Gallery of Ontario.

Invisible Gift / Invisible Monument presents Kantor's ideas through a guerilla action that is critical, conceptual, and monumental at once. Kantor proposes to integrate his own blood into the foundation and walls of the new AGO by mixing it with the concrete to be used for the construction of the new museum. He insists that art must question institutional authority and refer to creative autonomy within the historical context of today's social reality.
Writer/critic Daniel Baird and curator/writer Linda Feesey will accompany Kantor at the press conference to comment on his work.

Slides of the new project photographed by Miklos Legrady as well as video documentation of previous works will be part of the visual presentation.

Toronto based Istvan Kantor, the founder of Neoism (1979), is known as Canada's number one controversial artist, recipient of the 2004 Governer General's Award for Visual and Media Arts. His work has always been described as rebellious, confrontational, anti-authoritarian, as well as highly innovative and radically experimental. Kantor has been arrested and jailed for his blood interventions many times and he is banned from the National Gallery of Canada since 1991.

___________________________________________________________________
Background Info:
Making of Invisible Gift
http://www.ccca.ca/mikidot/istvansite/making_inv_gift.html
Meaning of Invisible Gift
http://www.ccca.ca/mikidot/istvansite/meaning_inv_gift.html
Blood Campaign Introduction 2005
http://www.ccca.ca/mikidot/istvansite/blood_intro05.html
I Am Istvan Kantor the Neoist
http://www.ccca.ca/mikidot/istvansite/i_am.html

__________________________________________________

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

For more information on Istvan Kantor's work please visit
www.istvankantor.com

contact:
amen@interlog.com
(416)516-3688

--

+
+
+Istvan Kantor
+416+516+3688
+
       amen@interlog.com
       http://www.istvankantor.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 10 Aug 2005 10:56:41 -0700 from: "Rhizome.org" message-id: <200508101756.j7AHufDp009007@idx164.idx.net> subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Panel Junction by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34432 + Panel Junction + + + Panel Junction combines the graphic novel with forms of shared authorship that have been made possible by the Internet. Contributions from visitors to this site culminate in a free document suitable for printing with an ink-jet printer. It merges spontaneous drawing with scripting and direction from online visitors. Participants from around the world contribute dialog, graphics, caricatures, fonts, narrative ideas, internal monologues, jokes, backgrounds, puns, story-boards, coloring, anecdotes, and sketches. Modeled after the multi-user content management systems used in massively collaborative software development projects, Panel Junction includes narrative "road maps" and different versions of work in progress that range from sketches to refined, high-resolution graphics. + + + Biography Born in 1968, American media artist Andy Deck lives and works in New York City. Deck makes public art for the Internet. Much of his online work occupies and articulates a middle ground between art and interactive entertainment, between communication and creativity, and between independent and collaborative expression. He is the founder of Artcontext. It explores collaborative processes and media politics in the context of art and connectivity, blurring familiar formal categories with hybrid phenomena like network drawing spaces, game-like search engines, written pictures, and informative art. Deck is a co-founder of the collective Transnational Temps. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 11:19:56 -0700 from: curt cloninger message-id: <200508101819.j7AIJuo3014572@idx164.idx.net> subject: RHIZOME_RAW: Re: Re: Re: Regarding The Or, "the rabid coyotes encroach as the caravan is forced to circle the wagons and chase its own tail in a self-referential ouroboros/mobius strip of rapidly decreasing relevance." meow, curt - M. River wrote: > >curt cloninger wrote: > > > Joe Nolan wrote: > > > Truman Capote wrote: > > It must have been the spring of 1950 or 1951, since I have lost my > notebooks detailing those two years. It was a warm day late in > February, which is high spring in Sicily, and I was talking to a very > old man with a mongolian face who was wearing a black velvet Borsalino > and, disregarding the balmy, almond-blossom-scented weather, a thick > black cape. > > The old man was Andre Gide, and we were seated together on a sea wall > overlooking shifting fire-blue depths of ancient water. > > The postman passed by. A friend of mine, he handed me several letters, > one of them containing a literary article rather unfriendly toward me > (had it been friendly, of course no one would of sent it). > > After listening to me grouse a bit about the piece, and the > unwholesome nature of the critical mind in general, the great French > master hunched, lowered his shoulders like a wise old . . . shall we > say buzzard?, and said, "Ah, well. Keep in mind an Arab proverb: 'The > dogs bark, but the caravan moves on.'" + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 10 Aug 2005 11:24:26 -0700 from: "Marisa S. Olson" message-id: <23e24a260508101124f3500e5@mail.gmail.com> subject: RHIZOME_RAW: blog art (w/ abe linkoln) http://blog-art.blogspot.com/ A new project on which Abe Linkoln and I are working. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 10 Aug 2005 19:49:53 +0100 from: Rob Myers in-reply-to: <200508101819.j7AIJuo3014572@idx164.idx.net> message-id: <3B946990-6D04-4796-821C-8D06A1C97995@mac.com> references: <200508101819.j7AIJuo3014572@idx164.idx.net> subject: Re: RHIZOME_RAW: Re: Re: Re: Regarding The In this scenario the paradigmatic artist is Road Runner. Or possibly the Mynah Bird. - Rob. On 10 Aug 2005, at 19:19, curt cloninger wrote: > Or, "the rabid coyotes encroach as the caravan is forced to circle > the wagons and chase its own tail in a self-referential ouroboros/ > mobius strip of rapidly decreasing relevance." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 11:55:01 -0700 from: Heidi Cunningham message-id: <200508101855.j7AIt1cQ023483@idx164.idx.net> subject: RHIZOME_RAW: Call for Art: Beyond Megaphones and Cosmos 3rdfloor Magazine's Call For Art: "Beyond Megaphones and Cosmos" The role of art in society is typically defined by two extremes. One believes that art should be political, using aesthetics to further causes. The other believes that art should be pleasing, an escape from the difficult and the mundane. The next issue of 3rdfloor magazine will feature work that resists this polarity of art as propaganda or pacifier. What are you creating that is both substantive and aesthetic? Socially conscious but nuanced? Neither landscapes with bunnies nor “culture jams”? We welcome artwork of all mediums that address this theme including: performance, video, printmaking, installation, photography, street art, mail art and text works. Submission DEADLINE: September 30th. http://3rdfloorproject.org/submit.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, 10 Aug 2005 15:29:53 -0400 from: in-reply-to: message-id: references: subject: RHIZOME_RAW: Visual AIDS invites artists to submit to "Postcards From the Edge" benefit Visual AIDS invites artists to participate in our eighth annual Postcards From the Edge benefit. We are looking for artists to donate a 4" x 6" original work on paper for the exhibition and sale. Painting, drawing, photography, printmaking and mixed media are welcomed. Proceeds benefit the programs of Visual AIDS. Deadline: Friday, September 30, 2005 Exhibition and sale will be held Monday, October 17, & Tuesday, October 18, 2005 at Robert Miller Gallery. For details visit: http://thebody.com/visualaids/current/postcards2005.html To participate, please send a 6" x 9" SASE to: Visual AIDS 526 West 26th Street #510 New York, NY 10001 Or download submission forms at http://thebody.com/visualaids/current/postcards2005_artists.html. Then: 1 Create your artwork on any 4" x 6" paper. Painting, drawing, printmaking, photography and mixed media are all welcome. 2 Sign it on the BACK only -- and indicate the top with an arrow. 3 Complete both submission forms. 4 Mail your piece and forms back to Visual AIDS by Friday, September 30, 2005. Please package artwork to prevent damage. Send to: Visual AIDS, 526 West 26th Street #510, New York, NY 10001 5 If you need confirmation that we received your artwork, please send a self-addressed, stamped postcard with your submission. 6 Please consider sending $1.00 for postage and handling to help reduce the costs of the benefit. Any additional contributions are greatly appreciated. One entry per artist We hope you can be a part of Postcards From the Edge. The event's success depends on the generosity of artists like you. Last year, we set new records with over 1400 postcards submitted! Participating artists are invited to attend the Pre-view Party, Sunday, October 16 from 6-9 PM for free. After the benefit, Visual AIDS provides information about the collector of your work or returns unsold work. Please allow 4-6 weeks for processing. Postcards From the Edge is a show and sale of original, postcard-sized artworks on paper by established and emerging artists. All artworks are $50 and sold on a first-come, first-served basis. The works are signed on the back and exhibited so that the artists' signatures cannot be seen. While buyers have a list of all participating artists, they don't know who created which piece until it is purchased and the signature is revealed. A collector might end up with a work by a famous artist or one they don't yet know. Either way, they walk away with a great piece of art while supporting Visual AIDS important work. Founded in 1988 , Visual AIDS promotes AIDS awareness through the visual arts. Two Visual AIDS initiatives, the Red Ribbon and Day Without Art, have become icons of AIDS awareness. Visual AIDS also supports artists with HIV/AIDS through direct professional services including free photo-documentation of artwork, the largest slide library of work by artists with HIV/AIDS, materials grants to those with low incomes, estate planning services, exhibition opportunities, professional development, advice and advocacy. For more information on Visual AIDS programs, please visit http://www.visualAIDS.org. For more information contact Visual AIDS at (212) 627-9855 or info@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: Wed, 10 Aug 2005 13:09:30 -0700 from: message-id: <200508102009.j7AK9UvE009375@idx164.idx.net> subject: RHIZOME_RAW: John Wanzel: Daylight @ BSD (Butcher Shop/Dogmatic) BSD (Butcher Shop/Dogmatic) presents: Daylight: new work by John Wanzel ONGOING THRU AUGUST 27 SATURDAYS NOON - 6PM or by appointment BSD(Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 312.421.1917 dogmaticgallery@hotmail.com Michael S. Thomas, Director "In his solo show, John Wanzel presents a diaristic account of walking the Chicago streets while watching lampposts in the sky. In sculpture, sound, video, and drawn works, Wanzel reveals a loving obsession with astronomy, Copernicus, and trigonometric ratios. Droopy mounted models of lampposts and sidewalks line the walls; drawings on paper narrate advanced lessons, with one explaining the equation of time; reel-to-reel tracks play softly in the front room while a lecture read by Wanzel ("Lecture on the Potential Energy of the Summer") plays in the backroom, accompanied by a tuba. This attractive show succeeds in combining different media to stimulate science crushes." -flavorpill BSD is proud to present Daylight, new work by John Wanzel. The exhibition is in search of unmitigated truth and light within a world without. Daylight 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 + Subscribers to Rhizome are subject to the 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, 10 Aug 2005 13:22:06 -0700 from: Rex Bruce message-id: <200508102022.j7AKM6LY013581@idx164.idx.net> subject: RHIZOME_RAW: Open Call: L.A. Center for Digital Art Los Angeles Center For Digital Art 107 West Fifth Street Los Angeles, CA 90013 http://www.lacda.com second annual SNAP TO GRID: the UN-Juried Show Every Entry Shown! Direct link for registration: http://www.acteva.com/booking.cfm?bevaid=90476 September 8-October 1 Opening Reception Thursday September 8, 7-9pm LACDA announces our Un-Juried Show: Snap to Grid. In our second annual exhibition of this kind participants each upload one image to be printed on high quality paper (8.5x11) and hung in a grid in our gallery. The show will be widely promoted and will include a reception for the artists. After the exhibition the images and artist information will be available to view in our artist portfolios. Artwork for future exhibits will be selected from the portfolios, and will also be available for review by area gallerists, curators and arts journalists. Everybody wins! Entry fee $30US. Proceeds benefit gallery programs. Show is international, open to all geographical locations. Entrants submit one JPEG file of original work up to 2mb. All styles of 2D artwork and photography where digital processes of any kind were integral to the creation of the images are acceptable. Digital video stills and screen shots of web/new media are acceptable. Multiple entries are permitted. $30 registration fee for each additional image. Exhibit is limited to space available, early entry is advised. Gallery Statement: Every year for 50 years the L.A. Municipal Gallery has held its "Open Call" exhibit where any artist can show up with their art and an entry fee (to benefit gallery programs) and the piece is shown. The Los Angeles Center For Digital Art decided to launch an international experiment of the same nature where the artists upload images that are printed and hung by the gallery. The hundreds of works are displayed in a grid like installation (reminiscent of postcard art shows of the 1980's) where every work submitted is exhibited. The usual (less than democratic) selection process where only the precious few are chosen is turned on its head in a curatorial anarchy where everyone gets to participate and the viewer is literally left to be the judge. The show represents a snapshot of a current moment in art history when digital imaging has reached the hands of the many, an age where culture belongs to the "mobblogers" around the globe. From Thailand to Texas, amateur to academic, beautiful to banal and beyond the monumental quantity and variety of "Snap to Grid" becomes an aesthetic experience where each individual piece adds to an agglomerative effect that has a life of its own. Deadline for entries: August 28, 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; delsp=yes; format=flowed date: Wed, 10 Aug 2005 21:55:38 +0100 from: Rob Myers message-id: subject: RHIZOME_RAW: rob-art 0.2 The new version 0.2 of rob-art, my suite of art-creating programs, is now available at: http://www.sourceforge.net/projects/rob-art/ Version 0.2 adds a more freehand-looking pen and random colour to draw-something. If you just want to run draw-something on MacOS X 10.3 or MacOS X 10.4, download the draw-something-carbon.dmg package instead. It will clear your screen to a blank white then have a think for a few seconds before starting drawing. Press command-q to quit the application once it's running. This is the version of draw-something that was shown at O3one - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 10 Aug 2005 20:45:50 -0700 from: michelle message-id: <200508110345.j7B3joTh030906@idx164.idx.net> subject: RHIZOME_RAW: Faculty Opportunity at CSU Monterey Bay, CA The Department of Teledramatic Arts and Technology within the College of Science Media Arts and Technology at California State University Monterey Bay invites application for two tenure track faculty positions. Successful candidates will be forward thinking, transmedia educators and practitioners. One with primary emphasis in new media practice and theory and one with primary emphasis in digital video and media practice. Both with a strong background in the application of new digital technologies to innovative narrative praxis. See full job description for New Media here: http://mocha.csumb.edu/uhr/jobs/job_announce.jsp?job_number=FAC2005-0093&req_id=000431 See full job description for Digital Video here: http://mocha.csumb.edu/uhr/jobs/job_announce.jsp?job_number=FAC2005-0093&req_id=000430 Application review begins September 23. Please direct inquiries to Rob Weiher, Rob_Weiher@csumb.edu, 831.582.3743. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms 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_0041_01C59E47.D0BF6D00" date: Thu, 11 Aug 2005 07:39:33 +0200 from: "manik" message-id: <004401c59e37$30c47b20$767789d5@e9o9t1> subject: RHIZOME_RAW: CONCEPTUAL ART IS MANS BEST FRIEND conceptualartconcconceptualarteptualartconceptualartconceptualartconceptu alartconceptualrtconceptualarconceptuala conceptualartconcconceptu alarteptualartconceptualartconceptualartconceptualartconceptualrtconceptu alarconceptua conceptualartconcconc eptualarteptualartconceptualartconceptualartconceptualart conceptualrtconceptualarconcept conceptualartconc conceptualarteptualartconceptualartconceptualartconceptual artconceptualrtconceptualarcon conceptualartco ncconceptualarteptualartconceptualartconceptualartconce o alartconceptualrtconc conceptualartc oncconceptualarteptualartconceptualartconceptualartco ptualartconceptualrtconcep conceptualart concepualarteptualartconceptualaconceptualartonce ptu lartconceptualrtconcep conceptualart conceptualarteptualartconceptualartconceptu eptualrtconceptualarconceptualac conceptualartco t conceptualaconcconceptualaconc cconceptualartept conceptualrtconceptualarconcept onceptualartconc conceptualrtconceptualarconceptu conceptualartconc conceptualrtconceptualarconceptual conceptualartconc conceptualrtconceptualarconceptualac conceptualartco nce alarteptualartconceptualartc ptualartconceptualartconceptualrtconcept conceptualart concc eptualarteptualartconceptualartc ceptu alartconceptualartconceptualrtconceptual conceptualart concconc ptualarteptualartconceptualartconc ptuala rtconceptualartconceptualrtconceptualarc conceptualart concconce ptualarteptualartconceptualartconce ptualar tconceptualartconceptualrtconceptualarc conceptualartc oncconcept ualarteptualartconceptualartconc eptualartco nceptualartconceptualrtconceptualarco conceptualartc oncconcept ualarteptualartconceptualart conceptualartc onceptualartconceptualrtconceptual conceptualartconcconceptualarteptualartconceptualartconceptualartconceptu alartconceptualrtconceptualarconceptual conceptualartconcconceptualarteptualartconceptualartconceptualartconceptu alartconceptualrtconceptualarconceptual __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="ISO-8859-1" date: Thu, 11 Aug 2005 02:14:59 -0400 from: "Shankar, Ravi (English)" in-reply-to: <20051030110947.5C6C56E3.820B4274@127.0.0.1> message-id: subject: RHIZOME_RAW: Final Call for Submissions - Drunken Boat's PanLiterary Awards DRUNKEN BOATąS FIRST ANNUAL PANLITERARY AWARDS Deadline Extended to: August 15th, 2005 Judges: Annie Finch, Sabina Murray, Alexandra Tolstoy, Talan Memmott, David Hall, and DJ Spooky Drunken Boat, , international online journal for the arts, announces its First Annual Panliterary Awards in Poetry, Fiction, Non-Fiction, Web-Art, Photo/Video, Sound. Submit up to three works, either via email to or via physical mail to: Drunken Boat, 119 Main St., Chester, CT 06412. A $15 entry fee must accompany all submissions, either via check or money order, else submitted electronically at: . Winners in all categories will be featured in a subsequent issue of Drunken Boat, and will be invited to perform at future multimedia events and performances with all expenses paid. All other entries will be considered for publication. Submissions must be received no later than August 15th, 2005. Awards will be given in the following genres: poetry, fiction, non-fiction, web art, photo/video and sound. The judges for the Panliterary Awards are: Poetry‹ Annie Finch, Poet, translator, and librettist and Director of the Stonecoast MFA Program in Creative Writing at the University of Southern Maine, Fiction‹ Sabina Murray, 2003 PEN/Faulkner Award Winner   Non-Fiction‹ Alexandra Tolstoy, Fellow of the Royal Geographical Society, Web-Art‹ Talan Memmott, 2000 trAce / Alt-X New Media Writing Award Winner and Creative Director for the literary hypermedia journal, BeeHive, Photo/Video‹ David Hall, Video art pioneer, TV interventionist, installation artist, sculptor and filmmaker. Sound‹ Paul D. Miller, aka DJ Spooky that Subliminal Kid, Musician, writer, producer, editor-at-large of Artbyte, and conceptual artist whose work has appeared in the Whitney Biennial and the Venice Biennial for Architecture, Works will be accepted as URLs of work online, as attachments (MSWord files or .jpg/.gif/.zip/.swf/.html/.mp3/.mov/.wav files), or else as hard copy, disk, or CD/DVD. Please include the phrase Panliterary Awards in the subject line of any email submission and do not paste text submissions into the body of the email. Email editor@drunkenboat.com or shankarr@ccsu.edu for more information. +-+-+ Drunken Boat is a non-profit organization that depends on public assistance for its sustenance. Please see to make a tax-deductible donation.+-+-+ *************** Ravi Shankar Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.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, 11 Aug 2005 06:14:18 -0700 from: Kelly Shindler message-id: <200508111314.j7BDEI2G003232@idx164.idx.net> subject: RHIZOME_RAW: Ask the Robot call for submissions! ASK THE ROBOT INVITES YOU TO CELEBRATE MECHANIZED LABOR DAY AN OFFICIAL ROBOT HOLIDAY TO BE CELEBRATED ON THAT BEAUTEOUS MECHANICAL CONTRAPTION KNOWN AS THE FRYING PAN PIER 63 NORTH RIVER, NYC 12TH AVE, BETWEEN 22ND & 23RD http://www.fryingpan.com/mapframe.html ON WEDNESDAY, AUGUST 31ST DOORS 8PM, SHOW 9PM $5 SUGGESTED DONATION *CALL FOR PARTICIPATION CALL FOR PARTICIPATION CALL FOR PARTICIPATION* ROBOT: derived from Czech robota, “servitude, forced labor,” from rab, “slave.” Czech robota is also similar to another German derivative of this root, namely Arbeit, “work” (its Middle High German form arabeit is even more like the Czech word). Arbeit may be descended from a word that meant “slave labor,” and later generalized to just “labor.” (www.answers.com) ASK THE ROBOT is a platform that gives artists working within and across different media a chance to present their work on an open stage. Whether you use your body, your voice, or strange technical gadgets to perform – all analog, digital and just plain human media are welcome! A CALL TO ALL WHO LABOR to create PERFORMANCES VIDEOS INSTALLATIONS and WRITTEN PIECES that shed light on the mechanics of being human. submission deadline: August 25 PLEASE FORWARD TO FELLOW LABORERS! submission guidelines: Live Acts: 3-12 minutes long... email a link to a sample of your work to ophra@pursuethepulse.org (if it is available online) or send a short video/audio sample to: Pursue the Pulse, 369 St. John’s Pl #15, Brooklyn, NY 11238 Videos: are being curated by Kelly Shindler. Please direct all video submissions to Kelly by either sending a link to an online version of the movie with the subject heading 'Ask the Robot submission' to kmshindler@earthlink.net (no large attachments please!), or mail a CDR or data DVD to 191 Court St #3R, Brooklyn, NY 11201 Installations: email a clear description of what you intend to do to ophra@pursuethepulse.org, including how much space and set up time is required, and photos of the work if available. Site specific installations are especially welcome! Written Work: email the document to ophra as a pdf or word attachment. brought to you by Pursue the Pulse (http://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: Thu, 11 Aug 2005 08:06:19 -0700 from: David message-id: <200508111506.j7BF6J1f027425@idx164.idx.net> subject: RHIZOME_RAW: NEW SELLz! Updated SELLz: http://www.sellz.org/ Now taking weekly flyer/icon submissions. Send us your simple visual message, and starting 9/11/2005 we will give you your own icon and flyer on the 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="ISO-8859-1" date: Thu, 11 Aug 2005 08:25:24 -0700 from: Eduardo Navas message-id: subject: RHIZOME_RAW: NAR Announcements In this message from NAR: http://netartreview.net 1) excerpts from monthly features 2) excerpts from weekly features We want to say good bye to Garrett Lynch, one of our founding contributors. Garrett contributed to NAR for over two years. We miss him. We thank Garrett for all his hard work and wish him the best on developing his artwork. --------- This month NAR offers the net.ten by invited artist Annina Rüst, writing by Kristen Palana on the Internet and Tanzania, a especial commentary by Raquel Herrera Ferrer on Interactiva, a review of InteractivA by Eduardo Navas, and a theoretical text, in PDF format, by Antonio Cerveira Pinto released in collaboration with a minima:: a biligual print publication based in Spain. The weeklies offer one week focus on war and terror plus writings on Art and Globalization by Molly Hankwitz, Lora McPhail and Eduardo Navas. -------- 1) Monthlies ::NET.TEN:: \\Online Selections// BY: Annina Rüst This month Net Art Review invites Annina Rüst to recommend ten online resources to our readers. http://netartreview.net/monthly/0805_5.html SPECIAL REPORT.REVIEW: INTERACTIVA 05, THE POSTCOLONIAL DILEMMA OF INTEGRATION VS. OPPOSITION BY: Eduardo Navas The biennale InteractivA 05 took place for the third consecutive time in Merida, Yucatan, Mexico. Raul Ferrera Balanquet was the executive curator; Lucrezia Cippitelli and Gita Hashemi were the invited curators. Artists from different countries participated contributing works that included installations as well as Internet projects (for a complete list of artists, please see the InteractivA 05 website). This was by far the most ambitious and best organized InteractivA, yet. The biennale not only consisted of an exhibition in three major galleries of the Centro Cultural Olympo in Downtown Merida, but it also included a series of conferences which took place over nine days, from July 16--25. http://netartreview.net/monthly/0805_4_1.html SPECIAL FEATURE.COMMENTARY: INTERACTIVA '05 O LA EXISTENCIA DE MERIDA/ INTERACTIVA '05 OR MERIDA'S EXISTENCE BY: Raquel Herrera Ferrer I was surprised, from my let's call it "barcelonian" point of view, of the constant debate articulated around "postcolonial" issues, and of how a biennal like Interactiva wasn't considered only as an "act of faith" but as a "political act" too. However, I have the impression that this double approach vertebrating the possible interpretations of the sense, survival and sustainable quality of Interactiva towards its future would put aside a very important reverse: independence as a choice, as a preference, as a "relief" from a pressing and suffocating art "Establishment". Me sorprendio desde digamos mi "barcelonismo" el debate constante que se articulo entorno a cuestiones "poscoloniales", y de como en estos terminos una bienal como Interactiva constituia no solamente un "acto de fe", sino tambien un "acto politico". Sin embargo, tengo la impresion de que este planteamiento que vertebraba una y otra vez las eventuales interpretaciones sobre el sentido, la pervivencia, la sostenibilidad de Interactiva de cara al futuro dejaba de lado un reverso muy importante: la independencia como eleccion, como preferencia, como alivio frente a un establishment que aprieta y a menudo ahoga. http://netartreview.net/monthly/0805_3.html FEATURE.REVIEW: In Some Parts of the World, It's 1996 all Over Again BY: Kristen Palana The problem with the Utopia that is the Internet is that it has only been available to a small percentage of the world's population. For Net Artists it means that maybe we're not always reaching the audience we want. If traditional Fine Art galleries are for the rich and well connected, the Internet (like a street mural) was supposed to be the ultimate gallery and forum accessible to the masses. In the United States and in Industrial countries, it IS accessible. Even though there still exists a technological divide between the rich and poor, nearly everyone in an Industrial Country can walk into their local library and ...voila! -Connection-information-communication- and random time wasting cartoons and games are at our fingertips. Even my parents know how to do it. My dad likes those Shockwave slot machine games... http://netartreview.net/monthly/0805_2.html In an ongoing collaboration, this month NAR features another .PDF originally published in a minima::, a media and contemporary art publication based in Spain. This month features "Not-Art: Learning from computers is not the next but actually the now big thing of 'post-modern', 'post-human' art" by Antonio Cerveira Pinto. :I took the expression Not-Art from a Terry Atkinson essay on the possibility of a post-pictorialist, informational art practice that would have to be carried on by a new artist specimen, other than the one modeled upon the bleeding ear of Van Gogh. Significant parts of Terry's essay were transcripted into this brief memo on the future of art in a world submitted to an expanding and pervasive cybernetic paradigm.: http://netartreview.net/monthly/Pinto.pdf 2) Weeklies :: Wednesday, July 13, 2005 :: PROJECT REVIEWS:: THE WAR ON TERROR What to Do without Dialogue in These Times BY: Molly Hankwitz PROJECT REVIEW:: Carrizo-Parkfield Diaries BY: Eduardo Navas http://netartreview.net/weeklyFeatures/2005_07_10_archive.html :: Wednesday, July 20, 2005 :: A brief look at Art and Globalization Edited by Eduardo Navas http://netartreview.net/weeklyFeatures/2005_07_17_archive.html :: Wednesday, July 27, 2005 :: ada'iat_2004/2005 through spaces of Fortress EU's southwest border by Molly Hankwitz Project.Review: Antiwargame, boredom as commentary by Eduardo Navas http://netartreview.net/weeklyFeatures/2005_07_24_archive.html :: Tuesday, August 02, 2005 :: PROJECT:: hack.it.art an exhibition and event about technological, artistic and political activism in Italy January 14th to February 27th, 2005 Kunstraum Kreuzberg/Bethanien,Berlin REVIEWED BY:: Molly Hankwitz ROJECT::HIGHLIGHT Low-fi new works by international artists using networked media http://netartreview.net/weeklyFeatures/2005_07_31_archive.html :: Wednesday, August 10, 2005 :: urnoff: comments on PC turnoff week by Lora McPhail http://netartreview.net/weeklyFeatures/2005_08_07_archive.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=WINDOWS-1252 date: Thu, 11 Aug 2005 11:36:37 -0400 from: in-reply-to: <15665E08-09F2-11DA-B7F4-000393D00CB4@thing.net> message-id: references: <15665E08-09F2-11DA-B7F4-000393D00CB4@thing.net> subject: RHIZOME_RAW: Fwd: art do a really interesting project! ---------- Forwarded message ----------From: Joseph Nechvatal Date: Aug 10, 2005 6:57 PMSubject: art doTo: joy@firstpulseprojects.org Pleas pass this on to anyone you know who might be interested: ART TO MAKE AND DOA Call for Expressions of Interest (August 05) The Project: A publication and website will "transmit" complexfunctioning artworks to multiple locations through the use ofcopyright-free plans, instructions and "kits" initially distributedthrough a website and a printed book /catalogue. It looks to generatea "population" of related objects, works in their own right, but alsobecoming the subject of investigation, study and exchange. I am looking for participants who would be interested in devising workswhich can be assembled out of easily-available components from a set ofinstructions and a parts list. As well as assembly instructions thepublication and the website will include texts by contributors whichexamine and consider issues raised by the project. At this stage I am envisaging object-based work, rather than proceduralworks which are more performative or conceptual – however thetechniques and technologies involved are not restricted to those of theworkshop or the garden shed, the ideal would be to include works whichalso reference technologies of, say, language or vision. If the project is successful there will be scope for random orsubjective variation - in effect setting up an evolutionary algorithmthat would allow the design to develop very slowly over "generations".Each example of a particular work will be an instance of its type butnot a replica, offering a whole range of issues for consideration. Theresulting pieces can eventually be catalogued and mapped, broughttogether, perhaps, categorised and generally worked with as a kind ofnatural resource – a population of objects available for study andexamination. The references are the vernaculars of modelmaking; collecting, hobbyismand grass roots level clubs and societies along with the world ofsmall-scale manufacture. Anyone familiar with encyclopaedic cataloguessuch as those produced by RS (http://rswww.com) or Farnell(http://www.farnell.com/) will spot some of the influences, but thestrategy also hints at Memetics and a kind of "viral" design. For more information contact:Simon LewandowskiSchool of Fine Art, Art History and Cultural Studies, University ofLeeds.s.lewandowski@leeds.ac.ukwww.lewandowski.lowtech.org Joseph Nechvatal 93 Blvd Raspail 75006 Paris+143 Ludlow Street (#14) New York, NY 10002 www.nechvatal.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, 11 Aug 2005 09:02:46 -0700 from: brad brace message-id: <200508111602.j7BG2kw9011005@idx164.idx.net> subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 11 Aug 2005 09:05:00 -0700 from: brad brace message-id: <200508111605.j7BG4xJr011668@idx164.idx.net> 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. _ | __ \ (_) | | _| |__) | __ ___ _ ___ ___| |_ |_ ___/ '__/ _ \| |/ _ \/ __| __| |_| _ |_| \___/| |\___|\___|\__| _ _/ | _ |__/ > > > > 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: Fri, 12 Aug 2005 00:32:40 +0200 (CEST) from: BUNY message-id: <20050811223240.334372B48B@ws11.ou-data.net> subject: RHIZOME_RAW: m01to01 m01to01flood01the01commodified01market01of01the01implemented01concept\ .with01unimplemented01concepts,01thus01critiquing01and01"devaluing"01t he01implemented01concept."01010101I01am01unsure01as01to01how01such01ma terial01would01"critique"01so01called01"implemented"01concepts,01partic ularly01if01thematic)01presents:01010101Daylight:01new01work01by01John 01Wanzel01010101ONGOING01THRU01AUGUST01270101SATURDAYS01NOON0101016PM01 01or01by01appointment01010101BSD(Butcher01Shop/Dogmatic)0101131901W.01 Lake01St.,013rd01Floor0101Chicago,01IL01606070101312.421.19170101dogma ticgallery01hotmail.com0101Michael01S.01Thomaxx.rakuten01news.net/order .html01010101MEN01ALL01OVER01THE01WORLD01AGREE01THAT01MaxxLength301IS\ .THE01#101Peee010101ENIS010101NATURALLY01ENLARGEMENT01FORMULA:0101010101\ .Maxx010101Length301is01absolutely01the01fastest,01easiest,01safest01and\ .0101most01economical01way01to01increase01your01pe01n01is01size01a _ 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Thu, 11 Aug 2005 20:44:07 -0400 from: Curt Cloninger message-id: subject: RHIZOME_RAW: rewrite this concept: Banal Hollywood "Show business kids making movies of themselves You know they don't give a fuck about anybody else." - Steely Dan PRECEDENCES: 1. In "Me and Billy Bob," and "Screen Kiss" http://www.meandbillybob.com/ http://soilmedia.org/Screen_Kiss/ Jillian McDonald inserts herself as the heroine in Hollywood kissing scenes. She's mainly exploring fan culture, but the work also has the effect of normalizing these spectacular Hollywood moments. 2. _Chinatown_ ends with the the good guy losing, just when we think he's about to win, thus subverting the Hollywood formula, disappointing lots of ordinary movie goers, and thrilling critics. 3. In _Pulp Fiction_, John Travolta's character gets killed abruptly early on in the film, thus upsetting the Hollywood given that the main character won't get killed halfway through because you wouldn't pay a famous actor and give him top billing if he only appeared in half the film. 4. _Last Action Hero_ puts a normal kind in the action movie world and then takes the action hero and places him in the real world. In the movie world, all the workers at the video rental store look like models. In the real world, the action hero nonchalantly punches through a car window expecting no adverse repercussions, and he cuts his hand all up. _Purple Rose of Cairo_ is kind of the same, just more artsy. 5. http://www.steelydan.com/lyrcountdown.html#track5 CONCEPT: The idea is not to make an experimental, quasi-narrative film (a la Bunuel or Brakhage). Instead, take regular Hollywood films and re-edit them so that normal stuff happens to the characters half-way through which cause the film to abruptly end. The idea is to inject some real life banality into the plot lines in order to critique the Hollywood genre. You get the idea. INSTRUCTIONS: You're shooting for a really banal anti-climax. Hollywood films are premised on all these great and improbably obstacles being overcome, crescendoing in some amazingly improbably feat. Either that, or they are anti-hero movies that crescendo in some amazing defeat, or at least some amazingly pedantic defeat. No matter what, Hollywood plots always require some climactic event (good, bad, or astoundingly indifferent). But you are not going for titanic banality. You're just going for real life banal banality. Let the main character hurdle a few of the early improbably obstacles, and then just pick one thing to go wrong (not even the climactic obstacle), and let it go wrong and end the film. The films you choose to rewrite don't all have to be _Citizen Kane_ and _Casablanca_ type movies. They probably shouldn't be experimental films or independently produced movies. Just pick Will Ferrel or Ben Stiller or Vin Diesel movies. +++++++++++++++++ Examples: 1. In Adam Sandler's _The Waterboy_, The Waterboy overcomes all these obstacles to play college football, only to be accused of forging his high school graduation documents. With only a day before the big game, he has to study up and pass his high school equivalency exam. In the regular Hollywood film, he does pass the exam with flying colors, and then goes on to face a series of even more challenging obstacles before showing up at halftime to win the big game. In your rewrite, He'll get his test scores back, and it will go something like this: TEST SCORE GUY: Sorry Waterboy, You did really well and made a 79, but you need to make an 80 to pass the test. You can retake the test in a couple of weeks if you like. I'm sure you'll pass. You're really close. WATERBOY: But isn't there any way I can take the test any earlier? The big game is tomorrow! TEST SCORE GUY: I'm sorry, but the county requires at least a two week period between tests. I'm afraid my hands are tied. THE END 2. In _Racing Stripes_, a baby zebra falls off a circus truck in a rainstorm and is accidentally left behind. A farmer takes the zebra back to his daughter, and through a series of trials and tribulations, the zebra is trained by the father to race in the big thoroughbred derby, with his daughter as the jockey. In the regular Hollywood film, the zebra wins the race. In your rewrite, the circus will send a clown back to look for the zebra. After searching years for the zebra, the clown will grow increasingly angry, bitter, and resentful. He will finally track the zebra back to the farmer and his daughter, and will show up on their front doorstep the day before the big race. He will be dressed in full clown regalia, and the dialogue will go something like this: CLOWN: I'm here for the zebra. He f ell off our truck a few years ago and I've come to take him back to the circus. DAUGHTER: But Mr. Clown, the big race is tomorrow, and the zebra and I have grown so close! FATHER: Isn't there anything we can do? I'd buy him from you, but we've morgaged the farm to the hilt to raise the entrance fee for the derby. If you hang around until after the race, I'm sure the zebra will win, and the prize money wiil be more than enough to purchase him from you. [DAUGHTER gazes lovingly, hopefeully up at her father's face. Then looks back to the clown.] CLOWN: No. The zebra is not for sale. I've got to take him back to the circus. DAUGHTER: But can't you just wait one more day, just until after the race? At least let him run in the race! CLOWN: No, no, no! Enough chit chat. Hand over the damn zebra! FATHER: Take him if you must. He's out in the barn. THE END +++++++++++++++++ Find your movies online and downlaod them via bit torrent. Search any one of these: http://www.torrentreactor.net http://thepiratebay.org http://www.torrentspy.com You'll have to get a camera, and stage and shoot your scenes, but they don't have to be in a fancy locations, and you don't have to have great actors. Then post the entire Hollywood movie right up to and through your newly written ending. This will give the piece more context and momentum and make the outcome even more stupid and banal. If you get sued, claim fair use and get a lot of free press. Call your URL banalhollywood.com FIN, 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: text/plain; charset="iso-8859-1" date: Fri, 12 Aug 2005 13:19:00 +0200 from: 220hex message-id: <200508121319.04782.gif@220hex.org> organization: 220hex subject: RHIZOME_RAW: Reminder: Piksel05 - Call for entries +++ only 3 days left... +++ ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| -- Piksel05 - october 16-23. 2005 -- call for participation -- deadline 15. august 2005 ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Piksel[1] is an annual event for artists and developers working with open source audiovisual software tools. Part workshop, part festival, it is organised in Bergen, Norway, by the Bergen Centre for Electronic Arts (BEK) [2] 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. Piksel05 will take place in Bergen october 16. - 23. 2005. 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. One of the results of the past Piksel events is the initiation of the Piksel Video Framework for 'interoperability between various free software applications dealing with video manipulation techniques'[3]. Piksel05 will also feature the release of the Piksel LiveCD[4], a Linux distribution containing the software used and developed at Piksel. The package contains a suite of innovative audiovisual and artistic software, free video plugins, and documentation from the past Piksel events. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| open CALL for PARTICIPATION The last two Piksel events has focused on live art/audiovisual performance, but for Piksel05 the main focus will be an exhibition in collaboration with Hordaland Kunstsenter[5]. For the exhibition and other parts of the program we are interested in submissions in the following categories: 1. Installations and interactive work Audiovisual installations created and run solely using open source software. The theme for the exhibition will be loosely related to 'games' and the gaming experience. 2. Audiovisual performance Live art realised by the use of open source software. 3. Software Innovative artistic tools or software art released under an open licence. Please send documentation material - preferably as a URL to online documentation with images/video to piksel05@bek.no Deadline - august 15. 2005 Use this form for submitting (or go to the online form at http://www.piksel.no/piksel05/subform.html): |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 1. Name of artist(s), email adr. 2. Short bio/CV 3. Category 4. URL to online documentation 5. Short statement about the work(s) 6. List of software used in the creation/presentation of the work(s) |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Or send by snailmail to: BEK att: Gisle Froysland C. Sundtsgt. 55 5004 Bergen Norway More info: http://www.piksel.no/piksel05 piksel05 is produced in cooperation with Kunsthoegskolen in Bergen dep The Academy of Fine Arts, Hordaland Kunstsenter. Supported by PNEK, Bergen Kommune, Norsk Kulturfond, BergArt. links: [1] http://www.piksel.no [2] http://www.bek.no [3] http://www.piksel.org [4] http://www.piksel.no/pwiki/PikseLiveCD [5] http://www.kunstsenter.no -- -------------------- www.220hex.org www.r3aktor.com http://mob.bek.no + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 12 Aug 2005 05:15:42 -0700 from: Agam Andreas message-id: <200508121215.j7CCFgtY015374@idx164.idx.net> subject: RHIZOME_RAW: Ey\' Ar Performance on Blijburg, Amsterdam The Netherlands Ey' Ar is performing: 'The Ambassady of Eleutheropolis' 10 & 11 September 2005 @sunset (apx 21:45 CEST) @The Urban City Beach of Amsterdam, Blijburg Ey' Ar is (a.o) Yoga & Politics, Spiritual Dance Performance, Music, Open air video projections, Religion in Urban Society info: http://www.nictoglobe.com email: andropro@nictoglobe.com a project from }|{AndroPro Creative Engineering}|{ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 12 Aug 2005 08:07:15 -0700 from: message-id: <200508121507.j7CF7Fre016718@idx164.idx.net> subject: RHIZOME_RAW: Game programmer help needed for video piece! I have a multi layer video piece that will be showing at a well established NYC gallery in October 05. Basically, what I will need to do is create some simple scripts that trigger each layer of video to begin with a particular mouse or joystick/controller action. I think this will be pretty basic MIDI programming but I am not sure. I also don't know how to do this. So, essentially, what I am doing is turning this multi layered video into a basic video game where the user will decide when a specific video plays. I already have the video, I jsut need this portion of the piece completed. I don't really have much of a budget, so I would like to share credit for the piece in the show with something like "Programming by . . ." Again, this is a well known and popular NYC gallery in the Chelsea district. However, payment might be an option. Please contact me if interested. 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: text/plain; charset="US-ASCII" date: Tue, 16 Aug 2005 23:56:43 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050816215708.KFFE8289.amsfep18-int.chello.nl@vilt> 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 from: Jonathan Zalben message-id: <200508162223.j7GMNkoT028594@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 16 Aug 2005 15:36:15 -0700 from: Julie Rasmussen message-id: <200508162236.j7GMaFHF000771@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252 date: Tue, 16 Aug 2005 19:54:13 -0400 from: message-id: 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 ofdestruction—of singed civilians, charred corpses, and ruinedvillages—demand 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 thepowers—machine and otherwise—that 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain;charset=iso-8859-1 date: Tue, 16 Aug 2005 17:01:41 -0700 (PDT) from: "Jessica Ivins" message-id: <49489.68.45.64.147.1124236901.squirrel@www.rhizome.org> 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 Ivins’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 make 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 -- 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 content-type: text/plain; charset=WINDOWS-1252 date: Tue, 16 Aug 2005 20:33:16 -0400 from: message-id: 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 ofdestruction—of singed civilians, charred corpses, and ruinedvillages—demand 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 thepowers—machine and otherwise—that 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 16 Aug 2005 23:08:40 -0500 from: ryan griffis in-reply-to: <200508160605.j7G65Z4U019759@idx164.idx.net> message-id: references: <200508160605.j7G65Z4U019759@idx164.idx.net> 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) from: trashconnection message-id: <20050817053914.2D7C521FD4@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 16 Aug 2005 23:58:35 -0700 from: basak senova message-id: <200508170658.j7H6wZOq018563@idx164.idx.net> subject: RHIZOME_RAW: NOMAD presents: ctrl_alt_del â 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 BaĹźak Ĺženova, 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 BĂĽyĂĽkberber (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 MuratoÄźlu (TR), DJ Negma (TR), Klaus Obermeyer (DE), Matthieu Prat (FR), Wassim Qassis (Palestine), REC: Orçun BastĂĽrk, 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, Ă–zdemir Bayrak, Kerem GĂĽzel, 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 – iĹźitsel-sanat festivali, istanbul 2005 EylĂĽl 2005’te dĂĽzenlenecek olan ctrl_alt_del, 2003’te TĂĽrkiye’de dĂĽzenlenen ilk iĹźitsel sanat festivali olarak, NOMAD*ın, Hollanda’dan Marres ve Hedah ve Ä°stanbul Teknik Ăśniversitesi MIAM (MĂĽzik Ä°leri AraĹźtırmalar Merkezi)’nin de iĹźbirliÄźiyle gerçekleĹźtirdiÄźi bir etkinliktir. EylĂĽl 2003 ayı içinde, Ä°stanbul ve Maastricht’te gerçekleĹźen etkinlikler: (i) Marres’de (Maastricht) tanıtım toplantısı, projenin CD tanıtımı, TĂĽrk ve Hollandalı sanatçıların performansları; (ii) Ä°stanbul Teknik Ăśniversitesi Mimarlık FakĂĽltesi ve MĂĽzik Ä°leri AraĹźtırmalar Merkezi (MIAM)’da bir panel ve bir seri atölye çalışması; (iii) 8. Uluslararası Ä°stanbul Bienali açılışı sırasında Ä°stanbul’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 TĂĽrkiye’yi iĹźitsel sanat ile buluĹźturma hedefini, bu dalın öncĂĽ isimlerini performanslar ve atölye çalışmaları aracılığı ile gerçekleĹźtirmiĹźtir. 2003 yılındaki bu festivale 16 ĂĽlkeden 30 isim katkıda bulunmuĹźtur. ctrl_alt_del, 9. Uluslararası Ä°stanbul Bienali’nin “konumlamalar” kapsamı içindedir. 16-22 EylĂĽl 2005 tarihleri arasında, Balans MĂĽzikhol’de, BoÄźaz ve Haliç’te, Ä°stanbul Teknik Ăśniversitesi MIAM stĂĽdyolarında, laboratuvarlarında, kĂĽtĂĽphane ve konser salonunda yer alacaktır. ctrl_alt_del projesinin 2005 yılı programı BaĹźak Ĺženova, Emre Erkal, Pieter Snapper, Erhan Muratoglu ve Paul Devens tarafından geliĹźtirilmiĹźtir. Kavramsal çercevesini oluĹźturan “kent”, “gĂĽrĂĽltü” ve “açık kaynak” temaları, performanslar, gemi turu ve iĹźitsel haritalandırma, atölye çalışmaları ve sunuĹźlarla iĹźlenecektir. Proje NOMAD Proje Kanalı, Ä°stanbul Teknik Ăśniversitesi MIAM (MĂĽzik Ä°leri AraĹźtırmalar Merkezi), Goethe Institut, Ä°stanbul, 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 DoÄźu ve Kuzey Afrika Ĺžubesi, Kadir Has Ăśniversitesi, REC Dergisi, Bant Dergisi, e-tasarım ve Senkron Matbaacılık katkılarıyla gerçekleĹźmektedir. ctrl_alt_del projesinin 2005 yılı katılımcıları: Zafer Aracagök (TR), Ĺžakir OÄźuz BĂĽyĂĽkberber (NL), DJ Selim Cenkel (TR), Banu CennetoÄźlu (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 KaradoÄźan (TR), Uri Katzenstein (IL), Sarp Keskiner (TR), REC (TR), Reuben De Latour (NZ), MIAM: Kerem Aksoy, Deniz Arat, Barkın Engin, Erdem HelvacıoÄźlu, Burak Tamer, Tolga Tuzun, Murat Yakın (TR), Phillip Misselwitz (DE), Wissam Murad (Filistin), Erhan MuratoÄźlu (TR), DJ Negma (TR), Klaus Obermeyer (DE), Matthieu Prat (FR), Wassim Qassis (Filistin), REC: Orçun BaĹźtĂĽrk, Liz Fando, Tonguç Gökalp, Randıman Kakara, Saska (TR), Binya Reches (IL), Sabreen Studio (Filistin), Ran Slavin (IL), BaĹźak Ĺženova (TR), Pieter Snapper (US/TR), Can Turkinan (TR) ve açık çaÄźrı: Muni Monde, Ă–zdemir Bayrak, Kerem GĂĽzel,! Koray KantarcıoÄźlu (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 content-type: text/plain; charset="ISO-8859-1" date: Wed, 17 Aug 2005 12:04:41 +0200 from: "{netEX}" message-id: <20050817120441.50241B7F.AE28980@127.0.0.1> 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 from: Gregory Chatonsky message-id: <200508171618.j7HGIebI020860@idx164.idx.net> subject: RHIZOME_RAW: STANDARD, device for public phones STANDARD, dispositif pour cabines publiques / device for public phones Qui ĂŞtes-vous? Who are you? TĂ©lĂ©phonez au 0 810 01 10 05 et participez Ă  la Nuit Blanche 2005 Ă  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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 17 Aug 2005 09:19:22 -0700 from: Gregory Chatonsky message-id: <200508171619.j7HGJM8l021053@idx164.idx.net> subject: RHIZOME_RAW: STANDARD,device for public phones STANDARD, dispositif pour cabines publiques / device for public phones Qui ĂŞtes-vous? Who are you? TĂ©lĂ©phonez au 0 810 01 10 05 et participez Ă  la Nuit Blanche 2005 Ă  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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 17 Aug 2005 09:31:00 -0700 from: message-id: <200508171631.j7HGV0c3024293@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 17 Aug 2005 20:08:16 +0200 from: Geert Dekkers message-id: <9B2C7FDB-FE07-47FA-86AA-7C1F7AE56BD1@nznl.com> 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 from: "Rhizome.org" message-id: <200508171809.j7HI9sfP017497@idx164.idx.net> 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 from: Stacy Switzer message-id: <200508172057.j7HKvlnt008151@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0014_01C5A38B.53FDA2C0" date: Thu, 18 Aug 2005 00:25:24 +0200 from: "Dirk Vekemans" message-id: <20050817222555.CRUW2457.amsfep20-int.chello.nl@vilt> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 17 Aug 2005 23:53:23 -0400 from: miklos@sympatico.ca message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: TEXT/plain; CHARSET=US-ASCII date: Wed, 17 Aug 2005 22:26:49 -0700 from: eduardo@navasse.net message-id: <20050817222649.3c49cb2849c6d1d315f7c3b20f1b9c0f.ea560e11f5.wbe@email.email.secureserver.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 (Río 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 Espańol La revista online Teknokultura, de la Facultad de Ciencias Sociales de la Universidad de Puerto Rico, Recinto de Río Piedras, anuncia la convocatoria para evaluar artículos y obras de arte electrónico relacionados a la integración de la tecnología a la vida cotidiana y el mundo del trabajo. También recibimos reseńas de libros, actividades y websites, piezas literarias y caricaturas asociadas a estos temas. Para este numero se dará especial consideración a trabajos relacionados a tecnologías inalámbricas (wireless) En el caso de artículos de discusión, el formato debe ser el siguiente: a.. Tener de 15 a 20 páginas a doble espacio, tamańo de letra 12 b.. Estar escrito en plataforma PC (RTF, Word o Open Office) c.. Utilizar la convención de publicación APA (American Psychological Association) d.. Incluir un abstract o resumen (100-150 palabras aprox.) e.. Las contribuciones de los proyectos podrán ser en espańol, inglés o portugués. El material debe ser enviado a la atención de Heidi J. Figueroa Sarriera, Editora, al siguiente correo electrónico: teknok@rrpac.upr.clu.edu Para información adicional puede comunicarse con Heidi J. Figueroa en el teléfono 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 Río 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 17 Aug 2005 23:27:57 -0700 from: Anje Roosjen message-id: <200508180627.j7I6RvSU027797@idx164.idx.net> 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 â€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 â€volunteer’ organisms can be attracted to an experimental food laden â€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 from: Anje Roosjen message-id: <200508180634.j7I6YxmC030859@idx164.idx.net> 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. LorĂ©ne 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 â€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 from: message-id: <200508181106.j7IB6L4g017887@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 18 Aug 2005 04:07:05 -0700 from: message-id: <200508181107.j7IB75kT018110@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 18 Aug 2005 08:51:01 -0700 from: Marc-Charles McNulty message-id: <200508181551.j7IFp1Ou022431@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 18 Aug 2005 11:41:07 -0500 from: ryan griffis message-id: <2a50523b395096a38ce2c7bab597cbe6@yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 18 Aug 2005 12:59:47 -0400 from: Francis Hwang in-reply-to: <200508082046.j78KkAAk032236@idx164.idx.net> message-id: references: <200508082046.j78KkAAk032236@idx164.idx.net> 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 content-type: text/plain; charset=System date: Thu, 18 Aug 2005 11:11 from: "carlos katastrofsky" message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 18 Aug 2005 20:15:49 +0200 from: Jeremy Beaudry in-reply-to: message-id: references: <200508082046.j78KkAAk032236@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Thu, 18 Aug 2005 14:46:44 -0400 from: US Department of Art & Technology message-id: 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 from: andrew bucksbarg message-id: <200508181909.j7IJ91Ja023693@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 18 Aug 2005 12:11:32 -0700 from: andrew bucksbarg message-id: <200508181911.j7IJBWgk024291@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 18 Aug 2005 12:57:59 -0700 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 content-type: text/plain; charset="iso-8859-1" date: Sun, 21 Aug 2005 01:57:22 -0700 from: "Jim Andrews" message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Sun, 21 Aug 2005 08:43:10 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <002601c5a645$8399dbe0$70a205c9@NOMEAmigotec> 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 Frazăo. 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 Célia 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sun, 21 Aug 2005 08:25:10 -0700 (PDT) from: Michael Szpakowski message-id: <20050821152511.86544.qmail@web30508.mail.mud.yahoo.com> 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) from: !BIRDIE message-id: <20050821165218.395F32B48B@ws11.ou-data.net> 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\.20¦¦¦¦¦¦¦¦HORGOS¦¦(T=FAr=FAPali¦¦tanya),¦¦2005.¦¦ augusztus¦¦19¦¦20.¦¦¦¦\\.\..¦¦Bovebb¦¦inform=E1ci=F3k¦¦a¦¦honlapon:¦¦¦ ¦www.symposion.org.yu/dottk\.\.om¦¦¦¦(Lodd¦¦sz=E9t¦¦a¦¦legyeket,¦¦k=ED m=E9ld¦¦a¦¦k=E9k¦¦diszn=F3t,¦¦=\.\.E9s¦¦juss¦¦=¦¦¦¦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 content-type: multipart/alternative; boundary="----=_Part_9974_4620635.1124643976465" date: Sun, 21 Aug 2005 13:06:16 -0400 from: message-id: subject: RHIZOME_RAW: NEWSgrist: New Season, New Links Content-Disposition: inline new season, new links: http://newsgrist.typepad.com/ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 21 Aug 2005 19:24:47 +0200 (CEST) from: !BIRDIE message-id: <20050821172447.B50552C056@ws5.ou-data.net> 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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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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sun, 21 Aug 2005 15:46:21 -0400 from: miklos@sympatico.ca in-reply-to: <20050821172447.B50552C056@ws5.ou-data.net> message-id: references: <20050821172447.B50552C056@ws5.ou-data.net> 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 from: Julie Rasmussen message-id: <200508212006.j7LK60mf026088@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 21 Aug 2005 23:05:23 +0200 (CEST) from: trashconnection message-id: <20050821210523.04F8421FD8@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 00:32:09 +0200 (CEST) from: !BIRDIE message-id: <20050821223209.518552C056@ws5.ou-data.net> 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;Á úëăŕđńęčChaptersD18.08.2005H00:00:19MoviesCi|\.\.|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 from: Alicia message-id: <200508212326.j7LNQrAs017680@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 21 Aug 2005 20:50:21 -0700 from: curt cloninger message-id: <200508220350.j7M3oLr4029637@idx164.idx.net> 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 content-type: text/plain; charset=System date: Sun, 21 Aug 2005 23:26 from: "carlos katastrofsky" message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 00:28:32 -0700 from: Marjan van Mourik message-id: <200508220728.j7M7STVI030641@idx164.idx.net> 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 IjosĂ© 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 01:35:04 -0700 from: Lea message-id: <200508220835.j7M8Z4v5012284@idx164.idx.net> subject: RHIZOME_RAW: Âżblog? art project - call for submissions ÂżBlog? 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 Âżblog? 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. ÂżBlog? 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 from: message-id: <200508220842.j7M8gbag013224@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=windows-1251 date: Mon, 22 Aug 2005 05:07:09 -0700 from: www@trashconnection.com in-reply-to: message-id: <1124712429.4309bfedb00e9@webmail.namezero.com> references: <20050821172447.B50552C056@ws5.ou-data.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 15:10:12 +0200 (CEST) from: miki message-id: <20050822131012.2ADE42C056@ws3.ou-data.net> 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 from: message-id: <200508221421.j7MELZek001413@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Mon, 22 Aug 2005 10:22:59 -0700 from: "Marisa S. Olson" message-id: <23e24a2605082210226dc46b2c@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 22 Aug 2005 14:06:47 -0400 from: Francis Hwang message-id: <3272f302c15d63d315a9c2c0882c6843@rhizome.org> 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 content-type: multipart/alternative; boundary="============_-1087387724==_ma============" date: Mon, 22 Aug 2005 14:19:29 -0400 from: miklos@sympatico.ca message-id: 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 content-type: multipart/alternative; boundary="============_-1087387542==_ma============" date: Mon, 22 Aug 2005 14:22:29 -0400 from: miklos@sympatico.ca message-id: 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 from: message-id: <200508221911.j7MJBOv0009665@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 12:11:51 -0700 from: Debora Brown message-id: <200508221911.j7MJBpNv009787@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_Part_12622_31424400.1124739414470" date: Mon, 22 Aug 2005 15:36:54 -0400 from: in-reply-to: <200508221911.j7MJBpNv009787@idx164.idx.net> message-id: references: <200508221911.j7MJBpNv009787@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii"; format=flowed date: Tue, 23 Aug 2005 07:36:01 +1000 from: "][mez][" message-id: <6.0.1.1.1.20050823073537.02360d00@pop.hotkey.net.au> 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 from: "Rhizome.org" message-id: <200508230044.j7N0iMfP024036@idx164.idx.net> 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 content-type: multipart/alternative; boundary="============_-1087354224==_ma============" date: Mon, 22 Aug 2005 23:36:15 -0400 from: miklos@sympatico.ca message-id: 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 content-type: multipart/alternative; boundary="============_-1087354221==_ma============" date: Mon, 22 Aug 2005 23:36:28 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset="US-ASCII" date: Mon, 22 Aug 2005 23:37:45 -0400 from: Lee Wells message-id: 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 from: message-id: <200508230922.j7N9MN63029524@idx164.idx.net> 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 from: Jonas Lindberg message-id: <200508231014.j7NAEU4M006655@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Tue, 23 Aug 2005 05:04:51 -0700 (PDT) from: Michael Szpakowski message-id: <20050823120451.7477.qmail@web30504.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 06:12:29 -0700 from: "Rhizome.org" message-id: <200508231312.j7NDCTfP009859@idx164.idx.net> 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 from: message-id: <200508231553.j7NFreTg023049@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 18:01:15 +0200 (CEST) from: Loop message-id: <20050823160115.23BEA2C056@ws3.ou-data.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 18:25:50 +0200 (CEST) from: !BIRDIE message-id: <20050823162550.B95292C056@ws5.ou-data.net> 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----˙Ř˙ŕ---------- ---- # """#''''''''''----- --  -- -------- !!-!!''''''''''˙ŔF–-Y)Ë--D4Ijś˘­ň‰Z!ÝÉ[ř„]Vľ!Í„×4•şëłmýńĂw? űťł,ˇŘ$ŔŔĄáÍűŻÚ1|7ů´eŕbÖ--ţGížqűFd+--ŔÇýŽ ŻÚ1Éëď\séc.V%aUěe 2˛‚L¦01k#-`-±+±+kL+L*˘0m’˘?S*;µÝá‡aű»×Ń´“¶‡UČz#±óđňź»ÇĽ·. ˘ŞjiE5ůצxűÄň?ÍţŇŢíó6ôÝ9+—pYľP몴nď@őŮşŠ“ÖH------http://www.anti -chambre.net/_dm/mmd/mass_media_device_01-01.jpg _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 beta X-Powered-By: HTTP://X257.COM + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 18:26:55 +0200 (CEST) from: !BIRDIE message-id: <20050823162655.185474022F@ws2.ou-data.net> subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Date:-Thu,-04-Aug-2005-08:35:15-GMT--Server:-Apache-- Last-Modified:-Tue,-15-Feb-2005-00:56:00-GMT--ETag:-"ea6be2d-369-42114 8a0"--Accept-Ranges:-bytes--Content-Length:-873--Connection:-close--Co ntent-Type:-image/jpeg----˙Ř˙ŕ---------- ---- # """#''''''''''----- --  -- -------- !!-!!''''''''''˙ŔF–-Y)Ë--D4Ijś˘­ň‰Z!ÝÉ[ř„]Vľ!Í„×4•şëłmýńĂw? űťł,ˇŘ$ŔŔĄáÍűŻÚ1|7ů´eŕbÖ--ţGížqűFd+--ŔÇýŽ ŻÚ1Éëď\séc.V%aUěe 2˛‚L¦01k#-`-±+±+kL+L*˘0m’˘?S*;µÝá‡aű»×Ń´“¶‡UČz#±óđňź»ÇĽ·. ˘ŞjiE5ůצxűÄň?ÍţŇŢíó6ôÝ9+—pYľP몴nď@őŮşŠ“ÖH------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) from: trashconnection message-id: <20050823195304.D47FB21FD0@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 13:49:54 -0700 from: basak senova message-id: <200508232049.j7NKnsgX027430@idx164.idx.net> 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 HelvacioÄźlu (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 KantarcioÄźlu, 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 BaĹźak Ĺženova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. Can KaradoÄźan is responsible for the logistics of ITU activities as the project coordinator and NuĹźin 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 from: message-id: <200508232118.j7NLIJAp032545@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain;charset=iso-8859-1 date: Tue, 23 Aug 2005 23:39:42 +0200 (CEST) from: "LST" message-id: <1044.82.254.139.88.1124833182.squirrel@82.254.139.88> 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 from: curt cloninger message-id: <200508232141.j7NLf47n005098@idx164.idx.net> 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 from: // jonCates message-id: <200508240457.j7O4vcu8003831@idx164.idx.net> 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 GutiĂ©rrez + 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 lĂłpez (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 content-type: text/plain; charset="iso-8859-1" date: Tue, 23 Aug 2005 22:03:02 -0700 from: "Jim Andrews" in-reply-to: <200508220350.j7M3oLr4029637@idx164.idx.net> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 24 Aug 2005 00:48:32 -0700 from: jeremy hight message-id: <200508240748.j7O7mWhf001786@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 24 Aug 2005 04:10:08 -0700 from: Pau Waelder message-id: <200508241110.j7OBA8JD010010@idx164.idx.net> 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 StĂ©phanie 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 from: Katie Lips message-id: <200508241339.j7ODd58k007949@idx164.idx.net> subject: RHIZOME_RAW: Inside the Inbox; real people, real SMS messages, the âSMS logâ 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 â€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 â€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 â€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 â€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 â€treasured text’ content is available as RSS, XML and My Yahoo feeds as well as at the â€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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 24 Aug 2005 17:42:11 +0100 from: marc in-reply-to: message-id: <430CA363.1050908@furtherfield.org> references: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Wed, 24 Aug 2005 09:52:07 -0700 (PDT) from: Lewis LaCook message-id: <20050824165208.87258.qmail@web30508.mail.mud.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 24 Aug 2005 19:05:20 +0200 from: Geert Dekkers message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 24 Aug 2005 22:12:10 +0200 (CEST) from: trashconnection message-id: <20050824201210.A899B21FD0@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain;charset=iso-8859-1 date: Thu, 25 Aug 2005 00:04:17 +0200 (CEST) from: "LST" message-id: <1025.82.254.137.61.1124921057.squirrel@82.254.137.61> 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 content-type: multipart/alternative; boundary="=====================_126610055==.ALT" date: Thu, 25 Aug 2005 08:47:07 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050825084549.0253ce98@pop.hotkey.net.au> 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/ . __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Wed, 24 Aug 2005 16:03:34 -0700 from: "Marisa S. Olson" message-id: <23e24a2605082416036c40ada4@mail.gmail.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII date: Thu, 25 Aug 2005 12:22:52 +1000 from: Komninos Zervos message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="------------050502020107090005070803" date: Thu, 25 Aug 2005 12:10:20 +0100 from: marc in-reply-to: <016A4366-9440-4C1F-9CF9-27883C41F00A@nyu.edu> message-id: <430DA71C.6090106@furtherfield.org> references: <016A4366-9440-4C1F-9CF9-27883C41F00A@nyu.edu> 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 Stéphanie Delcroix e-mail: stephanie@furtherfield.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 04:54:14 -0700 from: Søren Pold message-id: <200508251154.j7PBsErG023743@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1 date: Thu, 25 Aug 2005 15:11:08 +0200 from: l--l message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1; format=flowed date: Thu, 25 Aug 2005 15:56:24 +0200 from: =?ISO-8859-1?Q?=A4?= in-reply-to: message-id: <430DCE08.4010807@o-o.lt> references: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 07:11:20 -0700 from: kristina maskarin message-id: <200508251411.j7PEBKmB027978@idx164.idx.net> 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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Thu, 25 Aug 2005 10:35:23 -0400 from: Francis Hwang message-id: <8373a8bf341ab84c09f21ff2bf3a57fa@rhizome.org> 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 Negativland’s 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 from: Jason Van Anden message-id: <200508251440.j7PEeqKU031764@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Thu, 25 Aug 2005 12:04:22 -0400 from: US Department of Art & Technology message-id: 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 from: kristina maskarin message-id: <200508251636.j7PGacjH013412@idx164.idx.net> 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) from: !BIRDIE message-id: <20050825185150.9FF8F2C056@ws5.ou-data.net> subject: RHIZOME_RAW: Concep Conceptual••Art••••••••kristina••maskarin:••••Jim••Andrews••wrote:••••••••>••••••> ;••>••But••why••be••so••concerned••about••the••amount••of••time••something••take s••to••••>••>••make,••or••the••amount••of••effort?••••>••••••>••I'm••not.••I f••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••••>••••••>••••••M ore••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.••••••••••••http://rhizome.org/thread.rhiz?threa d=18194&page=2#35135••••••via:http://wwww.rhizome.org/syndicate/raw.rssin ;••charset="us••ascii";••format=flowed••••••••••••••••••••DORKBOT••#3••Wedne sday••••September••21••••20.30••at••the••Gaslab,••TU/eindhoven,••nethe rlands••••••••After••two••successful••dorkbots••before••the••summer,•• DorkbotEindhoven••is••••starting••up••again••on••September••21st.••••\ .••The••purpose••ofctures••gaiters••croppers••assailed,••heartbeat••ci ting.••paperwork=••••••striped••Beijing••expanding,••squirrels••graphi ng.••cabal••pitched••greenery••Ti=••••entsin,••Gustavus••droppers.••SP ARC••steamboat••ambulances••homing,••Towsley••bri=••••lliance.•••••••• Hello••there,••••••••Licensed••Cana _ 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: Thu, 25 Aug 2005 12:23:21 -0700 from: Krabatof message-id: <200508251923.j7PJNLoM003229@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii" date: Thu, 25 Aug 2005 22:48:20 +0200 from: "Dirk Vekemans" in-reply-to: <200508251923.j7PJNLoM003229@idx164.idx.net> message-id: <20050825204852.WDZL8289.amsfep18-int.chello.nl@vilt> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Thu, 25 Aug 2005 15:31:17 -0700 (PDT) from: Paula Poole message-id: <20050825223117.96068.qmail@web81403.mail.yahoo.com> 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 hum—the 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 17:48:16 -0700 from: Daniel Green message-id: <200508260048.j7Q0mG0c016795@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Thu, 25 Aug 2005 19:54:20 -0700 from: "Plasma Studii" message-id: <1125024860.24139@fire.he.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 25 Aug 2005 23:26:48 -0400 from: Pall Thayer in-reply-to: <1125024860.24139@fire.he.net> message-id: <06FCBE34-1CA2-4DE1-B22F-CA3259D012F5@alcor.concordia.ca> references: <1125024860.24139@fire.he.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 23:03:44 -0700 from: Eric Dymond message-id: <200508260603.j7Q63iuP013916@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 08:05:16 +0200 (CEST) from: !BIRDIE message-id: <20050826060516.70BCA2C056@ws5.ou-data.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" date: Fri, 26 Aug 2005 00:10:12 -0700 from: "Jim Andrews" in-reply-to: <06FCBE34-1CA2-4DE1-B22F-CA3259D012F5@alcor.concordia.ca> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 00:14:44 -0700 from: jeremy hight message-id: <200508260714.j7Q7EiN3022350@idx164.idx.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 content-type: text/plain;charset=iso-8859-1 date: Fri, 26 Aug 2005 00:18:15 -0700 (PDT) from: hight@34n118w.net message-id: <1699.70.34.254.38.1125040695.squirrel@webmail.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) from: trashconnection message-id: <20050826074740.BA96121FD3@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 01:39:44 -0700 from: message-id: <200508260839.j7Q8di4u031212@idx164.idx.net> 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 OsnabrĂĽck will take place from the 15th to the 17th of May 2006 as a three-day specialist symposium at the University of OsnabrĂĽck 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 OsnabrĂĽck Universität OsnabrĂĽck Fachbereich Kultur- und Geowissenschaften Kunstgeschichte KatharinenstraĂźe 5 49069 OsnabrĂĽck Germany Juniorprofessor Dr. Slavko Kacunko (Organisation) skacunko@uni-osnabrueck.de Priv. Doz. Dr. Habil. Dawn Leach (Organisation) dr.leach@kunstakademie-duesseldorf.de Björn BrĂĽggemann (BĂĽro) bjbruegg@uni-osnabrueck.de Phone: +49 (0)541 969-6041 Fax: +49 (0)541 969-4103 Reference-Text The first Media Art Conference in OsnabrĂĽck 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 OsnabrĂĽck 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 content-type: text/plain; charset=iso-8859-1 date: Fri, 26 Aug 2005 05:36:57 -0700 from: "Plasma Studii" message-id: <1125059817.9932@fire.he.net> 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 content-type: text/plain; charset=iso-8859-1 date: Fri, 26 Aug 2005 05:52:40 -0700 (PDT) from: joni taylor message-id: <20050826125240.31985.qmail@web32701.mail.mud.yahoo.com> 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 it’s ninth year and doesn’t seem to be slowing down. What started out with some local artists (spearheaded by director Carsten Stabenow) using a parent’s 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 Rřmer 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 Zimmermann’s (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 don’t 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 media’s 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, mic’d-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 Norway’s 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 from: Daniel Green message-id: <200508261256.j7QCu4NU022243@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 06:23:00 -0700 from: curt cloninger message-id: <200508261323.j7QDN0c0024591@idx164.idx.net> 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 çś‹, 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 ĺ˘ĺś°. Everywhere all is the story, all is is reluctant to part with, all is recollects. ĺ‘€ 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): äş›? Mental? "? Customer "? Resident in 霸 road trade? On counterflow 而 in power? Heart 而 ć—  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 ć—  intended system? Equipment coming out one 套? Mark hobby? Collection. One? çż»? ĺ®? Our? Yes from here? Self right resident in watching? 但 äąź? 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 äą‹. The capital right thing, capital right stationary love and capital right time? ĺ‘€ study? Mark small mother-in-law daughter, liquor? Village drifting Akira 而? Feeling woman person? Side éś“ rainbow light highway, ć—  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 č—Ź resident in? äş› Mystery? Under scene äą‹, right one 个? Human sensitiveness? Harmony? Discernment feeling? Watching with respect to 从 die body? Right multi? 61? Mark? ć´’? Width and color harmony? Capital emergency? Sound? Harmony picture äąź 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 content-type: text/plain; charset=ISO-8859-1 date: Fri, 26 Aug 2005 17:17:12 +0200 from: l--l in-reply-to: <430DCE08.4010807@o-o.lt> message-id: references: <430DCE08.4010807@o-o.lt> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Fri, 26 Aug 2005 14:19:39 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <004701c5aa62$609176f0$f8a105c9@NOMEAmigotec> 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 "Escáner 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- ESCÁNER 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 Escáner" 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 "Escáner 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 Escáner. 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 Célia 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 content-type: text/plain; charset="iso-8859-1" date: Fri, 26 Aug 2005 10:31:33 -0700 from: "Jim Andrews" in-reply-to: <1125059817.9932@fire.he.net> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 10:48:09 -0700 from: Dion Laurent message-id: <200508261748.j7QHm96A019572@idx164.idx.net> 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 10:48:43 -0700 from: Dion Laurent message-id: <200508261748.j7QHmhfA019678@idx164.idx.net> 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 10:49:04 -0700 from: Dion Laurent message-id: <200508261749.j7QHn46V019747@idx164.idx.net> 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 from: alexander reyna message-id: <200508261837.j7QIbhF8025846@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 23:19:42 +0200 (CEST) from: r4wb1t5 message-id: <20050826211942.8F2C42C056@ws5.ou-data.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 27 Aug 2005 00:17:59 +0200 (CEST) from: !BIRDIE message-id: <20050826221759.775C64022F@ws2.ou-data.net> 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 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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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Fri, 26 Aug 2005 20:30:11 -0500 from: ryan griffis message-id: <9a3c24dae79cff2b8393a5831bae09f0@yahoo.com> 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.  Campbell’s 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) from: !BIRDIE message-id: <20050827021459.1BBF12C057@ws3.ou-data.net> 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) from: :").fun" message-id: <20050827022009.54FF72C056@ws5.ou-data.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 26 Aug 2005 19:54:37 -0700 from: napoleon brousseau message-id: <200508270254.j7R2sbJe017832@idx164.idx.net> 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 from: Soil Media Suite message-id: <200508270403.j7R43oWK024764@idx164.idx.net> 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, MontrĂ©al-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 QuĂ©bec, 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Fri, 26 Aug 2005 21:30:52 -0700 (PDT) from: Paula Poole message-id: <20050827043052.45419.qmail@web81406.mail.yahoo.com> 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 landscape—the 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 content-type: text/plain; charset="iso-8859-1" date: Sat, 27 Aug 2005 01:31:46 -0700 from: "Jim Andrews" message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 27 Aug 2005 10:39:02 +0200 from: Geert Dekkers message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 27 Aug 2005 03:36:01 -0700 from: Jason Van Anden message-id: <200508271036.j7RAa1N7017378@idx164.idx.net> 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 content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Sat, 27 Aug 2005 13:10:34 +0200 from: Geert Dekkers in-reply-to: <200508271036.j7RAa1N7017378@idx164.idx.net> message-id: <8E8B1EED-672F-4E65-BA34-D084C38FA9AE@nznl.com> references: <200508271036.j7RAa1N7017378@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Sat, 27 Aug 2005 07:08:29 -0700 from: "Plasma Studii" message-id: <1125151709.555@fire.he.net> 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 content-type: text/plain; charset=iso-8859-1 date: Sat, 27 Aug 2005 07:19:29 -0700 from: "Plasma Studii" message-id: <1125152369.2562@fire.he.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 27 Aug 2005 16:37:02 +0200 from: Geert Dekkers in-reply-to: <1125152369.2562@fire.he.net> message-id: <22BF9D4B-7A9C-4E57-A941-0B66E1868237@nznl.com> references: <1125152369.2562@fire.he.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 27 Aug 2005 10:42:30 -0400 from: Pall Thayer message-id: 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 from: Jason Van Anden message-id: <200508271543.j7RFhGCv017569@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 27 Aug 2005 08:48:45 -0700 from: jean gayak message-id: <200508271548.j7RFmjwW017987@idx164.idx.net> subject: RHIZOME_RAW: rendez-vous Ă©lectronique 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 Ă©lectroniques 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 27 Aug 2005 09:50:42 -0700 from: MaryJo Rosania message-id: <200508271650.j7RGogP2022135@idx164.idx.net> 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 from: Jason Van Anden message-id: <200508271703.j7RH3sPF023124@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sat, 27 Aug 2005 13:40:10 -0400 from: Archive Registrar message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 27 Aug 2005 19:51:44 +0200 from: Geert Dekkers in-reply-to: <200508271703.j7RH3sPF023124@idx164.idx.net> message-id: <0765E68B-41AF-4859-8712-A80ACC5EA586@nznl.com> references: <200508271703.j7RH3sPF023124@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1 date: Sat, 27 Aug 2005 12:10:41 -0700 (GMT-07:00) from: christina mcphee message-id: <338084.1125169841728.JavaMail.root@elwamui-chisos.atl.sa.earthlink.net> 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 content-type: text/plain; charset=iso-8859-1 date: Sat, 27 Aug 2005 14:49:50 -0700 (PDT) from: Paula Poole message-id: <20050827214950.60637.qmail@web81401.mail.yahoo.com> 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 from: vicky isley message-id: <200508272158.j7RLw5sc025498@idx164.idx.net> 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: ÂŁ40 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sat, 27 Aug 2005 15:19:26 -0700 from: "Plasma Studii" message-id: <1125181166.4258@fire.he.net> 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 from: jean gayak message-id: <200508281747.j7SHltMK007429@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 28 Aug 2005 11:37:54 -0700 from: Kelly Shindler message-id: <200508281837.j7SIbsXQ012014@idx164.idx.net> 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) from: trashconnection message-id: <20050828184002.16A3E21FDA@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="============_-1086865744==_ma============" date: Sun, 28 Aug 2005 15:05:53 -0400 from: miklos@sympatico.ca message-id: 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
+
__end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="============_-1086865740==_ma============" date: Sun, 28 Aug 2005 15:07:22 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Sun, 28 Aug 2005 13:31:55 -0700 (PDT) from: Lewis LaCook message-id: <20050828203155.89805.qmail@web30506.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 28 Aug 2005 13:56:15 -0700 from: roger malina message-id: <200508282056.j7SKuFE5028579@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sun, 28 Aug 2005 20:15:46 -0700 from: Nanette Wylde message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sun, 28 Aug 2005 20:17:29 -0700 (PDT) from: Paula Poole message-id: <20050829031729.68180.qmail@web81403.mail.yahoo.com> 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 content-type: multipart/alternative; boundary="============_-1086824734==_ma============" date: Mon, 29 Aug 2005 02:41:49 -0400 from: miklos@sympatico.ca message-id: 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 content-type: multipart/alternative; boundary="============_-1086824739==_ma============" date: Mon, 29 Aug 2005 02:41:49 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset="ISO-8859-1" date: Mon, 29 Aug 2005 10:31:18 +0200 from: "{artNET}" message-id: <20050829103118.A28F150C.40E1D41@127.0.0.1> 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 Vinarňs 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 from: vasily message-id: <200508290855.j7T8tQkA003976@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 29 Aug 2005 01:57:28 -0700 from: vasily message-id: <200508290857.j7T8vSH7004315@idx164.idx.net> 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) from: trashconnection message-id: <20050829095818.C06C721FD3@mail.isnm.uni-luebeck.de> 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 content-type: multipart/alternative; boundary=Apple-Mail-16-1002858657 date: Mon, 29 Aug 2005 14:09:06 -0400 from: Year Zero One message-id: 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__ __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=UTF-8 date: Mon, 29 Aug 2005 11:42:35 -0700 from: Marisa Olson message-id: <23e24a26050829114265bc3cc0@mail.gmail.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 29 Aug 2005 15:20:54 -0400 from: Francis Hwang message-id: <84a14679df551157ac6b06f42a2465a0@rhizome.org> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 29 Aug 2005 18:09:11 -0400 from: Francis Hwang message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 29 Aug 2005 16:14:00 -0700 from: "Jim Andrews" message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 30 Aug 2005 01:42:06 +0200 (CEST) from: !BIRDIE message-id: <20050829234206.3975F2C056@ws5.ou-data.net> subject: RHIZOME_RAW: BINARYą BINARYą KATWALKą ą ą ą ą ą ą LAUNCHEDą ą ą ą Binarykatwalk.netą ą ą ą Binarykatwalką announcesą theą launchą ofą itsą firstą edition.ą ą Bin aryą Katwalką ą isą aną oną lineą Newą ą Mediaą exhibitioną focusingą o ną worką thatą isą experimentalą ą andą wouldą benefitą fromą thisą no ną traditionalą exhibitionBut,ą obviously,ą thisą willą onlyą worką if\ .thereą isą aną internetą ą ą ą ą ą ą ą connection.ą So,ą theą otherą day,ą Ią thoughtą Ią mightą linką directlyą toą aą ą ą ą ą ą ą ą ą ą \ .localą fileą oną theą CDą Ią planą toą sendą toą saidą committee.ą Bu tą alas!ą ą ą ą ą ą ą ą Keynoteą willą notą linką toą aą localą webpag eBą ą ą ą 80ą 958ą Gdansk,ą Polandą ą ą ą Phone.:ą (+48)ą 691=C2=A0916 C2=A0601ą /ą (+48ą 58)ą 320ą 4446ą ą ą ą =C2=A0ą ą ą ą www.krytykapoli tyczna.plą ą ą ą www.wyspa.art.plą ą ą ą =C2=A0ą ą ą ą =E2=80=98Krytyk aą Polityczna=E2=80=99,ą Warsawą basedą quarterly,ą andą Theą =ą ą Wysp aą Institute=20ą ą ą ą ofą ArBMISSIONS,ą 02/09/05ą ą ą ALLą SHORTS,=20\ .ą 16/09/05ą ą ą ALLą FEATURES,ą 30/09/05ą ą ą LATEą SUBMISSIONS,ą 28/09 /05ą ą =20ą ą SUPPLEMENTALą MATERIALSą ą http://www.artservis.org/izpis _dogodka.asp?hF=3D940ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą Bayą Areaą basedą Ce5080309ą ą Contentą Type :ą text/plain;ą charset=uą ą są ascii;ą format=flowedą ą Contentą Transferą En coding:ą 7bitą ą ą ą Ią ą ą isn'tą goingą toą catchą oną ifą thereą isn'tą aą betterą explanationą .ą .ofą hową itą ą ą works.ą ą ą ą josephą mcelroyą ą ą ą Netą Artą News\ ą ą .wrote:ą ą ą ą ą ą Berlin)ą ą Ingoą Fr=F6hlichą (Berlin)ą ą Dirką Krecke rą (Frankfurt/M)ą ą Olafą Probstą (M=FCnchen)ą ą Franką Reineckeą (Fra nkfurt/M)ą ą ą ą Zeichnungen,ą Objekte,ą Wandarbeiten,ą B=FCcherą ą ą ą ą ą Einladungą zurą Ausstellungser=F6ffnungą amą ą Freitag,ą 2.09.20 05,ą 20.00ą Uhrą ą ą ą Sound:ą ą curmBy:ą HTTP://X257.COMą ą ą ą ą ą \ .ą ą ą ą ą ą ą ą ą ą ą ą ą =_1124996054ą 79044ą 271ą ą Contentą Type:ą text/plain;ą n ame="messageą footer.txt"ą ą Contentą Disposition:ą inline;ą filename="m essageą footer.txt"ą ą Contentą Transferą Encoding:ą 8bitą ą ą ą ą ą ą ą ą ą ą Syndicateą mailinglistą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą ą Beą honestą poorą bastardą ą ą ą ą ą don'tą playą withą yourą soulą andą yourą innerą truth.ą ą Beą pro udą ofą yourą ancientą heritageą degenereą deą creatureą morbideą infl uenceeą parą laą phaseą terminaleą d'uneą productiviteą regagnee.....\ .beą proudą ofą yourą banką accountą fullą ofą contaminatedBase,ą isą computerą controlledą pseudoą ecologyą ofą inflatableą sculpture,ą lig htą sculpture,ą waterą sculpture,ą kineticą sculpture,ą realą timeą 3d\ .projection,ą andą realą timeą MIDIą sounds.ą Parents,ą children,ą and\ .infantsą welcome.ą ą ą ą ą Surfą toą http://www.ifam.net/mikon/ą 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Mon, 29 Aug 2005 17:28:06 -0700 from: Brett Stalbaum message-id: <4313A816.3010008@ucsd.edu> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Mon, 29 Aug 2005 19:33:20 -0700 from: Brett Stalbaum in-reply-to: <4313A816.3010008@ucsd.edu> message-id: <4313C570.4060807@ucsd.edu> references: <4313A816.3010008@ucsd.edu> 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 content-type: text/plain; charset="iso-8859-1" ; format="flowed" date: Tue, 30 Aug 2005 08:58:02 +0200 from: Alessandro Ludovico message-id: 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 ĹBERG, "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: 60°15'N, 25°03'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 (Mousikč 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Tue, 30 Aug 2005 10:37:25 +0200 from: annie abrahams message-id: <43141AC5.7090209@bram.org> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 30 Aug 2005 05:29:34 -0700 from: Kepa Landa message-id: <200508301229.j7UCTYsk001614@idx164.idx.net> 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 from: message-id: <200508301314.j7UDEqjO013021@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Tue, 30 Aug 2005 07:57:51 -0700 (PDT) from: Lewis LaCook in-reply-to: <43141AC5.7090209@bram.org> message-id: <20050830145751.77978.qmail@web30501.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 30 Aug 2005 09:22:26 -0700 from: message-id: <200508301622.j7UGMQRe025879@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 30 Aug 2005 13:21:28 -0400 from: doron message-id: <5EC16D37-D76A-4147-A025-2610706A9FE4@computerfinearts.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Tue, 30 Aug 2005 13:51:49 -0400 from: douglas irving repetto message-id: 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) from: trashconnection message-id: <20050830195925.DCB7121FDB@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" date: Tue, 30 Aug 2005 13:25:07 -0700 from: "Jim Andrews" in-reply-to: <5EC16D37-D76A-4147-A025-2610706A9FE4@computerfinearts.com> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Tue, 30 Aug 2005 14:00:56 -0700 from: "Jim Andrews" in-reply-to: <200508302212.32268.gif@220hex.org> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 30 Aug 2005 18:12:18 -0400 from: doron message-id: <5CEFD411-A15A-435D-A40E-31DE64A4983E@computerfinearts.com> 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 from: Jason Van Anden message-id: <200508302313.j7UNDdnf029697@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Tue, 30 Aug 2005 21:56:20 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <004401c5adc6$cf5aee60$01a205c9@NOMEAmigotec> references: <200508302313.j7UNDdnf029697@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 31 Aug 2005 01:46:39 -0400 from: doron in-reply-to: message-id: <386000C8-6178-43D7-8A92-F2673F3240BC@computerfinearts.com> references: <200508281638.AA455213192@mail.smileproject.com> <0089b83510f88df1c8fae3bfb0583bf4@smileproject.com> <6d58bea9a8b8a89afca3b312b8a41741@smileproject.com> <5437A61B-D977-4C52-B679-4FECFFFD42C3@computerfinearts.com> 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 from: Jason Van Anden message-id: <200508310940.j7V9e5M9031337@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 31 Aug 2005 03:16:26 -0700 from: message-id: <200508311016.j7VAGQLi005189@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 31 Aug 2005 15:40:46 +0200 from: Geert Dekkers message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Wed, 31 Aug 2005 07:12:03 -0700 (PDT) from: Lewis LaCook message-id: <20050831141203.15225.qmail@web30512.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 31 Aug 2005 08:12:08 -0700 from: marc garrett message-id: <200508311512.j7VFC8Pt026121@idx164.idx.net> 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 from: marc garrett message-id: <200508311523.j7VFN5rW028203@idx164.idx.net> 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 from: marc garrett message-id: <200508311525.j7VFPcsj028675@idx164.idx.net> 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 Ă”theatre of lifeĂ•. 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 biomesĂ• 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. ĂŠ ====================================================== 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 LondonĂ•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 StĹ˝phanie 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 from: Jason Van Anden message-id: <200508311543.j7VFhman032703@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="US-ASCII" date: Wed, 31 Aug 2005 11:58:58 -0400 from: Lee Wells message-id: 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 from: marc garrett message-id: <200508311608.j7VG8rSV005836@idx164.idx.net> 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 Ă”theatre of lifeĂ•. > > 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 biomesĂ• 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. ĂŠ > > ====================================================== > 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 LondonĂ•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 StĹ˝phanie 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 from: marc garrett message-id: <200508311610.j7VGA1rh006204@idx164.idx.net> 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 Ă”theatre of lifeĂ•. > > 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 biomesĂ• 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. ĂŠ > > ====================================================== > 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 LondonĂ•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 StĹ˝phanie 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 from: void void message-id: <200508311836.j7VIa0HX007230@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Wed, 31 Aug 2005 13:58:06 -0700 (PDT) from: Lewis LaCook message-id: <20050831205806.39980.qmail@web30510.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 31 Aug 2005 23:41:06 +0200 (CEST) from: trashconnection message-id: <20050831214106.07EA921FD3@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Wed, 31 Aug 2005 16:45:00 -0700 from: Marisa Olson in-reply-to: <43161DF6.3060108@ubermorgen.com> message-id: <23e24a26050831164511d306e2@mail.gmail.com> references: <43161DF6.3060108@ubermorgen.com> 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 content-type: multipart/alternative; boundary="============_-1086570681==_ma============" date: Thu, 1 Sep 2005 01:16:26 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset="iso-8859-1" date: Thu, 1 Sep 2005 07:34:02 +0100 from: "Charlotte Frost" message-id: <0ML2Dk-1EAieM43T8-0004tn@mrelayeu.kundenserver.de> 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 Ł50k 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 Ł1m programme which gives annual R&D individual grants of up to Ł50k 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 content-type: text/plain; charset="ISO-8859-1" date: Thu, 01 Sep 2005 09:30:09 +0200 from: "{netEX}" message-id: <20050901093009.3C55726E.4824782B@127.0.0.1> 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 *André 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 Krützmann, 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-françois 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 Zuńiga, 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 from: James R Ford message-id: <200509011111.j81BBA6U025862@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 01 Sep 2005 08:48:48 -0400 from: Pall Thayer message-id: <0E4F4859-5749-404F-A316-9F4AC96BC690@alcor.concordia.ca> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 1 Sep 2005 08:10:35 -0700 from: Francis Hunger message-id: <200509011510.j81FAZs4019906@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 1 Sep 2005 08:21:08 -0700 from: b del eme message-id: <200509011521.j81FL8le021110@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 1 Sep 2005 18:22:36 +0200 from: Geert Dekkers in-reply-to: <0E4F4859-5749-404F-A316-9F4AC96BC690@alcor.concordia.ca> message-id: <0B976E5B-1180-4DF9-884A-CDBF84A0DF2E@nznl.com> references: <0E4F4859-5749-404F-A316-9F4AC96BC690@alcor.concordia.ca> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 01 Sep 2005 12:36:03 -0400 from: Pall Thayer in-reply-to: <0B976E5B-1180-4DF9-884A-CDBF84A0DF2E@nznl.com> message-id: <0D65E683-21B6-4B0C-8E87-56C8BD365F8B@alcor.concordia.ca> references: <0E4F4859-5749-404F-A316-9F4AC96BC690@alcor.concordia.ca> <0B976E5B-1180-4DF9-884A-CDBF84A0DF2E@nznl.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Thu, 1 Sep 2005 10:14:34 -0700 from: Marisa Olson in-reply-to: <50529.86.129.132.26.1125574407.squirrel@webmail2.gold.ac.uk> message-id: <23e24a2605090110145d448bab@mail.gmail.com> references: <50529.86.129.132.26.1125574407.squirrel@webmail2.gold.ac.uk> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 1 Sep 2005 13:52:22 -0400 from: Francis Hwang message-id: <44e545ec71e7d22d53ebad63f987d7cc@rhizome.org> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 1 Sep 2005 13:38:26 -0700 from: bob sweeny message-id: <200509012038.j81KcQcG022087@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Fri, 2 Sep 2005 00:19:55 +0200 from: Geert Dekkers in-reply-to: <0D65E683-21B6-4B0C-8E87-56C8BD365F8B@alcor.concordia.ca> message-id: <9CDC6705-29D3-41B1-8941-51D2B2C3D430@nznl.com> references: <0E4F4859-5749-404F-A316-9F4AC96BC690@alcor.concordia.ca> <0B976E5B-1180-4DF9-884A-CDBF84A0DF2E@nznl.com> <0D65E683-21B6-4B0C-8E87-56C8BD365F8B@alcor.concordia.ca> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 1 Sep 2005 17:32:37 -0500 from: ryan griffis message-id: 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 1 Sep 2005 17:52:50 -0500 from: ryan griffis message-id: <3e20efecd35cca64a6a87668758414ca@yahoo.com> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Thu, 1 Sep 2005 22:18:42 -0400 from: Curt Cloninger message-id: 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 content-type: text/plain; charset=UTF-8 date: Fri, 2 Sep 2005 07:57:15 +0000 (GMT) from: auer@kunsttot.de message-id: <1072369171.1125647835332.JavaMail.weblicon@offler> 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 fĂĽr 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="ISO-8859-1" date: Fri, 02 Sep 2005 10:35:36 +0200 from: "{feature07}" message-id: <20050902103536.9F7E9C43.682C1D54@127.0.0.1> 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 content-type: text/plain; charset=UTF-8 date: Fri, 2 Sep 2005 09:07:40 +0000 (GMT) from: auer@kunsttot.de message-id: <537421610.1125652060798.JavaMail.weblicon@offler> 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 fĂĽr 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 from: message-id: <200509020915.j829F0Ix002707@idx164.idx.net> 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 â€artists in focus’. The digital preservation of the work of the Belgian audiovisual artist JoĂ«lle 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 â€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 from: message-id: <200509020923.j829NYl6003893@idx164.idx.net> 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 â€artists in focus’. The digital preservation of the work of the Belgian audiovisual artist JoĂ«lle 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 â€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 03:06:20 -0700 from: "zanni.org" message-id: <200509021006.j82A6Kca009094@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 2 Sep 2005 05:40:12 -0700 from: michael bielicky message-id: <200509021240.j82CeCwW029223@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Fri, 2 Sep 2005 06:19:15 -0700 (PDT) from: Michael Szpakowski in-reply-to: <5CEFD411-A15A-435D-A40E-31DE64A4983E@computerfinearts.com> message-id: <20050902131915.38930.qmail@web30512.mail.mud.yahoo.com> 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 from: "zanni.org" message-id: <200509021322.j82DMKZn001519@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Fri, 2 Sep 2005 07:13:42 -0700 (PDT) from: Lewis LaCook message-id: <20050902141342.66308.qmail@web30515.mail.mud.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Fri, 02 Sep 2005 10:59:48 -0400 from: Pall Thayer message-id: <5E6EE8F0-133E-4B30-B166-07A25EF996AC@alcor.concordia.ca> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 2 Sep 2005 08:16:24 -0700 from: marc garrett message-id: <200509021516.j82FGOrk019286@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0001_01C5AFB2.42C0D3A0" date: Fri, 2 Sep 2005 11:34:19 -0400 from: "patrick lichty" message-id: <000001c5afd3$c9d273a0$1e8f4047@ATHENA> 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." __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Fri, 02 Sep 2005 12:54:01 -0300 from: roberto echen in-reply-to: <20050902141342.66308.qmail@web30515.mail.mud.yahoo.com> message-id: <43187599.1070004@rechen.com> references: <20050902141342.66308.qmail@web30515.mail.mud.yahoo.com> 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 from: Peter Horvath message-id: <200509021601.j82G1kcL026327@idx164.idx.net> 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 JosĂ©phine 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 â€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 JosĂ©phine--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 20â€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 Artâ€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 MusĂ©e national des beaux-arts du QuĂ©bec (QuĂ©bec 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Fri, 2 Sep 2005 10:11:27 -0700 from: Marisa Olson message-id: <23e24a2605090210113939ef1c@mail.gmail.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Fri, 02 Sep 2005 13:29:52 -0400 from: Ricardo Dominguez message-id: <1125682192.43188c10b2e3e@the.thing.net> subject: RHIZOME_RAW: [atsyber] "CAUTION" by DoEAT =~==================================================================~ ~ Aprenda a Invertir ~ żQuiere ser un inversor exitoso? Programa de Formación 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 así ~ Crea tu bitácora gratis y mucho más con uno de los servicios de blogs en espańol más completos ->> http://elistas.net/z/b6.392e <<- =~==================================================================~ Todo el archivo y la memoria de At/Syber a tu disposición, para leer un viejo mensaje haz click aquí > http://www.elistas.net/lista/atsyber/archivo/ La lista Atsyber es un proyecto de activismo cultural y participación ciudadana con 12,535 miembros activos (comunidad virtual moderada por Óscar A. García - http://neurolumpio.rushpost.com -, fundada en 2001). Para darte de baja envía desde tu cuenta de correo mensaje en blanco a atsyber-baja@elistas.net Tu correo suscrito a esta lista es: list@rhizome.org IMPORTANTE: Sólo desde list@rhizome.org podrás 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_Part_2782_31536115.1125682972523" date: Fri, 2 Sep 2005 13:42:52 -0400 from: message-id: 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 . * __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii date: Fri, 2 Sep 2005 11:53:44 -0700 (GMT-07:00) from: christina mcphee message-id: <32139453.1125687225278.JavaMail.root@elwamui-norfolk.atl.sa.earthlink.net> 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) from: trashconnection message-id: <20050902201224.498A821FD4@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Fri, 02 Sep 2005 13:13:35 -0700 from: Brett Stalbaum message-id: <4318B26F.6020100@ucsd.edu> 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" cliché attached to "locative media". The lands surrounding it are mostly public. It also has a history of artistic mediations related to it. Mohné 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 Mohné / The Center for Land Use Interpretation: "The Lemay Island Remote Location Project" Date: Fri, 2 Sep 2005 11:22:03 +0200 From: Achim Mohné 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Fri, 2 Sep 2005 13:24:32 -0700 from: Christina McPhee message-id: 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-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. ---------------------------------------------->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 content-type: text/plain; charset=US-ASCII; format=flowed date: Fri, 2 Sep 2005 15:34:17 -0500 from: ryan griffis in-reply-to: <20050902131915.38930.qmail@web30512.mail.mud.yahoo.com> message-id: <458dde0c5a2d9907938ecf92fccf42a9@yahoo.com> references: <20050902131915.38930.qmail@web30512.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="=====================_478388195==.ALT" date: Sat, 03 Sep 2005 07:58:47 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050903075836.02489d10@pop.hotkey.net.au> 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 content-type: multipart/alternative; boundary="----_=_NextPart_001_01C5B014.138F5FE6" date: Fri, 2 Sep 2005 19:14:32 -0400 from: message-id: <2EE57C99754F6A4885B97C18BE34265D01731E45@MILLEREXCH.whitneyny.whitney.org> 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. __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/html; charset=US-ASCII date: Fri, 02 Sep 2005 22:13:04 -0400 from: "N O T S T I L L A R T" message-id: <4318CE70.22786.47F934@localhost> 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 from: Michael Arnold Mages message-id: <200509030223.j832NZcq016710@idx164.idx.net> 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 â€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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii"; format=flowed date: Sat, 03 Sep 2005 14:56:14 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050903145600.02260028@pop.hotkey.net.au> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Sat, 3 Sep 2005 10:20:50 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <002601c5b08a$4f7ee9a0$dca205c9@NOMEAmigotec> 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 Joesér Alvarez. I really like very much this new work called "Sentido" (Sense ) by Alvarez. It reminds me an Art Museum in Niterói, 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 - Vestígios 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 Célia 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sat, 3 Sep 2005 07:13:22 -0700 (PDT) from: Michael Szpakowski in-reply-to: <458dde0c5a2d9907938ecf92fccf42a9@yahoo.com> message-id: <20050903141322.19943.qmail@web30511.mail.mud.yahoo.com> 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 from: "o.blaat" message-id: <200509031423.j83ENtEO015071@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sat, 3 Sep 2005 11:07:31 -0400 from: Archive Registrar message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" date: Sat, 03 Sep 2005 18:13:38 +0200 from: das ende der nahrungskette message-id: <4.0.1.20050903175715.02e81720@pop.monochrom.at> 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 country’s economic situation. It is a great challenge to secure survival for the small but proud confederation. External reactionary forces put the country in danger. It’s 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 don’t 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. It’s 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. monochrom’s 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 content-type: text/plain; charset="us-ascii" date: Sat, 03 Sep 2005 18:29:49 +0200 from: das ende der nahrungskette message-id: <20050903162940.MQFD1234.viefep17-int.chello.at@EVELYN> 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 country’s economic situation. It is a great challenge to secure survival for the small but proud confederation. External reactionary forces put the country in danger. It’s 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 don’t 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. It’s 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. monochrom’s 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 from: Makiko Nukaga message-id: <200509031646.j83GkQWR028267@idx164.idx.net> 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) from: trashconnection message-id: <20050903200149.8ED6421FD8@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1; format=flowed date: Sat, 03 Sep 2005 17:54:25 -0400 from: joseph mcelroy message-id: <431A1B91.80507@corporatepa.com> 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 Paraná, 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 Dança. He will be mixing live from his home in Londrina, Paraná, 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Sat, 3 Sep 2005 17:19:52 -0500 from: ryan griffis in-reply-to: <20050903141322.19943.qmail@web30511.mail.mud.yahoo.com> message-id: <6461948d2f203b1b80611dbc70f23a9e@yahoo.com> references: <20050903141322.19943.qmail@web30511.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_000F_01C5B0EC.428EEA80" date: Sun, 4 Sep 2005 01:02:02 +0100 from: "James Ford" message-id: <001a01c5b0e3$e6ed66f0$0b00000a@PUP> organization: James R Ford | Artist 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 3 Sep 2005 18:11:47 -0700 from: curt cloninger message-id: <200509040111.j841BlJ8016654@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_Part_1932_25757139.1125797181288" date: Sat, 3 Sep 2005 21:26:21 -0400 from: in-reply-to: message-id: references: 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. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 3 Sep 2005 20:30:17 -0700 from: curtis stage message-id: <200509040330.j843UHwA001476@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 3 Sep 2005 21:50:30 -0700 from: Eric Dymond message-id: <200509040450.j844oUnO007676@idx164.idx.net> 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 from: Eric Dymond message-id: <200509040457.j844vcjh008355@idx164.idx.net> 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 content-type: multipart/alternative; boundary="============_-1086309891==_ma============" date: Sun, 4 Sep 2005 01:42:01 -0400 from: miklos@sympatico.ca message-id: 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 from: Eric Dymond message-id: <200509040547.j845lRim011963@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 3 Sep 2005 23:00:33 -0700 from: Eric Dymond message-id: <200509040600.j8460XXf012996@idx164.idx.net> 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 from: Eric Dymond message-id: <200509040604.j8464eEp013570@idx164.idx.net> 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 from: Eric Dymond message-id: <200509040610.j846AI7j014237@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Sun, 04 Sep 2005 16:21:51 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050904162136.02406b18@pop.hotkey.net.au> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/related; boundary="B_3208675382_192478" date: Sun, 04 Sep 2005 10:43:02 +0200 from: tamara lai in-reply-to: <017301c5affe$e443a6c0$1902a8c0@tol23> message-id: 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 content-type: multipart/related; boundary="B_3208675444_236884" date: Sun, 04 Sep 2005 10:44:04 +0200 from: tamara lai in-reply-to: <027701c5af3b$f0eb9770$2ac34352@f89530j> message-id: subject: RHIZOME_RAW: FW: Grenze in/=?ISO-8859-1?B?4A==?= 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 from: Lucy Kimbell message-id: <200509041006.j84A6r5x016965@idx164.idx.net> 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 (ZĂĽrich/international), Rainer Goerss (Berlin), Kent Hansen (Kopenhagen), Imagination Lab (Lausanne), Lucy Kimbell (London), Learning Lab Dänemark (Kopenhagen), Orgacom (Amsterdam), osb-i systemische Organisationsberatung (TĂĽbingen, Wien), REINIGUNGSGESELLSCHAFT (Dresden), Institut fĂĽr Ressourcenschonung Innovation und Sustainability (Berlin), Henrik Schrat (Berlin), Enno Schmidt (Frankfurt a.M.), Barbara Steveni (London), JoĂ«l 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-RĂĽdiger 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 from: Jason Van Anden message-id: <200509041621.j84GLcuf009246@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sun, 4 Sep 2005 10:00:26 -0700 (PDT) from: Michael Szpakowski in-reply-to: <200509040111.j841BlJ8016654@idx164.idx.net> message-id: <20050904170026.36575.qmail@web30504.mail.mud.yahoo.com> 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 content-type: text/plain; charset=us-ascii date: Sun, 4 Sep 2005 11:10:28 -0700 (GMT-07:00) from: christina mcphee message-id: <4352478.1125857429188.JavaMail.root@elwamui-polski.atl.sa.earthlink.net> 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 content-type: multipart/alternative; boundary="----=_Part_2740_8465867.1125860918147" date: Sun, 4 Sep 2005 15:08:38 -0400 from: message-id: subject: RHIZOME_RAW: newsgrist katrina compendium (updated frequently) Content-Disposition: inline http://newsgrist.typepad.com/underbelly/katrina/index.html __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Sun, 4 Sep 2005 14:41:47 -0500 from: ryan griffis message-id: <482fcc87251a59c27199d70ac07c9c79@yahoo.com> 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) from: trashconnection message-id: <20050904200616.3DDB521FD8@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 4 Sep 2005 19:16:21 -0700 from: message-id: <200509050216.j852GLgb009438@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sun, 4 Sep 2005 20:43:48 -0700 (PDT) from: Lewis LaCook in-reply-to: <200509040547.j845lRim011963@idx164.idx.net> message-id: <20050905034348.69421.qmail@web30506.mail.mud.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sun, 04 Sep 2005 23:57:18 -0400 from: Pall Thayer message-id: <56A403D8-4ADF-4D9F-875D-16A3580E4589@alcor.concordia.ca> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 5 Sep 2005 07:31:57 +0200 from: "manik" message-id: <000501c5b1db$2361e6e0$c07689d5@e9o9t1> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 5 Sep 2005 07:45:13 +0200 from: "manik" message-id: <001e01c5b1dd$1bc7e0e0$c07689d5@e9o9t1> 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 from: Marius Watz message-id: <200509051008.j85A8rfn004964@idx164.idx.net> 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 pĂĄ papir av Pablo Carranza (SE / SP), Lionel Theodore Dean (UK), Ben Fry (US), JĂĽrg 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii"; format=flowed date: Mon, 05 Sep 2005 21:35:27 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050905213434.02424800@pop.hotkey.net.au> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="ISO-8859-1" date: Mon, 05 Sep 2005 15:01:56 +0200 from: "{Eart}" message-id: <20050905150156.319FADB2.5346B07F@127.0.0.1> 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 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 Ł24-28K (dependant on experience) Based in Liverpool, European Capital of Culture 2008, FACT is dedicated to the support, development and presentation of artistsą 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 Ćosić 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 content-type: text/plain; charset="iso-8859-1" date: Mon, 5 Sep 2005 18:50:01 +0200 from: "Trampoline Berlin" message-id: 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 UK’s 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: Ł100 (concs. Ł 70) Early Birds: Ł80 (concs. Ł 55) Single Day: Ł35 (concs. Ł 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 schäfer 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 content-type: text/plain; format=flowed; charset=iso-8859-1; reply-type=original date: Mon, 5 Sep 2005 20:35:39 +0200 from: "Kristoffer Gansing" message-id: <003601c5b248$9d711330$6502a8c0@WE> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 5 Sep 2005 15:44:08 -0700 from: message-id: <200509052244.j85Mi8MT027691@idx164.idx.net> 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.â€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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----_=_NextPart_001_01C5B273.F8D59650" date: Mon, 5 Sep 2005 19:46:01 -0400 from: message-id: <2EE57C99754F6A4885B97C18BE34265D01731E65@MILLEREXCH.whitneyny.whitney.org> 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. ++++++++++++++++++++++++++++++++++++++++ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 6 Sep 2005 12:15:27 +0200 (CEST) from: trashconnection message-id: <20050906101527.BA48D21FDA@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Tue, 6 Sep 2005 10:13:53 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <008801c5b2e4$d89d4400$dca205c9@NOMEAmigotec> 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 "Escáner 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 "dueńa 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 Célia 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 Célia 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 6 Sep 2005 06:54:08 -0700 from: message-id: <200509061354.j86Ds8jw003023@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Tue, 6 Sep 2005 09:33:22 -0500 from: ryan griffis message-id: 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 University’s 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 > Pittsburgh’s 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 > Pittsburgh’s 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 City’s > 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 team’s 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Tue, 6 Sep 2005 11:08:54 -0400 from: =?iso-8859-1?Q?Andr=E9ane_Leclerc?= message-id: <641A525B0A2A2540B1DD0A3DE660241C014DCDFD@exchange.terra-incognita.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 6 Sep 2005 08:12:22 -0700 from: Jason Van Anden message-id: <200509061512.j86FCMdU016879@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 6 Sep 2005 15:27:34 -0700 from: message-id: <200509062227.j86MRYqS006635@idx164.idx.net> 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 $500 (minus taxes). All you need to do is ask your referral to mention you during the initial email to us. You will be paid once your referral has completed 90 days of employment. Stormfront Studios Marta Daglow 4040 Civic Center Drive San Rafael, CA 94903 E-mail: mdaglow@stormfront.com Website: www.stormfront.com 415-461-5845 Developers of the award-winning hit title: The Lord of the Rings: The Two Towers and Demonstone. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 6 Sep 2005 19:17:08 -0500 from: ryan griffis message-id: subject: RHIZOME_RAW: pocket sized data projectors http://www.newscientist.com/article.ns?id=dn7957&feedId=online- news_atom03 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Tue, 6 Sep 2005 21:31:35 -0600 from: "rick silva" message-id: <006701c5b35c$a898b370$2aa30818@VUK> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 09:26:16 +0200 (CEST) from: trashconnection message-id: <20050907072616.B856C21FDE@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_003F_01C5B3A2.4F9FBE30" date: Wed, 7 Sep 2005 11:50:01 +0200 from: "Thomas Petersen" message-id: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> organization: t 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 05:48:28 -0700 from: Jason Van Anden message-id: <200509071248.j87CmSGR019465@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 06:33:23 -0700 from: message-id: <200509071333.j87DXNgb026971@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="------------010004030901000901070709" date: Wed, 07 Sep 2005 09:59:22 -0400 from: jeremy in-reply-to: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> message-id: <431EF23A.6000803@silencematters.com> references: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Wed, 7 Sep 2005 08:21:03 -0600 from: "abe linkoln" message-id: <008f01c5b3b7$621fb780$2aa30818@VUK> references: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> <431EF23A.6000803@silencematters.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 07:21:19 -0700 from: message-id: <200509071421.j87ELJja002387@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 7 Sep 2005 16:23:33 +0200 from: Geert Dekkers message-id: <466E1301-0972-4BF1-9229-FF82A872DC0E@nznl.com> 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 content-type: multipart/alternative; boundary="============_-1086018877==_ma============" date: Wed, 7 Sep 2005 10:33:34 -0400 from: miklos@sympatico.ca in-reply-to: <431EF23A.6000803@silencematters.com> message-id: references: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> <431EF23A.6000803@silencematters.com> 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
__end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Wed, 7 Sep 2005 15:46:59 +0100 (BST) from: ENSEMBLE AUTRECHOSE in-reply-to: message-id: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> 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 content-type: multipart/alternative; boundary="----=_Part_15401_17157055.1126106430778" date: Wed, 7 Sep 2005 12:20:30 -0300 from: giselle beiguelman in-reply-to: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> message-id: <72319d6a050907082045a8958a@mail.gmail.com> references: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 7 Sep 2005 11:25:59 -0400 from: Alexander Galloway message-id: <226BBC4A-AE24-4E39-937F-8AE3048A8C4B@nyu.edu> 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 content-type: text/plain; charset="US-ASCII" date: Wed, 07 Sep 2005 11:26:28 -0400 from: Lauren Cornell in-reply-to: <008f01c5b3b7$621fb780$2aa30818@VUK> message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Wed, 7 Sep 2005 08:28:41 -0700 (PDT) from: Lewis LaCook in-reply-to: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> message-id: <20050907152841.58743.qmail@web30501.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="------------030305040705080501020400" date: Wed, 07 Sep 2005 13:21:43 -0300 from: roberto echen in-reply-to: <72319d6a050907082045a8958a@mail.gmail.com> message-id: <431F1397.1070500@rechen.com> references: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> <72319d6a050907082045a8958a@mail.gmail.com> 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 from: message-id: <200509071707.j87H74Ln030480@idx164.idx.net> 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 from: message-id: <200509071708.j87H8fC9030789@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Wed, 7 Sep 2005 10:50:23 -0700 from: www@trashconnection.com in-reply-to: <431F1397.1070500@rechen.com> message-id: <1126115423.431f285f27269@webmail.namezero.com> references: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> <72319d6a050907082045a8958a@mail.gmail.com> <431F1397.1070500@rechen.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 content-type: text/plain; charset="iso-8859-1" date: Wed, 7 Sep 2005 19:57:18 +0200 from: "Thomas Petersen" in-reply-to: message-id: <005401c5b3d5$97364790$0200000a@tpdqkviky96i1n> organization: t 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] Pĺ 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 content-type: text/plain; charset=WINDOWS-1252 date: Wed, 7 Sep 2005 14:29:34 -0500 from: Steve Dietz message-id: <85d7931b05090712297cd8a051@mail.gmail.com> 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 JosŽ 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii"; format=flowed date: Thu, 08 Sep 2005 07:43:08 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050908074231.0236a6b8@pop.hotkey.net.au> 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 from: LuĂ­s da Silva message-id: <200509072204.j87M4qs3020027@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Thu, 08 Sep 2005 00:48:34 +0200 from: =?ISO-8859-1?Q?=A4?= in-reply-to: <200509072204.j87M4qs3020027@idx164.idx.net> message-id: <431F6E42.6060409@o-o.lt> references: <200509072204.j87M4qs3020027@idx164.idx.net> subject: Re: RHIZOME_RAW: SOURCE CODE blog why to discuss obsolete things? discuss triple-double-u.com! Luís 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 from: message-id: <200509072304.j87N4bK3029029@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii date: Wed, 7 Sep 2005 20:07:39 -0400 (EDT) from: christina mcphee message-id: <22208504.1126138059961.JavaMail.root@elwamui-darkeyed.atl.sa.earthlink.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 7 Sep 2005 21:11:33 -0400 from: miklos@sympatico.ca in-reply-to: <20050907152841.58743.qmail@web30501.mail.mud.yahoo.com> message-id: references: <20050907152841.58743.qmail@web30501.mail.mud.yahoo.com> 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 content-type: text/plain; format=flowed date: Thu, 08 Sep 2005 05:19:05 +0000 from: "carla g" message-id: 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Thu, 08 Sep 2005 00:19:29 -0700 from: Brett Stalbaum message-id: <431FE601.4010400@ucsd.edu> 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 für 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 8 Sep 2005 02:05:19 -0700 from: LuĂ­s da Silva message-id: <200509080905.j8895JGf017276@idx164.idx.net> 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 LuĂ­s. 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 8 Sep 2005 14:38:54 +0200 (CEST) from: trashconnection message-id: <20050908123854.B3F2221FD1@mail.isnm.uni-luebeck.de> 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: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 08 Sep 2005 16:38:49 +0200 from: =?ISO-8859-1?Q?=A4?= message-id: <43204CF9.7080500@o-o.lt> subject: RHIZOME_RAW: hex http://%77%77%77%2e%6f%2d%6f%2e%6c%74%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ http://%77%77%2e%64%32%62%2e%6f%72%67%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ http://%77%77%77%2e%6f%2d%6f%2e%6c%74%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ http://%77%77%2e%64%32%62%2e%6f%72%67%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ http://%77%77%77%2e%6f%2d%6f%2e%6c%74%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ http://%77%77%2e%64%32%62%2e%6f%72%67%2e%61%73%63%6f%2d%6f%2e%63%6f%6d/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 8 Sep 2005 07:47:44 -0700 (PDT) from: Michael Szpakowski message-id: <20050908144744.13069.qmail@web30507.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 8 Sep 2005 09:56:41 -0500 from: ryan griffis message-id: <5a6b32081fd8f21e0c406134c245e06d@yahoo.com> 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 from: curtis stage message-id: <200509081635.j88GZrb5010239@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain date: Thu, 08 Sep 2005 13:19:26 -0400 from: "" message-id: 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 Eyebeam’s 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 Amazon’s A9.com map service with Jean-Luc Godard’s > 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 > sample’s 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 > McCartney’s 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) from: trashconnection message-id: <20050908200436.284D721FD1@mail.isnm.uni-luebeck.de> 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 from: Stephan Hausmeister message-id: <200509082016.j88KG7or005871@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 8 Sep 2005 15:16:29 -0500 from: ryan griffis message-id: <845407a071df7d195c5d9fc0caeee840@yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 8 Sep 2005 13:26:53 -0700 from: curt cloninger message-id: <200509082026.j88KQrud006645@idx164.idx.net> subject: RHIZOME_RAW: Re: two things (not an exhaustive list) about which I was wrong on this list 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Thu, 8 Sep 2005 15:47:13 -0700 (PDT) from: Michael Szpakowski in-reply-to: <200509082026.j88KQrud006645@idx164.idx.net> message-id: <20050908224714.17810.qmail@web30508.mail.mud.yahoo.com> 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 from: void void message-id: <200509090154.j891sNvS006699@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Thu, 8 Sep 2005 22:10:32 -0400 from: Curt Cloninger in-reply-to: <20050908224714.17810.qmail@web30508.mail.mud.yahoo.com> message-id: references: <20050908224714.17810.qmail@web30508.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="B_3209114532_3668816" date: Fri, 09 Sep 2005 12:42:12 +0100 from: susana mendes silva in-reply-to: message-id: subject: RHIZOME_RAW: FW: Joana Rosa | Livraria Ass=?ISO-8859-1?B?7Q==?=rio & 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 from: message-id: <200509091510.j89FAU0V016516@idx164.idx.net> 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 from: Rosanne Altstatt message-id: <200509091652.j89GqiuT026667@idx164.idx.net> 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 content-type: text/plain;charset=iso-8859-1 date: Fri, 9 Sep 2005 10:18:20 -0700 (PDT) from: "Marisa Olson" message-id: <57345.66.245.14.170.1126286300.squirrel@rhizome.org> 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 content-type: text/plain;charset=iso-8859-1 date: Fri, 9 Sep 2005 10:24:39 -0700 (PDT) from: "Marisa Olson" message-id: <57344.66.245.14.170.1126286679.squirrel@rhizome.org> 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 Association’s 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 autonomous—while 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 what—if any—audio/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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 11:49:06 -0700 from: "o.blaat" message-id: <200509091849.j89In6MR006485@idx164.idx.net> 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 from: "o.blaat" message-id: <200509092022.j89KM3YT016879@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 13:58:13 -0700 from: "Rhizome.org" message-id: <200509092058.j89KwDfP020783@idx164.idx.net> 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) from: trashconnection message-id: <20050909210045.D2CB921FD3@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 14:04:09 -0700 from: "Rhizome.org" message-id: <200509092104.j89L49fP022038@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200509092107.j89L7nfP022598@idx164.idx.net> 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. IntervenciĂłn artĂ­stica para la playa de Benicassim. 2004 - Gelo. VĂ­deo sobre mĂşsica de Alex MartĂ­nez. - RIXOME. Locative media, realidad mezclada en red. Proyecto final para el Máster de Arte y Nuevas TecnologĂ­as de la UEM. - Efervescente. Memorias de la basura. InstalaciĂłn sonora interactiva. 2003 - SMART Responsive Materials in Art. InteracciĂłn fĂ­sica. InvestigaciĂłn en el Medialab de la University of Industrial Arts and Design Helsinki UIAH. - First Approachment to Electroluminescent Technology. Pintura interactiva. InvestigaciĂłn 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 pĂşblicos. Producido en Medialab UIAH. 2002 - ReproducciĂłn y manipulaciĂłn en los clásicos. Serie de dibujos. - Estudios anatĂłmicos. Serie de dibujos. 2001 - Culture Shadows. InstalaciĂłn interactiva. Producido en Medialab Madrid y Medialab UIAH. - Esquemas corporales para espacios urbanos. Simulaciones de vida artificial aplicada a simulaciones urbanas. Software e investigaciĂłn. Producido en la Facultad de BiologĂ­a UCM. 2000 - Amplitud cognoscitiva y comunicaciĂłn. Tesis para un nuevo sistema de comunicaciĂłn natural humana. 1998 - Emergencias. Reportaje fotográfico del Servicio de Emergencias del Hospital General de Ăvila. 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 from: "Rhizome.org" message-id: <200509092109.j89L9bfP022819@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 14:11:16 -0700 from: "Rhizome.org" message-id: <200509092111.j89LBGfP023045@idx164.idx.net> 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 from: Jonas Lindberg message-id: <200509092203.j89M3RCl029432@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 17:02:00 -0700 from: Eric Dymond message-id: <200509100002.j8A020JP008776@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 19:05:53 -0700 from: message-id: <200509100205.j8A25qNB017494@idx164.idx.net> 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 19:07:00 -0700 from: message-id: <200509100207.j8A2709Z017585@idx164.idx.net> 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 from: Eric Dymond message-id: <200509100230.j8A2UohX019709@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 19:38:50 -0700 from: Eric Dymond message-id: <200509100238.j8A2co7S021595@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Sat, 10 Sep 2005 07:27:42 +0200 from: nathaniel stern message-id: <3170EB54-3BA4-4141-926D-9B8851F828B1@hektor.net> 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 Joăo 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 Süsse and Jürgen Bräuninger) 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 concrčte 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 content-type: text/plain; charset=System date: Sat, 10 Sep 2005 10:06 from: "carlos katastrofsky" in-reply-to: <200509092203.j89M3RCl029432@idx164.idx.net> message-id: references: <> 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 from: mrosania@comcast.net message-id: <091020051754.17617.43231DEB000B6FE3000044D122007614380E07020E9C019D03@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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sat, 10 Sep 2005 15:35:12 -0400 from: miklos@sympatico.ca in-reply-to: <200509100238.j8A2co7S021595@idx164.idx.net> message-id: references: <200509100238.j8A2co7S021595@idx164.idx.net> 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) from: trashconnection message-id: <20050910232657.B28DD21FD3@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sun, 11 Sep 2005 08:37:44 -0400 from: Curt Cloninger message-id: 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 from: message-id: <200509111440.j8BEe5iA024077@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Sun, 11 Sep 2005 11:58:16 -0300 from: roberto echen message-id: <43244608.3010506@rechen.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Sun, 11 Sep 2005 11:11:14 -0500 from: ryan griffis message-id: <68161fc8bfe1ae5dc5b8d21b506cac04@yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Sun, 11 Sep 2005 11:18:27 -0500 from: ryan griffis message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Sun, 11 Sep 2005 09:22:37 -0700 (PDT) from: Michael Szpakowski message-id: <20050911162237.31393.qmail@web30508.mail.mud.yahoo.com> 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 from: "Rhizome.org" message-id: <200509111754.j8BHsKfP009601@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 11 Sep 2005 11:31:27 -0700 from: message-id: <200509111831.j8BIVRom013594@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1; format=flowed date: Sun, 11 Sep 2005 13:49:39 -0500 from: ryan griffis message-id: <2dbe44d1e4238a84a8ef3f5b5006be31@yahoo.com> 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) from: trashconnection message-id: <20050911195935.2005B21FD2@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 11 Sep 2005 13:22:45 -0700 from: Rachel Clarke message-id: <200509112022.j8BKMjiT025829@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Sun, 11 Sep 2005 20:26:51 -0700 from: Brett Stalbaum message-id: <4324F57B.3030701@ucsd.edu> 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 content-type: multipart/alternative; boundary="----=_Part_2528641_13501939.1126503149157" date: Sun, 11 Sep 2005 22:32:29 -0700 (PDT) from: Ken Goldberg message-id: <3658038.1126503149164.JavaMail.root@localhost> 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 content-type: multipart/alternative; boundary="0-985332025-1126505304=:24653" date: Mon, 12 Sep 2005 16:08:24 +1000 (EST) from: sonya nielsen message-id: <20050912060824.25460.qmail@web33307.mail.mud.yahoo.com> 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 human’s 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00F2_01C5B7B5.8F70DFF0" date: Mon, 12 Sep 2005 16:18:07 +0200 from: "Digicult" message-id: <00f501c5b7a4$cbef3be0$33405001@marcowwf1hbdmb> 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 content-type: text/plain; charset=iso-8859-1 date: Mon, 12 Sep 2005 09:19:55 -0700 (PDT) from: Michael Szpakowski message-id: <20050912161955.93080.qmail@web30503.mail.mud.yahoo.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 09:34:10 -0700 from: "Rhizome.org" message-id: <200509121634.j8CGYAfP009699@idx164.idx.net> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response date: Mon, 12 Sep 2005 19:15:25 +0200 from: "Digicult" message-id: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> references: <00f501c5b7a4$cbef3be0$33405001@marcowwf1hbdmb> 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 č dal 2001 una webzine che si occupa di new media art e cultura > digitale. Dal 2001 al 2004 Random č stata ospitata all'interno del > portale > dell'arte Exibart.com. Dopo qualche mese di pausa, č tornato rinnovato, > nella forma e nei contenuti, con un sito tutto suo. Tutti i territori > della > creativitŕ elettronica ci interessano. Tutte le ibridazioni tra > tecnologie e > idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, > libri e siti web. Random č 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 č dal 2001 una webzine che si occupa di new media art e cultura > digitale. Dal 2001 al 2004 Random č stata ospitata all'interno del > portale > dell'arte Exibart.com. Dopo qualche mese di pausa, č tornato rinnovato, > nella forma e nei contenuti, con un sito tutto suo. Tutti i territori > della > creativitŕ elettronica ci interessano. Tutte le ibridazioni tra > tecnologie e > idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, > libri e siti web. Random č 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 from: "Rhizome.org" message-id: <200509121822.j8CIM0fP028291@idx164.idx.net> 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 content-type: multipart/alternative; boundary="B_3209399620_2250460" date: Mon, 12 Sep 2005 19:53:39 +0100 from: susana mendes silva message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 12:43:16 -0700 from: Lisa Mezzacappa message-id: <200509121943.j8CJhGmF006895@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0062_01C5B7E7.07F9B1A0" date: Mon, 12 Sep 2005 22:12:13 +0200 from: "Dirk Vekemans" message-id: <20050912201237.YGLF2093.amsfep12-int.chello.nl@vilt> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 13:15:24 -0700 from: Indi McCarthy message-id: <200509122015.j8CKFOtD011648@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 22:28:34 +0200 from: "das ende der nahrungskette (johannes grenzfurthner)" message-id: <20050912202831.LCTT2178.viefep12-int.chello.at@elektropost.chello.at> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 12 Sep 2005 13:46:34 -0700 from: "Jim Andrews" in-reply-to: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> message-id: 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) from: trashconnection message-id: <20050912211137.6C1F821FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Mon, 12 Sep 2005 23:22:11 +0200 from: Alessandro Ludovico message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed date: Mon, 12 Sep 2005 17:26:30 -0400 from: Pall Thayer in-reply-to: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> message-id: references: <00f501c5b7a4$cbef3be0$33405001@marcowwf1hbdmb> <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> 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 č dal 2001 una webzine che si occupa di new media art e >> cultura >> digitale. Dal 2001 al 2004 Random č stata ospitata all'interno del >> portale >> dell'arte Exibart.com. Dopo qualche mese di pausa, č tornato >> rinnovato, >> nella forma e nei contenuti, con un sito tutto suo. Tutti i >> territori della >> creativitŕ elettronica ci interessano. Tutte le ibridazioni tra >> tecnologie e >> idee ci stimolano. Artisti, progetti, festival, dischi, film, >> conferenze, >> libri e siti web. Random č 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 č dal 2001 una webzine che si occupa di new media art e >> cultura >> digitale. Dal 2001 al 2004 Random č stata ospitata all'interno del >> portale >> dell'arte Exibart.com. Dopo qualche mese di pausa, č tornato >> rinnovato, >> nella forma e nei contenuti, con un sito tutto suo. Tutti i >> territori della >> creativitŕ elettronica ci interessano. Tutte le ibridazioni tra >> tecnologie e >> idee ci stimolano. Artisti, progetti, festival, dischi, film, >> conferenze, >> libri e siti web. Random č 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 content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Mon, 12 Sep 2005 23:59:06 +0200 from: Geert Dekkers in-reply-to: <20050912161955.93080.qmail@web30503.mail.mud.yahoo.com> message-id: references: <20050912161955.93080.qmail@web30503.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="B_3209394573_69703531" date: Mon, 12 Sep 2005 18:29:33 -0400 from: Lauren Cornell message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Mon, 12 Sep 2005 18:40:20 -0400 from: Pall Thayer in-reply-to: message-id: references: 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 from: Cary Peppermint message-id: <200509130024.j8D0OLPE016405@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 12 Sep 2005 17:54:39 -0700 from: "Jim Andrews" in-reply-to: message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 13 Sep 2005 00:30:03 -0700 from: basak senova message-id: <200509130730.j8D7U39q018635@idx164.idx.net> 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 TĂĽrkpetrol 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 TĂĽrkpetrol 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 HelvacioÄźlu (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 KantarcioÄźlu, 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 BaĹźak Ĺženova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. Can KaradoÄźan is responsible for the logistics of ITU activities as the project coordinator and NuĹźin 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 from: "o.blaat" message-id: <200509130748.j8D7mmrc020248@idx164.idx.net> 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 from: "o.blaat" message-id: <200509130752.j8D7qNXw020676@idx164.idx.net> 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-HĂ©lène 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 content-type: text/plain; charset="ISO-8859-1" date: Tue, 13 Sep 2005 10:00:21 +0200 from: "{vCH}" message-id: <20050913100021.C6962E0F.412F2650@127.0.0.1> 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 from: message-id: <200509131000.j8DA0nes032003@idx164.idx.net> subject: RHIZOME_RAW: Exhibition Eduardo Dhelomme Du 2 au 11 octobre 2005, se tiendra l'exposition « Un nouveau souffle BrĂ©silien » prĂ©sentant des oeuvres inĂ©dites du peintre franco-brĂ©silien Eduardo Dhelomme. Tadaam, reprĂ©sentant exclusif de l'artiste en Europe, a choisi Paris pour organiser le retour de l'artiste au 20 rue Richelieu, Paris 1er. InspirĂ©es de ces tableaux, les compositions musicales du collectif « The Sound Session » plongeront le visiteur dans cet univers mĂ©tissĂ©. L'exposition dĂ©voilera 15 acryliques sur toile inĂ©dites, un Ă©chantillon de la collection rĂ©alisĂ©e entre 2001 et 2005. Vous dĂ©couvrirez alors le mĂ©tissage atypique de toiles abstraites lyriques, hautes en couleurs. InfluencĂ©s Ă  la fois par le surrĂ©alisme et la peinture gestuelle, ces tableaux d'un nouveau style, aux noms Ă  consonances afro-brĂ©siliennes nous attirent vers leur profondeur. Cet artiste de 83 ans, exposĂ© au MusĂ©e d'Art Moderne de Paris en 1962, Ă  la Biennale de Sao Paolo en 1963, au MusĂ©e d'Art Contemporain de Rio jusqu'en 1982 pour ses sculptures, a reçu les meilleures critiques brĂ©siliennes dans les annĂ©es 70. Après 25 ans de silence, Tadaam le remet sur le devant de la scène ! L'exposition se dĂ©roulera du 2 au 11 octobre 2005 tous les jours de 10h Ă  20h30, sur une musique de The Sound Session. Vous trouverez des informations complĂ©mentaires 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=UTF-8 date: Tue, 13 Sep 2005 14:31:13 +0200 from: Kristofer Paetau message-id: <80bd928c050913053153870eea@mail.gmail.com> 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 content-type: text/plain; charset=UTF-8 date: Tue, 13 Sep 2005 14:31:13 +0200 from: Kristofer Paetau message-id: <80bd928c050913053153870eea@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 13 Sep 2005 11:12:42 -0500 from: ryan griffis message-id: <98e63c96934aa3b2b86dbe13a29c5d61@yahoo.com> 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 from: brad brace message-id: <200509131645.j8DGjvSx018114@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_061B_01C5B8B8.14578360" date: Tue, 13 Sep 2005 23:08:40 +0400 from: "8-926-1835493" message-id: <062001c5b896$90fad510$a87e77d4@susan> 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) from: trashconnection message-id: <20050913200322.45F3521FD2@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 13 Sep 2005 13:31:27 -0700 from: Jonas Lindberg message-id: <200509132031.j8DKVRYX015753@idx164.idx.net> 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 __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 date: Tue, 13 Sep 2005 23:31:47 -0700 from: Thomas Petersen message-id: <200509140631.j8E6Vl7T011300@idx164.idx.net> 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 fĂĽr 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 14 Sep 2005 10:44:29 -0400 from: miklos@sympatico.ca in-reply-to: <20050913200322.45F3521FD2@mail.isnm.uni-luebeck.de> message-id: references: <20050913200322.45F3521FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Wed, 14 Sep 2005 11:32:15 -0400 from: kanarinka message-id: <4f5b0d6bbeffcb96645709118fafd484@ikatun.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Wed, 14 Sep 2005 08:44:00 -0700 from: www@trashconnection.com message-id: <1126712640.43284540f2be2@webmail.namezero.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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="ISO-8859-1" date: Wed, 14 Sep 2005 17:01:56 +0100 from: Simon Biggs message-id: 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 Kingąs 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 14 Sep 2005 18:13:27 +0200 from: =?ISO-8859-1?Q?=A4?= in-reply-to: <1126712640.43284540f2be2@webmail.namezero.com> message-id: <43284C27.3040700@o-o.lt> references: <1126712640.43284540f2be2@webmail.namezero.com> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 14 Sep 2005 12:45:06 -0400 from: miklos@sympatico.ca in-reply-to: <1126712640.43284540f2be2@webmail.namezero.com> message-id: references: <1126712640.43284540f2be2@webmail.namezero.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. 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 14 Sep 2005 10:00:24 -0700 from: Daniel Green message-id: <200509141700.j8EH0OJa025155@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 14 Sep 2005 10:53:38 -0700 from: Thomas Beard message-id: <200509141753.j8EHrcUP032714@idx164.idx.net> 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 from: ellen jantzen message-id: <200509141815.j8EIFO1J003341@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=us-ascii; format=flowed date: Wed, 14 Sep 2005 20:38:01 +0200 from: =?ISO-8859-1?Q?=A4?= in-reply-to: message-id: <43286E09.4030501@o-o.lt> references: <1126712640.43284540f2be2@webmail.namezero.com> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Wed, 14 Sep 2005 15:54:39 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <007101c5b95d$c4186f80$5fa205c9@NOMEAmigotec> 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 Frazăo'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 Célia 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=ISO-8859-1 date: Wed, 14 Sep 2005 12:58:30 -0700 from: www@trashconnection.com message-id: <1126727910.432880e6cd4eb@webmail.namezero.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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 14 Sep 2005 22:02:06 +0200 (CEST) from: trashconnection message-id: <20050914200206.D900021FD2@mail.isnm.uni-luebeck.de> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Wed, 14 Sep 2005 13:34:22 -0700 from: "Jim Andrews" message-id: 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 from: Stacy Switzer message-id: <200509142035.j8EKZm74017873@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 14 Sep 2005 23:35:45 +0200 from: Geert Dekkers message-id: 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 14 Sep 2005 18:01:30 -0400 from: Sal Randolph message-id: <21B0C6F8-AAE4-4B97-AAD9-529D22440ABA@highlala.com> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Wed, 14 Sep 2005 15:07:00 -0700 from: Marisa Olson in-reply-to: <21B0C6F8-AAE4-4B97-AAD9-529D22440ABA@highlala.com> message-id: <23e24a26050914150721d74764@mail.gmail.com> references: <21B0C6F8-AAE4-4B97-AAD9-529D22440ABA@highlala.com> 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 content-type: text/plain; charset="us-ascii" date: Thu, 15 Sep 2005 03:49:21 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050915014957.ENFP22129.amsfep13-int.chello.nl@vilt> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 14 Sep 2005 22:44:36 -0500 from: ryan griffis message-id: <3cfca99212ac864ae91267a377a188d1@yahoo.com> 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 Cafés (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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 14 Sep 2005 22:11:27 -0700 from: Greg Smith message-id: <200509150511.j8F5BRP3029145@idx164.idx.net> 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 MontrĂ©al, 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 content-type: text/plain; charset="US-ASCII" date: Wed, 14 Sep 2005 22:33:38 -0700 from: "Jim Andrews" in-reply-to: message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="US-ASCII" date: Thu, 15 Sep 2005 02:14:24 -0700 from: "Jim Andrews" in-reply-to: <20050915014957.ENFP22129.amsfep13-int.chello.nl@vilt> message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 06:49:59 -0700 from: message-id: <200509151349.j8FDnxaX007677@idx164.idx.net> subject: RHIZOME_RAW: Borderlines Project dates : from September 2005 to June 2006 conceived and organized by : Marielle Baldelli and RenĂ© Guisquet supported by : association "Syndicat Potentiel" (Strasbourg-France) partners : DRAC Alsace-Direction RĂ©gionale des Affaires Culturelles d’Alsace, CEAAC-Centre EuropĂ©en d’Action Artistique Contemporaine, RĂ©gion 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 SupĂ©rieure des Arts DĂ©coratifs de Strasbourg, National Art Gallery of Sofia, Muzeum-Ljubljana, Doubner Gallery, Het Achterhuis Gallery, Kunst Op Maat, TAC-Temporary Art Centre, HĂ©lène Fincker Communication, SchĂĽtzenberger 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 CamĂ©line - maison abandonnĂ©e, 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 from: message-id: <200509151350.j8FDoMfH007759@idx164.idx.net> subject: RHIZOME_RAW: Borderlines Project dates : from September 2005 to June 2006 conceived and organized by : Marielle Baldelli and RenĂ© Guisquet supported by : association "Syndicat Potentiel" (Strasbourg-France) partners : DRAC Alsace-Direction RĂ©gionale des Affaires Culturelles d’Alsace, CEAAC-Centre EuropĂ©en d’Action Artistique Contemporaine, RĂ©gion 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 SupĂ©rieure des Arts DĂ©coratifs de Strasbourg, National Art Gallery of Sofia, Muzeum-Ljubljana, Doubner Gallery, Het Achterhuis Gallery, Kunst Op Maat, TAC-Temporary Art Centre, HĂ©lène Fincker Communication, SchĂĽtzenberger 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 CamĂ©line - maison abandonnĂ©e, 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Thu, 15 Sep 2005 09:01:14 -0500 from: ryan griffis message-id: 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=ISO-8859-1 date: Thu, 15 Sep 2005 11:18:34 -0400 (GMT-04:00) from: christina mcphee message-id: <4273614.1126797514641.JavaMail.root@elwamui-wigeon.atl.sa.earthlink.net> 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 concrďż˝te sounds. These sounds are > triggered with a MIDI controller called The > BodySynthďż˝, 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 Erzbischďż˝fliches Diďż˝zesanmuseum in > Cologne, and the Dakar Biennale in Sďż˝nďż˝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 from: message-id: <200509151728.j8FHSmQP000856@idx164.idx.net> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 11:17:05 -0700 from: message-id: <200509151817.j8FIH5h0007342@idx164.idx.net> subject: RHIZOME_RAW: HARKNESS A/V SALON join us for this new mixed media installation/improvisation event resident a/v squad Mighty Robot alphawave beats by Zach Layton, imaging by Chika Monday, Sept. 26 at 8PM project robot space at monster island corner of Metropolitan and Kent, entrance on River refreshments will be served + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 15 Sep 2005 14:19:59 -0400 from: miklos@sympatico.ca in-reply-to: message-id: references: subject: RHIZOME_RAW: meaning again >"Jim Andrews" >that texts, for >instance, can imply or necessitate some meanings yet be interpretable > Also the meaning of words shifts over hundreds of years, leading to misinterpretations of the past? -- 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; format=flowed date: Thu, 15 Sep 2005 15:09:15 -0400 from: doron message-id: <8615459B-FB32-48EC-9302-668D521EAFDF@computerfinearts.com> subject: RHIZOME_RAW: Short form online videos are booming Top sites unique monthly downloads volume http://ifilm.com 2,737 k http://FeedRoom.com 1,238 k http://Atomfilms.com 1,195 k http://HomestarRunner.com 945 k http://JibJab.com 447 k http://Movielink.com 438 k http://Cinemanow.com 219 k http://Weebls-Stuff.com 160 k Stats from The Wall Street Journal Monday 9.12.05 + -> 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Thu, 15 Sep 2005 12:29:36 -0700 from: Nikola Tosic message-id: <200509151929.j8FJTawh015554@idx164.idx.net> subject: RHIZOME_RAW: meet in a nice restaurant TRANSYLVANIA http://www.meet-in-a-nice-restaurant.org you are invited to participate in meet in a nice restaurant event taking place over a weekend 15th and 16th october, 2005 in village of bran, transylvania, romania (homeland of count vlad, dracula and vampires) meet in a nice restaurant is an event that consists of dinners in nice restaurants, everybody is welcome village of bran is easily accessible, advice on travel and accommodation will be offered to register email your name, phone and location to nikola@tosic.com if you need more information email nikola@tosic.com or call/sms + 381 63 268906 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 15 Sep 2005 16:15:39 -0400 from: doron message-id: subject: RHIZOME_RAW: Short form online videos are booming btw, unique monthly downloads volume http://dvblog.org 12 k + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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 22:26:12 +0200 (CEST) from: !BIRDIE message-id: <20050915202612.832D12C057@ws5.ou-data.net> subject: RHIZOME_RAW: multi-p multi-part\.message\.in\.MIME\.format...\.\.\.\.------------=_11265680 40-79044-647\.\.Content-Type:\.TEXT/PLAIN;\.charset=US-ASCII;\.format flowed\.\.\.\.\.\.I'm\.very\.sorry...\.\.\.\.\.\.On\.Mon,\.12\.Sep\.20 05,\.Frederic\.Madre\.wrote:\.\.\.\.\.\.\.p,\.f\.glumea.\.\.\.\.\.you\ .can\.post\.here\.in\.french,\.mediafest.org\.\.relaunches\.\.a\.suit\ .of\.calls\.for\.videos\.\.\.\.1.\.theme:\.gender\.identity\.\.2.\.the me:\.identity\.of\.colour\.\.3.\.theme:\.totalitarism\.\.************* *****************\.\.1.\.call\.for\.videos\.on\.theme\."gender\.identi ty\.\.deadline\.31\.December\.2005\.\.---\.\.\.In\.a\.timmages,\.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,\.T homas\.Petersen\.found\.examples\.of\.hybrids\.between\.artworks\.and\ .mail\.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 _ ASRF.431 beta X-Powered-By: HTTP://X257.COM + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 22:26:41 +0200 (CEST) from: 0000000 message-id: <20050915202641.874D92BA68@ws3.ou-data.net> subject: RHIZOME_RAW: ocities ocities.com/slsvampok/?Prada_St.Dupont__wgaxw000000000000Wise00men00sa y00only00fools00rush00inBut00I,00I00can't,00I00can't00help00Falling00i n00love0000(falling00in00love)00With00you00(with00you)00000000fmarder\ .00bsdobjs0000efru00ST0100apatton0000jod0000(Your00brain00that00is)C00O 00M00M00U00N00I00C00A00T00E0000Talorwarded00message00000000000000000000000000From:00Sal00 Randolph0000sal00highlala.com000000Date:00Sep0014,002005003:0100PM0000 Subject:00whereyouare,00an00invitation00000000Dear00friends,00000000I' d00like00to00invite00you00to00participate00in00a00new00project00of00mi ne.00000000Whereyouare00(00http://whereyouare.org00)orward00this00ABC\ .news00story00far00and00wide.00The00best00way00to00stop000000internet\ .scams00is00to00help00generate00broad00awareness00of00them.00000000htt p://abcnews.go.com/WNT/print?id=111251800000000Some00Question00Roberts on's00Katrina00Charity0000Operation00Blessing00Is00Second00on00FEMA's\ .Liorwarded00message:00000000000000000000My00Daily00Constitution00pres ents:00000000A00Constitution00Day00Celebration00000000on00Constitution 00Day,00Saturday00September0017th,00200500000000000000With00the00Discu ssion:00"What00Responsibility00does00a00Government00Have00to00Its0000\ .00Citizens?"00000000and00Music00by00Ma _ ASRF.1948 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, 15 Sep 2005 16:00:13 -0700 from: Marius Watz message-id: <200509152300.j8FN0DRU006698@idx164.idx.net> subject: RHIZOME_RAW: Generator.x exhibition Generator.x - exhbition / conference / concert 23 Sept - 16 Oct, Oslo, Norway National Museum / Atelier Nord / Hausmania http://www.generatorx.no/ -------------------------------- Generator.x is an exhibition, conference and concert programme in about generative strategies in art and design, to take place in Oslo, Norway 23 September - 16 October 2005. A co-production between Atelier Nord and the National Museum of Art, Architecture and Design, the project will focuses on the work of leading practicioners in the field to demonstrate aesthetic positions where code becomes either the main method of artistic work, or the artistic material itself. For the full program and a blog about generative art and design, please visit http://www.generatorx.no/. Organized by Marius Watz. -------------------------------- Lecturers: Erich Berger, Pablo Miranda Carranza, Gisle Froysland, Hans Christian Gilje, Susanne Jaschko, Golan Levin, Sebastian Oschatz, C.E.B.Reas. Moderators: Amanda Steggell, Marius Watz. Artists in the exhibition: Pablo Miranda Carranza, Lionel Theodore Dean, Ben Fry, JĂĽrg Lehni, Golan Levin, Lia, Trond Lossius, Sebastian Oschatz, C.E.B.Reas, Martin Wattenberg. Curator: Marius Watz Performances: Blind, Erich Berger, TinyLittleElements. DJs: Strangefruit vs Deadswan. VJs: GX, Jan Kremlacek. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 15 Sep 2005 16:17:12 -0700 from: Julie Andreyev message-id: <200509152317.j8FNHCjH007934@idx164.idx.net> 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. *** NEW: DEADLINE EXTENDED UNTIL SEPTEMBER 30th, 2005 *** 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. • JĂĽrg 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 30, 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 content-type: text/plain; charset=utf-8 date: Thu, 15 Sep 2005 19:19:40 -0700 from: Eric Dymond message-id: <200509160219.j8G2JeEP029323@idx164.idx.net> subject: RHIZOME_RAW: Re: Who cares about Dorment, Galloway, Wilson..,say? > I'd like comments on the text, any weaknesses there? > Is it pretentious, are there personal psychological blind spots in the > text? OK Miklos, Since we share some friends and understandings, rather than react to the post, my first question is: Is this an artistic statement or is it an observation of the current environment? It sounds minor, but I think it should be slowly unravelled. 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=WINDOWS-1252; format=flowed date: Thu, 15 Sep 2005 23:17:10 -0500 from: Ryan Griffis message-id: <5fec5bf51de77ca898e316ad354926e1@gmail.com> subject: RHIZOME_RAW: Interview: AUDC and the Disappearance of Architecture Tandem Surfing the Third Wave: AUDC and the Disappearance of Architecture - An Interview by Ryan Griffis - Note: This interview, conducted by email during 2004-5, is a discussion with Kazys Varnelis and Robert Sumrell, of the LA-based AUDC (Architecture Urbanism Design Collaborative). AUDC produces published texts, multimedia installations and a collaboratively-produced wiki, all of which present their efforts at creating “conceptual architecture.” One of their more extensive projects, “Ether,” (http://www.audc.org/projects/index.php/Ether) uses photographs, magazine articles, and even a Sims mod to follow a complex narrative involving real estate, telecommunications and cultural mythology as they coalesce at the site of LA's One Wilshire Building. As an extension of my Tandem Surfing series of interviews with media arts collectives, I wanted to speak with AUDC about their experiences navigating the disciplinary boundaries of new media, history, architecture, and art. Ryan Griffis: How and why did AUDC begin? Kazys Varnelis: AUDC began at the Southern California Institute of Architecture, in 2001, where I was teaching history-theory and Robert was a graduate student. We found working together immensely productive, a process that allowed us to step into each other's territories. Advising Robert on a design thesis (on the web at http://varnelis.net/projects/muzak/index.html) allowed me to work creatively while, as my teaching assistant, Robert worked with theory and research more directly. We formed AUDC to keep this going. Initially, we had naive thoughts that we might be a consultancy or design practice like Rem Koolhaas's AMO, but with the implosion of the 90s economic boom and with AMO’s now-inevitable degeneracy into making cute proposals about moving the Charles River to accommodate the Harvard Business School, it became clear to us that this was the last thing that anyone needed. Instead we looked to groups like Archizoom and Superstudio for inspiration. If, in the mid-1990s, architecture had been too caught up in a disciplinary posturing masquerading as resistance, by 2001, it was clear that the interest in Deleuzean smoothness and in working with capital had run its course. More than anything, we thought, we could use the unique ways of thinking inherent in architecture as a form of research while history could be revealed to be a form of design itself. As a collaboration, AUDC works with both of our strengths. Robert builds drawings and models, and I take photographs and code the web site. Through the use of our wiki software (http://audc.org/projects), we are able to collaborate on our texts. The writing on our website is written neither by Robert nor myself but by the two of us. Robert Sumrell: Working collaboratively helps us to expand our interests and test ideas from multiple perspectives. Kazys's background lies in the History of Architecture, Urbanism, and Telecommunications, while I spent time in Comparative Religious Studies and Interior Design. When our interests and knowledge bases overlap (Büro Landschaft or post-1960 Italian design, for instance) we investigate these questions from a variety of schools of thought, and not just from our shared experience in architecture school. Working collaboratively also helps us to avoid comfort zones and familiar logic. There are few topics of conversation in most architecture schools, and the terms used to investigate them are exhausted. Even the youngest students are already hip to the game, rolling their eyes and playing along as someone spends an hour rambling on about nonsense like "programmatic indeterminancy" or "interstitial space." Most architecture schools are reactionary, dealing with their backwardness by limiting research to ever-more proscribed themes. We want to do the opposite: open up new areas of research. RG: To give readers a better understanding of AUDC’s work, I’m wondering if you could talk about one of your current projects. Maybe the Quartzsite work? KV: Quartzsite, Arizona is a town of 5,000 residents in the summer, located 180 miles from this site. Situated along I-10, some fifteen miles from the California border, every winter Quartzsite swells with an influx of snowbirds, campers from across North America, generally escaping the cold northern climate in search of sunshine, the solitude of the desert, and the company of like-minded individuals. According to the Bureau of Land Management and the Quartzsite Chamber of Commerce, up to 1.5 million inhabitants settle in town every winter, bringing their lodgings with them, in the form of recreational vehicles or RVs. At any one time in January and February, hundreds of thousands of residents make this remote desert town into a substantial urban center. Quartzsite fascinates us because it’s a kind of living parable for the contemporary city. It is void of any qualities and has no higher aspiration. There are mall-like shopping spaces and residential compounds, but there is no public space. Production is non-existent. Instead, Quartzsite is a city of trade, consumption, and tourism. It’s a place in which individuals go to get away from their neighbors and to become individuals, but it’s also a place of incredible density where RV is packed cheek-by-jowl with RV. AUDC’s installation for the 2004 High Desert Test Sites (http://www.highdeserttestsites.com/) reproduces Quartzsite in the patch of desert through a series of thirteen signs, each containing a scene from Quartzsite. The number on each sign corresponds to a number on the map on the back-side of this page. You may visit the signs geographically or you may visit them numerically. Visited geographically, the signs allow you to meander through the topography of this site as you come to an understanding of the lay of the land in Quartzsite. Read in numeric order, the signs form a narrative explaining the history of Quartzsite, as well as providing a sociological and anthropological reading of the community as it is today. The project also exists, as does all our work, on the web (at http://www.audc.org/quartzsite). So even though you should go to the site itself, you can also go to the High Desert Test Sites site, or to the website. Each site (site/nonsite/website) is distinct, however, and brings with it its own experience. So in the HDTS version, you begin to experience not only Quartzsite but also the silence of the desert. On the web, we hope you begin to explore linear and non-linear processes and the interaction of this space with more distant ones. RG: I'm curious about the decision to utilize the kinds of cultural spaces that exhibit "Art." There is a great contradiction that seems to be gaining some momentum in shows like "the gardenLAb experiment" (http://www.rhizome.org/thread.rhiz?thread=14740&page=1#28146) and "the Interventionists" (at MASS MoCA), where the art is being made by people with large personal investments outside of the artworld and its usual concerns, yet it hardly represents what one could call "outsider art." RS: Few stable public venues sponsor speculative research projects and installations. Because of this, not many people know that they exist or have any experience approaching them. Our projects don't overtly refer to a product, a sponsor, a design method, or a solution. In the absence of any of these conditions, the art gallery/museum has become an important forum for AUDC because it consistently looks for work which is difficult to categorize and will generally display it in a generic space without insisting on the participants' adherence to a specific format. There's nothing better than the white cube is there? The museum/ art gallery is one of the few remaining places where people gather specifically for the purpose of concentrating on and interacting with projects (many of which they do not anticipate immediately, or perhaps ever, fully understanding). It is the steady influx of these patrons that we are really after, not the "gallery installation" itself. AUDC has also undertaken and tailored projects for books, magazines, and the web. Installations, however, are capable of presenting complex ideas through a combination of media working together. It is the practice of art as a history of forms of presentation that interests me and informs our work. This applies equally well to the designs of trade exhibits, world's fair pavilions, and history museums. KV: What we're seeing is a final transformation of the institution of art. On the one hand, the art museum and gallery have finally fulfilled Robert Smithson’s prophecy to become discotheques. Most of the contemporary work in art venues, today, is some form of kitsch. If it provokes a smile or stimulates a gag reflex, it wins an award. There is no discernible project in contemporary art, today. As Alain Badiou says of contemporary art, when everything is possible, nothing is possible. There are no attempts to push boundaries or to create new possibilities, only to realize and endlessly retread existing ones. But we shouldn't be surprised about this. Art is a thing of the past. It is exhausted as a form of practice. For us, the interesting thing is not to condemn that condition but to take advantage of it. The academy, with its requirements of tenure, is still a narrow place. Ultimately that's a good thing, discipline instills a certain honesty and a need to focus. So work like ours can't readily appear there. It is neither architecture nor architecture history, nor architecture theory, nor is it art. Being unclassifiable, it doesn't fit in the academy. Instead, as our friend Julian Bleeker has said of his own project (techkwondo.com), art installations offer us a place to do what we can’t do elsewhere. If the gallery provides us a venue, then we take it. If the academy, or for that matter, the shopping mall would provide a venue, we would take that. The same goes for the web. It is a venue. Once you fetishize these places, you’re creating striated space and you’re in trouble. RG: Speaking of "speculative research," it seems quite a bit has been written about 'conceptual architecture,' lately--projects with no intention of being materialized beyond models. Peter Lunenfeld, in _Snap to Grid_ commented on Lev Manovich's assertion that computer graphics have "killed" architecture, saying that his dismissal of 3D space was a bit hasty. AUDC's projects seem to offer a different kind of "speculation" in that they seem concerned with analyzing architectural form in order to offer a critique of some kind, rather than generating theoretical possibilities for manipulating space and movement — there's a concern in your projects for pre-existing spaces. KV: Our concern with pre-existing spaces stems from our belief that radical territorial changes are over, that form is obsolete as an object of research, and that the visual realm is of less and less importance, daily. Territories are complete. You can add a Frank Gehry concert hall or two, but structurally speaking that's an updated version of Utzon's Sydney Opera House. Architecture makes its flourishes in the city core. This acts as an alibi to sprawl. Disney Hall is funded by Eli Broad, but that’s the same Broad of Kaufmann Broad, now KB Homes, the largest builders of sprawl in the country. Disney Hall, Broad says, isn't penance, it's just what you do in the city while you build sprawl outside. What you will see is an environment that looks largely identical to the one we have now. Don't expect the city or the suburb to look radically different in the future. Instead, expect them to be augmented. Look at it this way, even if you can use the Building Architect Tool or Urban Renewal Kit in SimCity, most people don’t. For the vast majority of players, hours of fun can be derived from playing a game that consists of combining predefined structures in endless permutations. And although most SimCity games end with the city destroyed or the mayor thrown out, that doesn’t seem to stop anyone. RS: Architecture is not only too costly to construct, it has become incapable of acting as an agent for change. As a form of media, architecture addresses collective groups, or a society. We no longer live under these conditions and act, instead, as a fully-commodified collection of individuals. Modernism and the avant-garde have become aesthetic choices. What then, is an interesting or radical position for the present time? It must somehow include an interest in the existing world and apathy toward its products. The old post-modern world of the seventies was a surface application of history as ironic or decorative elements in a flat eclecticism. It was never meant to bring back the past, instead it desperately tried to maintain the idea that all of those goods were behind us and to keep them at bay by making them odd objects in a greater whole still of the time. eBay, as a practice, has made this idea obsolete. RG: Considering that "territories are complete," I'm wondering what you make of the work of other architecturally invested people, like Marjetica Potrc (http://www.potrc.org/project2.htm), that seem to be exploring a new kind of utopian program combining "green design" concepts with an engagement in globalization discourses. KV: I appreciate any practice that strives to improve someone's quality of life. Marjectica Potrc tries to achieve this by making direct interventions in the city and producing work that illustrates the variety of conditions in which people live. But we cannot escape our own complicity and accountability within globalization, nor do we have the distance necessary to propose visionary alternatives. Andrea Branzi has stated that environmentalism is opposed to humanity. So is architecture. The building process is the greatest source of solid waste that civilization produces. As we mentioned earlier, AUDC was founded to produce buildings, but we grew past that. Conceptual architecture does not act in the world of goods, but on the assumptions that structure our relationship with the world itself. The production of physical forms is merely a source of fascination and novelty. I am much more interested in the United Nations guidelines for refugee camps and the temporary infrastructure continuously recreated in Quartzsite, AZ, than in the social space of Burning Man or the new Prada store. An investigation of the first two communities will bring about significant knowledge of urbanism while the latter two amount to little more than juvenile escapism. + http://www.audc.org/projects/index.php/Ether + http://www.audc.org/projects/index.php/AUDC + http://varnelis.net/projects/muzak/index.html + http://audc.org/projects + http://www.highdeserttestsites.com/ + http://www.audc.org/quartzsite + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 15 Sep 2005 21:53:39 -0700 from: Jeremy Turner message-id: <200509160453.j8G4rdZq012020@idx164.idx.net> subject: RHIZOME_RAW: LIVE 2005 Biennial of Performance Art opens Hello Rhizome readers, October 15th is the opening of the LIVE Biennial of Performance Art in Vancouver, Canada. Please check the website for more details: www.livevancouver.bc.ca The grand opening is the 14th but officially, it begins on the 15th and runs until November 26. The theme for 2005's Biennial is Altered States. If you are in town during this time, I hope you can attend some of the events. Cheers, Jeremy Turner -Coordinator, LIVE 2005 Biennial of Performance Art, Vancouver + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 15 Sep 2005 21:55:51 -0700 from: Jeremy Turner message-id: <200509160455.j8G4tpIk012195@idx164.idx.net> subject: RHIZOME_RAW: last LIVE Biennial event Dear Rhizome readers, As the LIVE Biennial of Performance Art finishes up in Vancouver on the 26th, our last event will be on November 25th at the Vancouver Art Gallery. This will be a multimedia grand finale. Please visit www.livevancouver.bc.ca for more details. Cheers, Jeremy Turner - Coordinator LIVE 2005 Biennial of Performance 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Fri, 16 Sep 2005 03:19:47 -0700 from: Edward Picot message-id: <200509161019.j8GAJlhe015857@idx164.idx.net> subject: RHIZOME_RAW: Rogue Mail - The Hyperliterature Exchange, September 2005 New on The Hyperliterature Exchange for September 2005: Edward Picot reviews "Intimacies", an email novel by the USA writer Eric Brown. "For a work of hyperliterature, Intimacies was heavily publicised and widely written-about when it first came out at the beginning of 2004. Articles about it appeared in the New York Times and (in the UK) the Guardian. According to Eric Brown it was downloaded about 5,000 times in its first four months online, and the figure is now up to about 8,000... So what, if anything, is the fuss all about?" To read the whole review, go to http://hyperex.co.uk/reviewtintimacies.php . The Hyperliterature Exchange is an online directory and review of new media literature for sale on the Web. More than 120 works are now listed. Please visit and browse at http://hyperex.co.uk . - Edward Picot personal website - http://edwardpicot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Sep 2005 14:47:22 +0200 (CEST) from: trashconnection message-id: <20050916124722.A149B21FD1@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Vax value Vietnam, VP veering VESA, VP vaginas versionable, Verbs Vmatrix. 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, 16 Sep 2005 06:05:58 -0700 from: message-id: <200509161305.j8GD5wdM009174@idx164.idx.net> subject: RHIZOME_RAW: Art Exhibit to benefit Katrina Victims- Invitation for Artist Submissions We are a gallery in Chicago's West Loop district looking for any artists from the New Orleans and Biloxi areas or those that were scheduled to exhibit with any displaced New Orleans galleries in the coming months. We are having a group show of artists displaced by hurricane Katrina beginning November 18th through December 31st. We are welcoming artist submissions immediately. A portion of the proceeds from any sales will go to a New Orleans relief fund. Please send your contact information/interest to the email provided in this posting or at: Giola Gallery 118 N. Peoria, 4th Floor Chicago, IL 60608 phone: 312 850 4487 Thank you, Giola 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=WINDOWS-1252 date: Fri, 16 Sep 2005 10:12:01 -0700 from: Marisa Olson in-reply-to: message-id: <23e24a26050916101251748596@mail.gmail.com> references: subject: RHIZOME_RAW: Fwd: [NEW-MEDIA-CURATING] LIVE STREAMING Refresh! ---------- Forwarded message ----------From: Oliver Grau Date: Sep 16, 2005 9:54 AMSubject: [NEW-MEDIA-CURATING] LIVE STREAMING Refresh!To: NEW-MEDIA-CURATING@jiscmail.ac.uk LIVE STREAMINGRefresh! 1st International Conference on theHistories of Media Art, Science and Technology " Recognizing the increasing significance ofmedia art for our culture, this Conference on theHistories of Media Art will discuss for the firsttime the history of media art within theinterdisciplinary and intercultural contexts ofthe histories of art. Banff New Media Institute,the Database for Virtual Art and Leonardo/ISASTare collaborating to produce the firstinternational art history conference covering artand new media, art and technology, art-scienceinteraction, and the history of media aspertinent to contemporary art. " www.banffcentre.ca/bnmi/http://virtualart.hu-berlin.dehttp://mitpress2.mit.edu/e-journals/Leonardo/ Venue:September 29 - October 1, Banff New Media Institute, CanadaCONFERENCE PROGRAM with streaming timeswww.MediaArtHistory.org Viewing:Since we have only a few places left to attendthe conference in Banff we are web streaming liveall keynotes, sessions and discussions from thesite. Viewing the sessions in groups atUniversities, Libraries, and Art Centers isencouraged, in order to facilitate localdialogue. Web streaming is available in Quicktime and Windows Media. For optimal viewing onlarger screens and for in-screen viewing of powerpoint presentations, prior download of WindowsMedia is recommended. Program:29. September 05 GMT 15:30 h / CANADA 8:30 amkeynote Edmond Couchot: Towards the Autonomous Image 16:30h / 9:30 am - opening plenary - MediaArtHistories: Times & Landscapes 1(Chairs: Oliver Grau and Gunalan Nadarajan )After photography, film, video, and the littleknown media art history of the 1960s-80s, todaymedia artists are active in a wide range ofdigitalareas (including interactive, genetic, telematicand nanoart). Media Art History offers a basisfor attempting an evolutionary history of theaudiovisual media, from the Laterna Magica to thePanorama, Phantasmagoria, Film, and the VirtualArt of recent decades. This panel tries toclarify, if and how varieties of Media Art havebeen splitting up during the last decades. Itexamines also how far back Media Art reaches as ahistorical category within the history of Art,Science and Technology. This session will offer afirst overview about the visible influence ofmedia art on all fields of art.Speakers: Gunalan Nadarajan, Luise Poissant, Oliver Grau, Mario Carpo 17:30h / 11:30 am - plenary Methodologies(Chair: Mark Hansen and Erkki Huhtamo)Critical overview of which methods art historyhas been using during the past to approach mediaart.Speakers: Mark Hansen, Erkki Huhtamo, Irina Aristarkhova, Andreas Broeckmann 21:10h / 2:10 pm - plenary - Image Science andRepresentation: From a Cognitive Point of View(Chair: Barbara Stafford)Although much recent scholarship in theHumanities and Social Sciences has been"body-minded" this research has yet to grapplewith a major problem familiar to contemporarycognitive scientists and neuro scientists. How dowe reconcile a top-down, functional view ofcognition with a view of human beings as elementsof a culturally shaped biological world?Historical as well as elusive electronic mediafrom the vantage of an embodied and distributedbrain.Speakers: Barbara Stafford, Kristin Veel, Christine Ross, Phillip Thurtle &Claudia X. Valdes, Christopher Salter, Tim Clark 12:25 h / 4:25 pm - concurrent session 1 - Art asResearch / Artists as Inventors(Chair: Dieter Daniels)Do "innovations" and "inventions" in the field ofart differ from those in the field of technologyand science? Have artists contributed anything"new" to those fields of research?Speakers: Dieter Daniels, Chris Meigh-Andrews, Fred Turner, Simon Penny,Cornelius Borck concurrent session 2 - MediaArtHistories: Times and Landscapes 2(Chairs: Edward Shanken and Charlie Gere)Although there has been important scholarship onintersections between art and technology, thereis no comprehensive technological history of art(as there are feminist and Marxist histories ofart, for example.) Canonical histories of artfail to sufficiently address theinter-relatedness of developments in science,technology, and art.Speakers: Edward Shanken, Charlie Gere, Grant Taylor, Darko Fritz & MargitRosen, Sylvie Lacerte, Anne Collins Goodyear, Caroline Langill, MariaFernandez 30. September 05 GMT 15:45 h / 8:45 am - plenary Collecting,Preserving and Archiving the Media Arts(Chair: Jean Gagnon)Collections grow because of different influencessuch as art dealers, the art market, curators andcurrents in the international contemporary artscene. What are the conditions necessary for awider consideration of media art works and of newmedia in these collections?Speakers: Jean Gagnon, Christiane Paul, Peter Weibel, Jon Ippolito 18:00 h / 11:00 am - concurrent session 1 - Database/New Scientific Tools(Chairs: Rudolf Frieling and Oliver Grau)Accessing and browsing the immense amount of dataproduced by individuals, institutions, andarchives has become a key question to ourinformation society. In which way can newscientific tools of structuring and visualizingdata provide new contexts and enhance ourunderstanding of semantics?Speakers: Oliver Grau, Rudolf Frieling, Sandra Fauconnier, Christian Berndt,Alain Depocas, Anne-Marie Duguet concurrent session 2 - Pop/Mass/Society(Chairs: Machiko Kusahara and Andreas Lange)The dividing lines between art products andconsumer products have been disappearing more andmore since the Pop Art of the 1960s. Thedistinction between artist and recipient has alsobecome blurred. Most recently, the digitalizationof our society has sped up this processenormously. In principle, more and more artworksare no longer bound to a specific place and canbe further developed relatively freely. The panelexamines concrete forms, e.g. computer games,determining the cultural context and whatconsequences they could have for theunderstanding of art in the 21st century.Speakers: Machiko Kusahara, Andreas Lange, Karen Keifer-Boyd, TobeyCrockett, Mark Tribe 3:00 h / 8:00 pmRudolf Arnheim Lecture:Sarat Maharaj: Xeno-Epistemics: Global Migrations and other Ways' of Knowing 1. October 05 GMT 15:30 pm / Canada 8:30 am - plenary - Cross-Culture - Global Art(Chair: Sara Diamond)This panel provides an opportunity to put aspecial focus on cross-cultural influences, theglobal and the local. For example, how what arethe impacts of narrative structures fromAboriginal and other oral cultures on theanalysis and practice of new media? How donotions of identity shift across cultureshistorically, how are these embedded andtransformed by new media practice? How doesglobalization and the construction of globalcontexts such as festivals and biennials effectlocal new media practices?Speakers: Sara Diamond, Sheila Petty, Mary Leigh Morbey, ThomasRiccio, Aparna Sharma, Laura Marks 17:45 h / 10:45 am - concurrent session 1Cross Diciplinary Research Methods(Chairs: Ron Burnett and Frieder Nake)The pressure to become interdisciplinary is veryintense — coming from a variety ofdisciplines and institutions. Ironically, thispressure has been around for a very longtime. So, why don't we just strive for excellenceirrespective of discipline? Don't the artisticpractices within the field of New Media push usin that direction anyway?Speakers: Frieder Nake, Ron Burnett, Dot Tuer, Guy Sui Durand, MichaelCentury, David Tomas, Will Straw concurrent session 2 - Rejuvenate: Film, Sound and Music in Media Arts History(Chairs: Douglas Kahn and Sean Cubitt)During an earlier period of new media artsdiscourse, time-based media were often consideredto be "old media." While this conceit has beentempered, we still need to consider thesophistication and provocation of film, sound andmusic from the perspective of media arts history.Speakers: Douglas Kahn, Sean Cubitt, Keith Sanborn, Scott Bukatman 20:45 h / 1:45 pmkeynote Lucia Santaella: The Semiosis of Media Art, Science and Technology 21:45 h / 2:45 pm - concurerent session 1 -Collaborative Practice/ Networking (History)(Chairs: Ryszard Kluszczynski and Diana Domingues)In a network people are working together, theyshare resources and knowledge with each other -and they compete with each other. This processhas sped up enormously within a few decades andhas reached a new quality/dimension. The dataflowcreated new economies and new forms of humancommunication.Speakers: Ryszard Kluszczynski, Diana Domingues, Nina Czegledy, Todd Davis,Douglas Jarvis, Jeremy Turner, Margaret Dolinsky concurrent session 2 - What Can the History ofNew Media Learn from History of Science/ScienceStudies?(Chair: Linda Henderson)Science and technology have been an importantpart of the cultural field in the 20th century,and the history of science and science studies -along with the field of literature and science -offer important lessons for art historianswriting the history of new media art.Speakers: Timothy Lenoir, Linda Henderson, Timothy Druckrey,Simon Werrett, Yann Chateigné 12:00 am / 5:00 pm - concurrent session 1 - HighArt/Low Culture - the Future of Media ArtSciences?(Chair: Karin Bruns)The panel aims to bring together themethodological fields of media studies and mediaart history. Rather than limiting their focus tocanonical works of art new studies in media artproduction blend methods and issues from arthistory and media sciences as well as fromcommunication studies, sociology, technosciences, art history, cultural and postcolonialstudies.Speakers: Karin Bruns, Yara Guasque, Andy Polaine, Claus Pias, Barbara Paul concurrent session 2 - History of Institutions(Chairs: Itsuo Sakane and Jasia Reichardt)There are inevitable parallels between thedevelopment of what we now call media art andlife at large. Excess of information leads toinsecurity — what to believe, what to select,what to keep and what to discard. Sustainability,conservation, education and access are topicsrelevant to today's media art, and as relevant toit as to our natural resources. Now that mediaart has a history, how do we keep track of it andpreserve it?Speakers: Itsuo Sakane, Jasia Reichardt, Michael Naimark, Peter Richards,Johannes Göbel, Andreas Broeckmann (Discussant) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 16 Sep 2005 13:14:17 -0700 from: Jason Van Anden message-id: <200509162014.j8GKEHDV031870@idx164.idx.net> subject: RHIZOME_RAW: Re: you can adopt ascii chewy new twist on old ascii dog art: http://www.smileproject.com/chewy/v/5/ chow + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set 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: Sat, 17 Sep 2005 10:29:16 +1000 from: Komninos Zervos message-id: subject: RHIZOME_RAW: [webartery] ANNOUNCEMENT - new works online - DAWN and INTER.WOVEN
great new work by strasser

-----Forwarded by Komninos Zervos/Staff/Griffith on 17/09/2005 10:30AM -----

To: <webartery@yahoogroups.com>
From: Reiner Strasser <reiner.s@netartefact.de>
Sent by: webartery@yahoogroups.com
Date: 17/09/2005 07:22AM
Subject: [webartery] ANNOUNCEMENT - new works online - DAWN and INTER.WOVEN

Hello all,

there are two new works online

++++++++++++++++++++++++

Alan Sondheim's DAWN

text, photography, sound: Alan Sondheim (USA)

composed by Reiner Strasser


http://nonfinito.de/dawn/


File size: 1.9Mb

++++++++++++++++++++++++

INTER.WOVEN  [3*4]

music: Christophe Petchanatz (F)

by Reiner Strasser, Sept.  2005


INTER.WOVEN
is an interactive (Flash) piece meditating  about time and space,
about nature and seasons.


http://nonfinito.de/interwoven/


Tech:
File  size: 5.5Mb
Fast computer (>=2GHz), good monitor, sound system, fast internet connection
recommended.

++++++++++++++++++++++++

have fun with ist

Reiner


:::::::::::::::::
Reiner Strasser
:::::::::::::::::
reiner.s@netartefact.de
reiner@reiner-strasser.de
:::::::::::::::::
http://reiner-strasser.de/
:::::::::::::::::
http://netartefact.de/
:::::::::::::::::




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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=US-ASCII date: Sat, 17 Sep 2005 10:33:25 +1000 from: Komninos Zervos message-id: subject: RHIZOME_RAW: [webartery] ANNOUNCEMENT - new works online - DAWN and INTER.WOVEN great new work by strasser -----Forwarded by Komninos Zervos/Staff/Griffith on 17/09/2005 10:30AM ----- To: From: Reiner Strasser Sent by: webartery@yahoogroups.com Date: 17/09/2005 07:22AM Subject: [webartery] ANNOUNCEMENT - new works online - DAWN and INTER.WOVEN Hello all, there are two new works online ++++++++++++++++++++++++ Alan Sondheim's DAWN text, photography, sound: Alan Sondheim (USA) composed by Reiner Strasser http://nonfinito.de/dawn/ File size: 1.9Mb ++++++++++++++++++++++++ INTER.WOVEN [3*4] music: Christophe Petchanatz (F) by Reiner Strasser, Sept. 2005 INTER.WOVEN is an interactive (Flash) piece meditating about time and space, about nature and seasons. http://nonfinito.de/interwoven/ Tech: File size: 5.5Mb Fast computer (>=2GHz), good monitor, sound system, fast internet connection recommended. ++++++++++++++++++++++++ have fun with ist Reiner ::::::::::::::::: Reiner Strasser ::::::::::::::::: reiner.s@netartefact.de reiner@reiner-strasser.de ::::::::::::::::: http://reiner-strasser.de/ ::::::::::::::::: http://netartefact.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: Sat, 17 Sep 2005 09:39:11 +0200 (CEST) from: trashconnection message-id: <20050917073911.88ACC21FD0@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Wednesday were widehat Wales, Wharton wanna-be WYSIWYG, Winston Churchill wank WOULD webmasters, . 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, 17 Sep 2005 01:37:56 -0700 from: Yael Kanarek message-id: <200509170837.j8H8buax002390@idx164.idx.net> subject: RHIZOME_RAW: The Upgrade! International, September 23-24 at Eyebeam Dear all, The Upgrade! is a network of international monthly meetings in the field of art and technology. Since 1999, The Upgrade! exists as forums for artists, designers, critics, curators and educators who form the communities in different cities to discuss and share knowledge. The Upgrade! International is the first gathering that brings together the organizers from the U.S. and abroad for a weekend of sharing work, ideas and discussions surrounding the evolving network and arts community. All events listed are open to the public free of charge. http://www.theupgrade.net Please join us next week to meet a highly-motivated group of artists/curators who organize the gatherings in different cities around the world (soon in Toronto, Istanbul and Sofia). The gatherings are often associated with art & technology centers. By default this emerging network sustains open communication lines between these nodes. We're meeting to develop a vision as a global network to highlight the creative work done in the field. SHOW •September 16-24, 2005 Documentation of works by 131 artists who participate at Upgrades! around the world. Representing: Boston, Chicago, Montreal, Munich, New York, Oklahoma City, Scotland, Seoul, Tel Aviv, Vancouver. GATHER •Friday, September 23: 7:30-9:00 pm Sala-Manca Group performs "Elephants on Metula's Nights" and discusses their practice at our monthly gathering. The Sala-Manca Group is comprised of Lea Mauas and Diego Rotman, Argentine-Israeli artists who have been creating work in performance, video, installation and new media since 2000. Sala-manca's works deal with the poetics of translation, Yiddish culture, the tensions between low-tech and high-tech aesthetics, as well as social and political issues. SHARE •Saturday, September 24: 12:00-7:00 pm How does each Upgrade form its presence and community? What is the potential of the network? Join artists, curators and organizers for two panels, lecture and party. 12:00 pm: Introduction and welcome. 12:10 pm: The New York Upgrade! story with media artist Yael Kanarek and Director of Education at Eyebeam Liz Slagus. 12:45 pm: Artist-Run Upgrades! with Tiffany Holmes, Chicago; Tamiko Thiel, Munich; Adam Brown, Oklahoma City; Mushon Zer-Aviv and Sala-Manca Group, Tel Aviv; Kate Armstrong, Vancouver. Moderated by Yael Kanarek. 2:45-3:15 pm: Break 3:15 pm: Art + Tech Organizations Upgrades! with Jo-Anne Green and Catherine D'Ignazio, Boston; Cezanne Charles and Robb Mitchell, Scotland; Suhjung Hur, Seoul; Tobias C. Van Veen, Montreal. Moderated by Liz Slagus. 5:15 pm: "NETWORKS, AGENCY, PROPERTY and POLICY: Practical thoughts on the emergence of new global cultural formations" — closing talk by leading scholar of media arts Michael Century. 6:00 pm: After-party with music by artist/DJ Tobias C. Van Veen. + + + The Upgrade! is an international network of monthly meetings in the field of art and technology. EYEBEAM 540 w 21st Street between 10th & 11th Avenues Hours: Tues–Sat, 12:00–6:00pm Bookstore: Tues–Sat, 12:00–6:00pm Admission: All events are free to the public unless otherwise noted http://www.eyebeam.org, info@eyebeam.org 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. 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 17 Sep 2005 07:40:24 -0700 from: Marjan van Mourik message-id: <200509171440.j8HEeOGG001457@idx164.idx.net> subject: RHIZOME_RAW: Mediummagazine Medium Magazine is an international arts magazine that exists over web, print and live space. Our main aim is to give upcoming creative talent a platform to show their work to the public all over the world, and to people in the creative industries. Graduates and professionals of any creative discipline can send work for publication: http://mediummagazine.net/submissions.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: Sat, 17 Sep 2005 11:43:15 -0700 from: Warren Sack message-id: <200509171843.j8HIhFUn025401@idx164.idx.net> subject: RHIZOME_RAW: Job Posting: Assistant Professor in Critical Studies Position: Assistant Professor in Critical Studies Institution: University of California - Film & Digital Media Department Location: Santa Cruz, California Application deadline: 11/18/2005 If you are interested in more information about the job do not reply to me; rather please email film@ucsc.edu. The Film and Digital Media Department, University of California, Santa Cruz, invites applications for a tenure-track position in critical studies. Applicants with a scholarly emphasis in international film and/or media are especially desirable; candidates with expertise in other areas of film, television and/or digital media theory and/or history are also invited to apply. Requires Ph.D. in relevant field of study, with demonstrated potential for excellence in innovative research and for excellence in university teaching. Please refer to the complete job announcement and application requirements at http://www2.ucsc.edu/ahr/employment/bulletin/05-06/700-06.pdf Candidates should submit letter of application, curriculum vitae, writing samples, syllabi from courses previously taught, three confidential letters of recommendation, and summary of past student evaluations, if available, to Search Committee, Film & Digital Media Department, University of California, 1156 High Street, Santa Cruz, CA 95064. Refer to provision #700-06. Postmark deadline: November 18, 2005; position open until filled. UCSC is an EEO/AA Employer. Enclose a self-addressed, stamped envelope if you desire writing samples returned at the end of this recruitment. Questions regarding the department or position may be addressed to film@ucsc.edu. Further information about the department is available at http://film.ucsc.edu/. Contact Information: Job code: #700-06 E-mail: film@ucsc.edu Web Site: http://film.ucsc.edu Search Committee Film & Digital Media UC Santa Cruz 1156 High Street Santa Cruz, CA 95064 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 17 Sep 2005 22:34:20 +0200 (CEST) from: trashconnection message-id: <20050917203420.7B61521FD0@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Xml xiipt , xml XORs, xxx 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: Sat, 17 Sep 2005 15:41:56 -0700 from: message-id: <200509172241.j8HMfuS0016569@idx164.idx.net> subject: RHIZOME_RAW: HMC 10days Residency/Seminar/Exhibition,Budapest/Hungary 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=utf-8 date: Sat, 17 Sep 2005 15:42:41 -0700 from: message-id: <200509172242.j8HMgfa4016715@idx164.idx.net> subject: RHIZOME_RAW: HMC 10days Residency/Seminar/Exhibition,Budapest/Hungary 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=utf-8 date: Sat, 17 Sep 2005 15:43:27 -0700 from: message-id: <200509172243.j8HMhR7C016901@idx164.idx.net> subject: RHIZOME_RAW: HMC 10days Residency/Seminar/Exhibition,Budapest/Hungary 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=utf-8 date: Sat, 17 Sep 2005 22:13:41 -0700 from: message-id: <200509180513.j8I5DfUs031443@idx164.idx.net> subject: RHIZOME_RAW: Get Your Work Published Get your work PUBLISHED in Exploring Motion Graphics, an exciting new book and DVD all about the art and design of motion graphics. We are seeking submissions of student and professional motion graphics pieces that use text, graphics and sound as a means of communicating the message to an audience. Send all submissions, with entry form, on CD or DVD to Rebecca Gallagher, 160 N. 4th St., #6, Brooklyn, NY 11211. For entry forms and additional information email Rebecca Gallagher at rebeccagallagher@gmail.com or go to http://rgstyles.com/motiongraphics.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: Sat, 17 Sep 2005 23:38:20 -0700 from: Desiree message-id: <200509180638.j8I6cKOu017991@idx164.idx.net> subject: RHIZOME_RAW: Re: Research Chronology Aaron Siegel wrote: > This mapping of my social bookmarks was a semester long evolving > project about collecting and journaling information on a regular > basis. Since I had abandoned regular bookmarks in exchange for social > bookmarks at the beginning of the semester, I decided to > chronologically map my research activity and allow people to browse > the narratives that are formed. Bravo:) ps - have you caught wind of digg.com? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 18 Sep 2005 08:17:06 -0700 (PDT) from: Lewis LaCook message-id: <20050918151706.97305.qmail@web35601.mail.mud.yahoo.com> subject: RHIZOME_RAW: from The Golden Path - an awful posture an awful posture rimmed with answers slimming features on an empty form--meat *************************************************************************** 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: Sun, 18 Sep 2005 08:18:29 -0700 (PDT) from: Lewis LaCook message-id: <20050918151829.66540.qmail@web35611.mail.mud.yahoo.com> subject: RHIZOME_RAW: from The Golden Path - getting slutty with flung air getting slutty with flung air again--too fussy for cold touches because she's coming in me--waking up-- wired as an overgrown lawn *************************************************************************** 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: Sun, 18 Sep 2005 08:23:13 -0700 (PDT) from: Lewis LaCook message-id: <20050918152313.83998.qmail@web35603.mail.mud.yahoo.com> subject: RHIZOME_RAW: from The Golden Path - you're always tearing everything you're always tearing everything with touch eating and sensate tenderness enwrapt in larger radar where robots suffer the spark you just don't catch *************************************************************************** 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=US-ASCII; format=flowed date: Sun, 18 Sep 2005 13:50:50 -0400 from: doron message-id: subject: RHIZOME_RAW: Understanding Copyright and Fair Use from DV info net > http://tinyurl.com/e2y7u from cowmunications http://tinyurl.com/832qf http://tinyurl.com/92uyc source: MediaBlab Producer http://tinyurl.com/7lgbv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 18 Sep 2005 22:56:56 +0200 (CEST) from: trashconnection message-id: <20050918205656.B614C21FD0@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Yds yen , Y2K yuck , yesterday yacc, . 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, 18 Sep 2005 20:31:59 -0700 from: message-id: <200509190331.j8J3VxM2021640@idx164.idx.net> subject: RHIZOME_RAW: Call for entries - Digital video Festival The producers of MostraMundo – The Moving Image Festival invites you to take part of it’s 2005 edition, that will take place from November 3rd to November 11th, in Recife/Brazil, exhibiting the best contemporary international audiovisual productions. The MostraMundo is an international film and video festival that ranges from competitive and non-competitive exhibitions to courses, workshops, lectures, and debates about the contemporary cinematographic production and market. Awards will be given to talent video makers in four competitive screenings: School, College, Professional and Web. If you have made any original movie, using digital devices, since january 2004, submit as many videos as you want, until October 14th. You will not only be showing your work, but also enhancing a lot our exbibitions. www.aeso.br/mostramundo + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 18 Sep 2005 21:05:42 -0700 from: Patrick Giron message-id: <200509190405.j8J45gpk027358@idx164.idx.net> subject: RHIZOME_RAW: "Best of ICAM 2005" website Greetings, My name is Patrick Giron and I am an undergraduate Visual Arts major at UCSD. Recently, I created a "Best of 2005" website for UCSD's own ICAM program. It contains some of the most fascinating projects created by ICAM's talented students, and I encourage you to check them out. You can visit the site at: http://dimension.ucsd.edu/~best_of_icam_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: Sun, 18 Sep 2005 22:07:10 -0700 from: oddible message-id: <200509190507.j8J57A7l002937@idx164.idx.net> subject: RHIZOME_RAW: Webzine 2005 this weekend in SF, CA "WEBZINE is a real world, face-to-face celebration of independent publishing on the Internet. It's part panel discussions and speakers, part workshops and much freeform collaboration, schmoozing and after-party boozing. The panel discussions aim to inspire, the workshops are hands-on forums of learning and the Master's Lounge is the unstructured place to share knowledge, ideas and URLs. DIY to its core, Webzine is rooted in zine culture and the love of making our own media." Weekend Pass - $20 (+$2 fee) Saturday Only Pass - $12 (+$1 fee) Sunday Only Pass - $12 (+$1 fee) Webzine 2005 http://www.webzine2005.com/ SEPTEMBER 24th/25th 12noon - 6:00pm Swedish American Hall 2174 Market Street San Francisco, Kalifornia + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 19 Sep 2005 10:19:14 +0200 from: "{artVIDEO}" message-id: <20050919101914.75A54275.462F244E@127.0.0.1> subject: RHIZOME_RAW: =?ISO-8859-1?Q?Launch=20of=20selfportrait=20videos? VideoChannel http://videochannel.newmediafest.org is proud to launch on 19 September 2005 another excellent selection of 20 videos focussed this time on the theme "self-portrait", streaming all online. Agricola de Cologne selected and curates these artists *André Austvoll (Norway), Clare Ultimo (USA) *Reuben James Preston (UK), Vince 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) *Donald Bousted (UK), *Svetlana & Andi Wallwhore (USA) *Christina McPhee (USA), *Alice Arnold (USA) The "self-portrait" selection will be also part of VideoChannel DVD collection, consisting of currently 10 volumes to be presented in the framework of the installations of [R][R][F]2005--->XP - global networking project - in physical space as part of the show "Groundworks" - Environmental Collaboration in Contemporary Art 14 October - 11 December 2005 at Regina Gouger Miller Gallery at Carnegie Mellon University Pittsburg/USA http://artserver.cfa.cmu.edu/~miller/exhibitions/online.html and Biennale of Video & New Media Santiago/Chile 18-28 November But the "selfportraits" will be also presented in a gallery installation in the framework of Videologia Festival Volgograd/Russia in November 2005. Detailled information about artists/directors and videos can be also downloaded for free as PDF http://downloads.nmartproject.net/VideoChannel_selfportrait.pdf VideoChannel http://videochannel.newmediafest.org http://cinematheque.le-musee-divisioniste.org *************************************** These information are released by NetEX - networked experience http://netex.nmartproject.net/index.php?blog=3 . info & contact info@nmartproject.net **************************************** Technical requirements: DSL broad bandwidth Internet connection Flash 7 plug-in cross-browser + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms 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_0008_01C5BD0E.913CCD40" date: Mon, 19 Sep 2005 11:37:51 +0200 from: "Franck Ancel" message-id: <000d01c5bcfd$cfa482a0$7d3c4051@nom7fcpybekmhm> subject: RHIZOME_RAW: - Planet of visions - SPN "from Scenography to Planetary Network": an entity of creations, publications, conferences, installations and performances presented by Franck Ancel, in question over contemporary time: the last creation of 2005, in real time via wireless web, via satellite, at an altitude of 30000 feet, more than 900 kilometers per hour, to Tokyo or Shanghai, in the year celebrating France in China and the exhibition of Aichi in Japan. In the continuation of his triptych AIT in France "Architecture - Image - Technology", these communications prepare for further rendez-vous. Ancel now inhabits the planetary space of technology to fall into and under the reality of the imaginary; a World Fair or a World Tour... like the Solarimpulse plane or like the city of Shanghai between the now and 2010. Press & partnership contact info@franck-ancel.com http://franck-ancel.com Running the planet! (1) Europa - Amsterdam 09.24.05 http://culturebase.org/home/struppek/Homepage/urbanscreens_program.html (2) America - Banff 09.30.05 http://www.mediaarthistory.org/navbar-links/program2.htm (3) Africa - coming soon (4) Oceania - Sydney 12.02.05 http://www.turbulence.org/blog/archives/000451.html (5) Asia - to Tokyo or Shanghai - End of 2005 http://www.boeingconnexion.com Courir la plan=E8te ! SRP "de la Sc=E9nographie au R=E9seau Plan=E9taire" est un ensemble de cr=E9ations, =E9ditions, conf=E9rences, installations et performances pr=E9sent=E9es par Franck Ancel qui questionnent l'=E9poque contemporaine. La derni=E8re sera pour 2005 en direct sur Internet, par une connexion sans fil, via satellite =E0 une altitude de 30000 pieds, =E0 plus de 900 kilom=E8tres =E0 l'heure : vers Tokyo ou Shanghai, cette ann=E9e de la France en Chine et de l'exposition d'Aichi au Japon. Ces communications pr=E9parent =E0 des rendez-vous dans la continuit=E9 de son triptyque AIT en France "Architecture - Image - Technologie". Ancel investit d=E9sormais l'espace plan=E9taire de la technologie pour s'inscrire dans la r=E9alit=E9 d'un imaginaire, d'une exposition universelle ou d'un tour du monde, comme l'avion Solarimpulse ou la ville de Shanghai d'ici 2010. Contact presse & partenariat info@franck-ancel.com http://franck-ancel.com BIO N=E9 en 1970, Ile-de-France, Franck Ancel travaille actuellement =E0 Paris. Il questionne depuis quinze ans la technologie, en tra=E7ant une ligne des avant-gardes artistiques du si=E8cle dernier jusqu'aux r=E9centes mutations de la cr=E9ation =E0 l'=E9chelle plan=E9taire. Il a ainsi organis=E9 et coordonn=E9 des colloques, expositions, performances en relation avec des associations et des institutions. La derni=E8re =E9tant la r=E9trospective sur le cr=E9ateur de la =ABsc=E9nographie moderne=BB Jacques Polieri =E0 la BnF. Depuis les attentats du 9.11, Franck Ancel met en place un triptyque interactif et collaboratif questionnant =ABl'architecture - l'image - la technologie=BB sur des sites patrimoines du 20i=E8me si=E8cle (en 2002 au couvent Le Corbusier/Xenakis, en 2003 dans une salle de spectacle class=E9e en Catalogne, puis en 2004 sur l'=E9cran de la Tour Montparnasse =E0 Paris). Franck Ancel interroge le spectateur hors des =ABfronti=E8res=BB classiques, en projetant sur des =AB=E9crans=BB, une mise en =ABr=E9seaux=BB de donn=E9es. Parall=E8lement, il analyse cette pratique par une r=E9flexion plus th=E9orique, dans des textes ou lors de communications. BIO Born in 1970, France, Franck Ancel works in Paris. He has been probing technology for more than fifteen years. He has traced the development from the avant-gardes artists of the last century to the recent mutations of creation on a planetary scale. He has thus organized and coordinated symposiums, expositions, and performances in cooperation with associations and institutions. The last one was a retrospective on Jacques Polieri, the creator of "modern scenography," at the BnF. Since the attacks of 9/11, Franck Ancel has set up an interactive triptych probing "architecture - image - technology" on 20th century heritage sites. In 2002, he put it in the Le Corbusier/Xenakis convent; in 2003 in a classified theater in Catalogne; and in 2004 on the screen of Montparnasse Tower in Paris. Franck Ancel challenges the viewer outside traditional frontiers, by projecting a setting of a network of information on screens. At the same time, he analyzes this technique on a more theoretical level in texts and talk. __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Mon, 19 Sep 2005 04:19:45 -0700 from: Marjan van Mourik message-id: <200509191119.j8JBJjJw024546@idx164.idx.net> subject: RHIZOME_RAW: New Videos We present you a BRAND new playlist with exciting videos from around the globe. Meet the winners of the Golden Nicas 2005 Ars Electronica, an impression of the exhibitions held during that event and have a look at the Tingatinga project of Pierre Mertens in Dar es Salaam, Tanzania. Beside that we have the best exhibitions of Antwerp and Moscow. Information / Transformation, Extracity (Antwerp,B) probes the relationship between information and the desire for political and social changes. The exhibition is intended to focus attention on new forms of information processing that takes shape on the margins of the art world in the work of individual artists. "Russian Pop Art," an exhibit organized by the Tretyakov Gallery's department for new currents in art, that opened last Wednesday. On display are over 250 works from the holdings of the Tretyakov, private collectors and Moscow galleries. Russian Pop art was never heroic enough to meet the dictates of Socialist Realism, and its practitioners worked in obscurity. And we have exiting new art videos. Kaboom by PES (USA). An extra ordinary animation film. 'Grand theft auto Lego City' by Brick Flick GTA: Lego City is a parody of the Vice City trailer and is Brick Flick's first movie. Having just made it back onto the streets of New Brick City after a long stretch inside, Jimmy Bricketti is sent to Lego City by his old boss, Sonny. But all does not go smoothly upon his arrival in the saturated, orthogonal metropolis of Lego City. Last but not least we reminded you on the possibility to submit your videos!!! 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="ISO-8859-1" date: Mon, 19 Sep 2005 13:00:31 +0100 from: Sheindal Cohen in-reply-to: message-id: subject: RHIZOME_RAW: Director, Culture Campus, Liverpool, UK CULTURE CAMPUS DIRECTOR Salary Ł45,000 Culture Campus is a new organisation formed as a partnership between Tate Liverpool, the Liverpool Biennial of Contemporary Art, Foundation for Art and Creative Technology, the University of Liverpool and Liverpool John Moores University. Culture Campus is envisaged as an international centre providing an environment for learning, incubation, research, development, participation and expression in contemporary visual, media and popular culture forms. The appointment of a Director provides an exciting opportunity for the right candidate to drive the project forward. We are looking for a highly experienced arts professional with a passion for contemporary culture to work in partnership, developing links between the sector and HE. The Director will bring a mix of academic and sector specific experience, will be a leader in the field of contemporary culture with excellent strategic and managerial skills and a proven record as a good communicator. You will have the ability to develop a strategy for taking forward this innovative partnership and co-ordinate its activities with key regional, local and national partners. You will represent the partnership at local and international meetings and will be an effective fundraiser able to attract additional funding for the project. This is a full time post on a two year contract in the first instance. Job share applicants will be considered. For more information please contact: Sheindal Cohen. Email recruitment@fact.co.uk Tel: 0151 707 4444. Website www.fact.co.uk . Deadline for applications: October 17 2005. Culture Campus welcomes applications from any individual regardless of ethnic origin, gender, disability, religious belief, sexual orientation and 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: Mon, 19 Sep 2005 05:13:49 -0700 from: Edward Picot message-id: <200509191213.j8JCDnEW031855@idx164.idx.net> subject: RHIZOME_RAW: Rogue Mail - correction to URL Oops! Dropped a bollock in my last announcement, I'm afraid. If anyone tried to reach my latest review and got an error message, it's because the link should have been http://hyperex.co.uk/reviewintimacies.php, not http://hyperex.co.uk/reviewtintimacies.php . I'm grateful to Jim Andrews, amongst others, for pointing this out. Believe me, heads will roll in the admin department. - Edward Picot, his handsome features aglow with embarrassment http://hyperex.co.uk - The Hyperliterature Exchange http://edwardpicot.com - personal website + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 19 Sep 2005 07:22:36 -0700 from: Pattie Belle Hastings message-id: <200509191422.j8JEMa0I017495@idx164.idx.net> subject: RHIZOME_RAW: Faculty Job Posting The Department of Computer Science and Interactive Digital Design at Quinnipiac University invites applications for a full-time tenure track position in print and web design for appointment beginning August, 2006. Interactive Digital Design is a major leading to a B.A. in the College of Liberal Arts. Position requires terminal degree in the field and fluency with industry standard software and hardware for print and web design. Professional graphic design/web design experience and/or knowledge of web standards a plus. Candidates should submit a letter of application, curriculum vitae, statement of teaching philosophy, description of research and artistic interests, three letters of recommendation, 20 samples of personal/professional work and 20 samples of student work (if available). Slides or any digital format will be accepted for portfolio material. Applications should be sent to: Professor Jonathan Blake, Chair, Department of Computer Science and Interactive Digital Design, CL-AC1, Quinnipiac University, 275 Mt. Carmel Avenue, Hamden, CT 06518 or jonathan.blake@quinnipiac.edu. Consideration of candidates will begin January 15, 2006 and continue until position is filled. Quinnipiac University has a strong commitment to the principles and practices of diversity throughout the University community. Women, minorities and individuals with disabilities 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: Mon, 19 Sep 2005 08:34:24 -0700 from: message-id: <200509191534.j8JFYOi3027730@idx164.idx.net> subject: RHIZOME_RAW: "Pillow Talk" -Secret listings Looking for participants. Feel the need to reveal a secret anonymously? Babs Reingold and Caroline Burton seek participants to reveal a secret by posting one or more on their Pillow Talk website. To participate go to: http://www.babsreingold.com/pillowtalk/ "Pillow Talk" is a two-person exhibit that illuminates as object the symbolic pillow and all that it implies. What if pillows could talk? Exposing our intimate secret conversations, obsessions, longings and fears. The concept for “Pillow Talk” embraces the need to reveal and store our secrets in a safe place. All secrets submitted on the site will be utilized in the exhibit and in the opening night performance. Their specific use in the exhibit will be disclosed on the site at the start of the show. Before the exhibition, you may continue to view the secrets submitted on the site, the postings will remain on the site until the close of the show Thanks for your participation! Babs and Caroline + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 19 Sep 2005 08:42:40 -0700 from: message-id: <200509191542.j8JFgeXs029005@idx164.idx.net> subject: RHIZOME_RAW: "Pillow Talk" -Post a Secret Looking for participants. Feel the need to reveal a secret anonymously? Babs Reingold and Caroline Burton seek participants to reveal a secret by posting one or more on their Pillow Talk website. To participate go to: http://www.babsreingold.com/pillowtalk/ "Pillow Talk" is a two-person exhibit that illuminates as object the symbolic pillow and all that it implies. What if pillows could talk? Exposing our intimate secret conversations, obsessions, longings and fears. The concept for “Pillow Talk” embraces the need to reveal and store our secrets in a safe place. All secrets submitted on the site will be utilized in the exhibit and in the opening night performance. Their specific use in the exhibit will be disclosed on the site at the start of the show. Before the exhibition, you may continue to view the secrets submitted on the site, the postings will remain on the site until the close of the show Thanks for your participation! Babs and Caroline + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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: Mon, 19 Sep 2005 18:08:41 +0200 from: nat muller message-id: <11f1a68465dce82ffe2d3998d9c8253f@xs4all.nl> subject: RHIZOME_RAW: ISTANBUL RELOADED at De Melkweg ***************************************** ISTANBUL RELOADED Date: Wed 5th October Location: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam Time:Performances: 20.30 - 22.30 hours Entrance performances: euro 10,- Time: Panel: 16.00 - 18.00 hours (free) Bookings: 020 – 5318181 URL: www.melkweg.nl (under media) ***************************************** ISTANBUL RELOADED invites you to reload your sonic perception, and sample the diversity of Istanbuli experimental sound art.  Istanbul evokes many connotations ranging from the mysterious riches of Byzantium to the throbbing capital of the Eurasian world Constantinople. History books and travel guides have imprinted an image on us ranging from orientalist fairy tale dreams to a modern metropolis negotiating tradition and future, east and west. We can picture Istanbul visually with all its landmarks, and have probably eavesdropped on Turkish pop and traditional music. However, how diversified is that perception? As the cultural capital of Turkey, Istanbul boasts a small, but exceptional experimental electronic music scene, probes the new possibilities real-time processing and other technologies allow for performance and composition, sometimes merging traditional Turkish influences and instruments with the aesthetics of contemporary electronics.  ***************************************** PROGRAM: Wed 5th October ISTANBUL RELOADED: performance 20.30 - 22.00 hours, entrance: € 10 Erdem Helvacioglu (TR) Cev Edit (TR/NL) Anabala (Murat Ertel & Ceren Aykut) (TR) ISTANBUL RELOADED: panel 16.00 – 18.00 hours, entrance: free Participants: Cevdet Erek (TR/NL), Erdem Helvacioglu (TR), Anabala (Murat Ertel & Ceren Aykut) (TR), Abdullah Hendrik Geels (NL) Moderation: Nat Muller (NL) URLs: http://www.erdemhelvacioglu.com/ http://www.babazula.com/ http://www.audiomaze.com/ ***************************************** ISTANBUL RELOADEDis part of “Xeno_Sonic: Experimental Music Mapping in the Middle East”, a project and initiative of Nat Muller in collaboration with De Melkweg. ISTANBUL RELOADED is kindly supported by VSBfonds, Mondriaanfonds, Fonds voor Amateur en Podiumkunsten, Stichting Kulsan, Fonds voor Podium-Programmering & Marketing. The research phase of Xeno_Sonic was supported by The Netherlands Foundation for Visual Arts, Design and Architecture.   Editor’s 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: Mon, 19 Sep 2005 10:11:02 -0700 from: message-id: <200509191711.j8JHB2Qj012497@idx164.idx.net> subject: RHIZOME_RAW: Space Available--- Williamsburg, Brooklyn *Commercial space just opened up near Bedford Avenue These are fantastic deals in a quality building (with NO broker fees) 1800-10,000sqft available. $14/sqft yearly (For example, 1800sqft= $2100/month; 4500sqft= $5250/month) Bldg details: Clean, well-kept Concrete/steel construction Brand new, large windows throughout Great city views Freight elevator Plenty of electricity (triple phase) **Heat is included** Perfect for design, production, artist, and sound studios; office; dance studio; rehearsal space... For questions and showings, please e-mail willburgapts@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: multipart/alternative; boundary="B_3209983412_916972" date: Mon, 19 Sep 2005 14:03:32 -0400 from: Lauren Cornell message-id: subject: RHIZOME_RAW: Rhizome Community Campaign, please help spread the word Hi RAW: Today, Rhizome is kicking off its membership drive, the Community Campaign, and I am hoping you can help us spread the word. Its been an exciting time for Rhizome over the past five months. Following the launch of our new membership policy in May, we launched several features, including the reBlog and also RSS feeds and a Location tool for Members. We also evaluated and energized our current programs, and started to spark new initiatives=8Bsuch as spotlighting Member work=8Bthat should represent our interest in more actively serving the constituencies that use Rhizome as a resource. Meanwhile, the new policy has encouraged former Rhizomers to come back, and opened the door for newcomers. (Site traffic is up 50% from last year.) Fundraising at Rhizome has also been vigorous as of late, as have our efforts at bolstering our earned income initiatives. Still, we are in need of funds to sustain our current programs and seed our energy into new projects such as important enhancements to our site and archives, and an educational program for youth. Contributions from Members play a critical role in our overall financial picture, and the success of this Campaign is key to our survival and growth over the next year. We have set a Campaign goal of $25,000 which we hope to meet by December 1s t . It would be enormously helpful if you could help get the word out by encouraging people-- via your website or blog--to become Members or use thi s time to renew. We are also offering some very compelling limited edition works by artists=8Bincluding Cory Arcangel, Lew Baldwin and MTAA--on a first-come, first-serve basis to people who make higher level donations. You can send people to this page: www.rhizome.org/support As the new Director here, its been an honor to get involved more closely with the network of individuals that make Rhizome the incredibly vital platform for new media art that it is. I see it as of the utmost importanc e to leverage the work of Rhizome=B9s community, as do Francis Hwang and Marisa Olson, and with your support, I know we can carry this exciting moment of change and growth through to Rhizome=B9s ten year anniversary next Fall. Thanks for any help you can give, and all my best to you, Lauren -- 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="US-ASCII" date: Mon, 19 Sep 2005 12:30:51 -0700 from: Eduardo Navas message-id: subject: RHIZOME_RAW: Netartreview.net and newmedidiafix.net Net Art Review stops its activities in the month of September 2005. http://netartreview.net The new website http://newmediafix.net will be expanding on the philosophy that led to the creation of NAR. The new site will allow for a more diverse approach to the many areas of emerging technologies and new media culture. NAR readers are invited to visit it just as often as they did Net Art Review. As founder, I want to thank everyone who collaborated regularly on NAR. I also thank people who sent an occasional text from time to time, and, of course, I thank our readers. I want to especially thank the three contributing editors, Ana Boa-Ventura, Molly Hankwitz, and Lora McPhail who kept NAR going strong during the last six months. I also thank our regular contributors for producing great material consistently. Their texts are now part of an archive that is available to online communities. NAR was founded on February of 2003 and it passes the baton to newmediafix.net on September 2005. This is an exciting time because the new website offers fresh possibilities for collaboration and online publishing. This will be a new journey. So, please make sure to visit the new website: http://newmediafix.net And as a final thanks, I leave you with the names of our contributors and editors who deserve all the acknowledgment in the world, The very best to all our readers, Eduardo Navas ---------- NAR contributors: Ana Boa-Ventura [e-mail]--Contributing Editor (Austin, TX, US) Molly Hankwitz -- Contributing Editor (Brisbane, AU/San Francisco, US) Lora McPhail -- Contributing Editor (Los Angeles, CA, US) Eduardo Navas -- Contributing Editor (Los Angeles/San Diego, CA, US) Contributing Writers : Daniele Balit (Rome, IT/Paris, FR) Linda Carroli (Brisbane, AU) Nicholas Economos (Alfred, NY, US) Mark R. Hancock (Coventry, U.K.) Peter Luining (Amsterdam, NL) Francesca De Nicolo (Rome, IT) Ignacio Nieto (Santiago, CL) Kristen Palana (New Jersey, US) Isabel Saij (Cologne, GE/Paris, FR) Ludmil Trenkov (Pasadena, CA, US) Ana Valdes (Sweden) Former Contributing Writers: Garrett Lynch -- Contributing Writer (Kent, UK) Lewis LaCook Neil Jenkins Collaborators: Furtherfield.org (London, UK) Evelyne Rogue - artcogitans.com (Paris, FR) a minima:: (Madrid, ESP + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 19 Sep 2005 13:53:47 -0700 from: Eduardo Navas in-reply-to: message-id: subject: RHIZOME_RAW: Re: Netartreview.net and newmedidiafix.net Apologies for a second posting. The text below is taken directly from the NAR site: http://netartreview.net and I realized that it is not clear that I am giving a final thanks to the former Net Art Review collaborators. Again, I thank all of them; to see the way we will be working on newmediafix.net, please go to http://newmediafix.net/about.php Best, Eduardo On 9/19/05 12:30 PM, "Eduardo Navas" wrote: > Net Art Review stops its activities in the month of September 2005. > http://netartreview.net > The new website http://newmediafix.net will be expanding on the philosophy > that led to the creation of NAR. The new site will allow for a more diverse > approach to the many areas of emerging technologies and new media culture. NAR > readers are invited to visit it just as often as they did Net Art Review. > > > As founder, I want to thank everyone who collaborated regularly on NAR. I also > thank people who sent an occasional text from time to time, and, of course, I > thank our readers. I want to especially thank the three contributing editors, > Ana Boa-Ventura, Molly Hankwitz, and Lora McPhail who kept NAR going strong > during the last six months. I also thank our regular contributors for > producing great material consistently. Their texts are now part of an archive > that is available to online communities. > > NAR was founded on February of 2003 and it passes the baton to newmediafix.net > on September 2005. This is an exciting time because the new website offers > fresh possibilities for collaboration and online publishing. > > This will be a new journey. So, please make sure to visit the new website: > http://newmediafix.net > > And as a final thanks, I leave you with the names of our contributors and > editors who deserve all the acknowledgment in the world, > > The very best to all our readers, > > Eduardo Navas > > ---------- > > NAR contributors: > > Ana Boa-Ventura [e-mail]--Contributing Editor (Austin, TX, US) > Molly Hankwitz -- Contributing Editor (Brisbane, AU/San Francisco, US) > Lora McPhail -- Contributing Editor (Los Angeles, CA, US) > Eduardo Navas -- Contributing Editor (Los Angeles/San Diego, CA, US) > > > > Contributing Writers : > > > Daniele Balit (Rome, IT/Paris, FR) > Linda Carroli (Brisbane, AU) > Nicholas Economos (Alfred, NY, US) > Mark R. Hancock (Coventry, U.K.) > Peter Luining (Amsterdam, NL) > Francesca De Nicolo (Rome, IT) > Ignacio Nieto (Santiago, CL) > Kristen Palana (New Jersey, US) > Isabel Saij (Cologne, GE/Paris, FR) > Ludmil Trenkov (Pasadena, CA, US) > Ana Valdes (Sweden) > > Former Contributing Writers: > Garrett Lynch -- Contributing Writer (Kent, UK) > Lewis LaCook > Neil Jenkins > > > Collaborators: > Furtherfield.org (London, UK) > Evelyne Rogue - artcogitans.com (Paris, FR) > a minima:: (Madrid, ESP + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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 00:03:14 +0200 (CEST) from: trashconnection message-id: <20050919220314.2F76121FD2@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART , zags Ziff, zone , . 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, 19 Sep 2005 15:06:24 -0700 from: message-id: <200509192206.j8JM6Orj023792@idx164.idx.net> subject: RHIZOME_RAW: Transparent Processes at The Kitchen Transparent Processes November 9 (Wed) 8pm $8 Curated by Nick Hallett This evening of live visual music, expanded cinema, and nouveau psychedelia features work in which sound and image stem from the same source. Performers include Ray Sweeten and the collaborative groups LoVid (Tali Hinkis and Kyle Lapidus), I Love You (Seth Kirby and Ana Matronic) and the duo of Sandra Gibson and Luis Recoder. Avoiding digital technology, these artists create synesthetic lightshow environments by means of antique equipment, consumer electronics, and home-made instruments in ways that make evident the relationship between process and result. Music programs at The Kitchen are made possible with generous support from the Mary Flagler Cary Charitable Trust and The Aaron Copland Fund for Music. Media and film programs are made possible with public funds from the New York State Council on the Arts, a state agency. for more information, contact Nick Hallett at nick@maisonduchic.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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, 19 Sep 2005 20:20:16 -0300 from: roberto echen message-id: <432F47B0.6030408@rechen.com> subject: RHIZOME_RAW: when god appeared to rechen... cuando dios se le aparecio a rechen... and rechen didn't see it/y rechen no lo vio. http://www.rechen.com/revelation.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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Mon, 19 Sep 2005 16:45:34 -0700 from: Leonardo message-id: <200509192345.j8JNjYkK004156@idx164.idx.net> subject: RHIZOME_RAW: Call for Proposals at Readme 100 Software Art Factory 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="iso-8859-1" date: Tue, 20 Sep 2005 03:50:18 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050920015040.JDY25665.amsfep16-int.chello.nl@vilt> subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART >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. Sure, but you were relating amounts of information as contained within a binary system to amounts of information as contained within textual messages to suggest that seemingly (?) random text messages may actually contain more information. That's what is happening a lot: the ease with which we transcode mathematical usefull constructs to the field of human interaction, to the point of reducing meaning to what is calculable. I'm not saying that meaning finally can't be made calculable or trying to rescue the artistic from the scrutiny of science or (whatever) that it would be a bad thing if that were so, I'm just trying to stress the fact that any calculation implies a reduction because it takes time: a calculation is also an event in the same continuum of informed matter and, furthermore, that we tend to forget what fiction our calculations are based on, where the human factor is decisive for the validation of calculated results. So I took the liberty of using the information that is likewise allegorically compressed in the word 'compression' to include 'any kind of algorhytmic optimising of a message for transmitting that message in a given system', hence my use of 'compressions of compressions'. Even if you generate your words at random from a dictionary, the fact that text messages get read (or could get read) enhances the information contained within them in a natural way because words _do_ things to each other while being positioned/read/sent/received. I don't see an easy way to beat the meaning out of words, not even if they are uncalled for like these messages. And the generating of meaning includes a surplus of information that should be accounted for in the calcul of that information. The Shannon article doesn't remain the same article, not even compressed to the 437 kb or so zipped pdf-file. If it would remain the same, our scientists would still be drawing triangles in the sand, like Pythagoras. Not too sure its real 'progress' though. But information is never static or totally abstracted from meaning in my view, because the process of abstracting it generates meaning itself. Now you could say that the textual surplus of information is virtual in the same way as any strain of 1's and 0's in the random message could be virtually meaningful, but then you're coming dangerously close to Cathedral Building Theory because that's where any piece of information is only truly calculable as an event: "What we call virtual is not some thing that lacks reality, but [a thing] that engages itself in a process of actualisation following the plane that gives it its reality (lui donne sa réalité propre).". Code is text too, it happens in similar ways. Perhaps if we deal with code as events more, we get to solve some problems more efficiently. Its more a unity of movement that I'm trying to make clear, I really shouldn't be doing this outside my very limited region of clarity. apologies, 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 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="iso-8859-1" date: Mon, 19 Sep 2005 21:11:20 -0700 from: "Jim Andrews" in-reply-to: <20050920015040.JDY25665.amsfep16-int.chello.nl@vilt> message-id: subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > you were relating amounts of information as contained within a > binary system to amounts of information as contained within > textual messages > to suggest that seemingly (?) random text messages may actually > contain more > information. yes, that's right. in shannon's information theory, 'information' is not to be confused with 'meaning'. in his paper at http://cm.bell-labs.com/cm/ms/what/shannonday/paper.html , shannon says "....Frequently the messages have meaning; that is they refer to or are correlated according to some system with certain physical or conceptual entities. These semantic aspects of communication are irrelevant to the engineering problem." In his theory, 'information' is measured basically by how big a file is after it has been compressed. Which has very little, if anything, to do with the 'meaning' of the message. It happens that totally random messages contain more 'information', in the shannonian sense, than patterned messages. > That's what is happening a lot: the ease with which we transcode > mathematical usefull constructs to the field of human interaction, to the > point of reducing meaning to what is calculable. I'm not saying > that meaning > finally can't be made calculable or trying to rescue the artistic from the > scrutiny of science or (whatever) that it would be a bad thing if > that were > so, I'm just trying to stress the fact that any calculation implies a > reduction because it takes time: a calculation is also an event > in the same > continuum of informed matter and, furthermore, that we tend to > forget what > fiction our calculations are based on, where the human factor is decisive > for the validation of calculated results. > > So I took the liberty of using the information that is likewise > allegorically compressed in the word 'compression' to include 'any kind of > algorhytmic optimising of a message for transmitting that message > in a given > system', hence my use of 'compressions of compressions'. > > Even if you generate your words at random from a dictionary, the fact that > text messages get read (or could get read) enhances the information > contained within them in a natural way because words _do_ things to each > other while being positioned/read/sent/received. I don't see an > easy way to > beat the meaning out of words, not even if they are uncalled for > like these > messages. Beat the meaning out of words? O don't get me started or I'll be building a weird machine to do it. Whack them with a plank until the meanometer reaches 0. Clips of Bush using his favorite words such as 'democracy' and 'freedom' might do it. > And the generating of meaning includes a surplus of information > that should be accounted for in the calcul of that information. I agree that 'meaning' is 'information', in an important sense, but it isn't 'information' in the shannonian sense. information theory is not at all concerned with semantics. though semantics is of course a fascinating subject. one that we seemingly haven't mathematized in any usefully deep theory. one that does not seem amenable to such vast generalizations, as you say. information theory sort of treats the materiality of language, or aspects of the materiality of language. language as information. information as data stream or string. language or letters as entities/material processed by machines. concerned with transmission and reception (being able to send and receive messages) but not concerned with the meaning at all. not saying word one about meaning. so how does shannonian information theory relate to 'meaning'? it doesn't. at all, really. it doesn't say anything about it. that, apparently, is up to people, not machines. so far, anyway. so far, so good. AI is still without grand semantic theories (as far as I know, which isn't far) or, as Wittgenstein said, "Meaning is what an explanation of meaning explains." 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: Mon, 19 Sep 2005 21:13:48 -0700 from: message-id: <200509200413.j8K4Dm1o008153@idx164.idx.net> subject: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory 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: Tue, 20 Sep 2005 00:51:51 -0700 from: basak senova message-id: <200509200751.j8K7ppA3010488@idx164.idx.net> subject: RHIZOME_RAW: ctrl_alt_del news letter #4 apologies for any cross-posting.. |||||||||||||||||||||||||||||||||||||||||||||||||||||| ctrl_alt_del news letter #4 ctrl_alt_del continues with workshops, presentations, and performances at Istanbul Technical University –MIAM Maçka Campus Sound-art festival ctrl_alt_del, takes place in the “positionings” section of the 9th International Istanbul Biennial. The festival’s three-folded conceptual frame - “the city”, “noise” and “open source”- is 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 presentations and workshops at MIAM Istanbul Technical University-Maçka Campus- MIAM Studio corridor – Free Admission Monday, September 19, 2005. 13:30-17:30 13:30-14:00 REC (TR) presentation MIAM Library 14:00-15:00 MIAM workshop: Sound analysis and algorithmic composition environment: IRCAM software workshop by Tolga TĂĽzĂĽn(TR) MIAM Studio 15:00-16:00 STEIM (NL) atölye çalışması/workshop: LiSa by Robert van Heumen (NL) MIAM Digilab 15:00-15:30 Israeli Center for Digital Art, Holon (IL) presentation by Eyal Danon MIAM Studio 15:30-16:00 Bookstr & Global Heart Me presentation: ultra-localized radio broadcast and diffusion strategies workshop by Matthieu Prat (FR) & Tal Hadad (FR) MIAM Studio 16:00-17:00 Philip Misselwitz (DE) & Klaus Obermeyer (DE) presentation (in the context of “under.ctrl” project) MIAM Studio Tuesday, September 20, 2005. 13:00-17:30 13:00 -13:30 Sabreen (Filistin/Palestine) presentation by Wissiam Murad & Ä°brahim Eid MIAM Library 13:30 -14:00 NOMAD (TR) presentation by Basak Senova & Emre Erkal MIAM Studio 14:00 -14:30 NOMAD (TR) workshop: animasyon ĂĽzerine Görsel-iĹźitsel /audio-visual workshop on animation by Erhan Muratoglu MIAM Digilab 14:00-15:00 MIAM workshop: Sound analysis and algorithmic composition environment: IRCAM software workshop by Tolga TĂĽzĂĽn(TR) MIAM Studio 15:00-16:00 STEIM (NL) workshop: LiSa by Robert van Heumen (NL) MIAM Digilab 14:30 -15:30 Interspace (BG) presentation by Petko Dourmana and Stoycho Stanchev Interspace (BG) workshop: Open source streaming media tools MIAM Library 16:00-17:30 Bookstr & Global Heart Me workshop: ultra-localized radio broadcast and diffusion strategies workshop by Matthieu Prat (FR) & Tal Hadad (FR) ITU Building court 16:00-17:00 Florian Schneider (DE) presentation (in the context of “under.ctrl” project) MIAM Studio Wednesday, September 21, 2005. 13:30-17:30 13:30 -13:00 STEIM (NL) presentation by Robert van Heumen MIAM Studio 14:00-15:00 MIAM workshop: Sound analysis and algorithmic composition environment: IRCAM software workshop by Tolga TĂĽzĂĽn(TR) MIAM Studio 15:00-15:40 Gösterim / Screening “INSOMNIAC CITY” directed by Ran Slavin (IL) 15:00-16:00 STEIM (NL) workshop: LiSa by Robert van Heumen (NL) MIAM Digilab 16:00-17:00 Banu Cennetoglu (TR) presentation (in the context of “under.ctrl” project) [kapalı oturum / closed session] MIAM Studio |||||||||||||||||||||||||||||||||||||||||||||||||||||| ctrl_alt_del concerts at MIAM Istanbul Technical University - Maçka Campus • Mustafa Kemal Anfisi • Free Admission Monday, September 19, 2005. 20.00 MURAT YAKIN (MIAM) “Deep in Soul” – world premiere KEREM GUZEL (Open Call Winner) OGUZ BUYUKBERBER and ROBERT VAN HEUMEN (STEIM, NL) -intermission- OZDEMIR BAYRAK (Open Call Winner) ANABALA (TR) Tuesday, September 20, 2005. 20.00 REC MAGAZINE COMPILATION (TR) KEREM AKSOY (MIAM) DENIZ ARAT (MIAM) “Hayat Guzel” (2004) “L.U.T.M.” (2004) PAUL DEVENS (NL) -intermission- PIETER SNAPPER (MIAM) “Wrong” – world premiere EKW 14.90 (AT) SOLAR DUO (Open Call Winners) Wednesday, September 21, 2005. 20.00 REUBEN DE LAUTOUR (MIAM) SFR – ZAFER ARACAGĂ–K (TR/NL) -intermission- KORAY KANTARCIOGLU (Open Call Winner) EKW 14.90 (AT) SABREEN STUDIO (Palestine) |||||||||||||||||||||||||||||||||||||||||||||||||||||| The 2005 programme for the ctrl_alt_del project has been developed by BaĹźak Ĺženova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. Can Karadogan is responsible for the logistics of ITU activities as the project coordinator and NuĹźin 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), Bahcesehir University, 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 BaĹźkaseyler Music Art 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 02:51:02 -0700 from: Thomas Petersen message-id: <200509200951.j8K9p2fb000410@idx164.idx.net> subject: RHIZOME_RAW: Generative Art Now. An Interview with Marius Watz Marius Watz is a Norwegian artist and curator who originally took his point of departure doing graphics for the raves of the early nineties. In his current artistic practice he focuses on computationally generated form, describing his own style as a particular brand of visual hedonism, marked by colourful organic shapes and a 'more is more' attitude. His work has been shown at many international festivals and exhibitions. Marius is currently organizing the conference and exhibition Generator.x in Oslo, Norway. This event deals with the current role of software and generative strategies in art and design. Thomas Petersen asked Marius a few questions about his understanding of the term 'generative art', about his own artistic practice and of course about Generator.x. Link to article: http://www.artificial.dk/articles/watz.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" date: Tue, 20 Sep 2005 12:43:08 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050920104332.SQLA1323.amsfep20-int.chello.nl@vilt> subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > so how does shannonian information theory relate to 'meaning'? it doesn't. > at all, really. it doesn't say anything about it. that, apparently, is up > to > people, not machines. so far, anyway. so far, so good. AI is still without > grand semantic theories (as far as I know, which isn't far) or, as > Wittgenstein said, "Meaning is what an explanation of meaning explains." > ja > http://vispo.com Well that's just it. 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 The arguments listed in the paragraph 'Why an upper ontology is feasible' are exemplary in their pragmatic and logicist reasoning: There's a strong belief within research groups that once you do away with 'the conflation of ontology, language and knowledge', you're left with computable conceptual objects that make the construction of _the_ upper ontology possible. Now this is where the computer science field of 'ontology' starts invading the philosophical field of ontology, where the names become omens, because those conceptual objects and such statements on them only make sense in a formalist ontology based on second order logic (Frege, Hartman,...). In the philosophical tradition that is a very one-sided approach (*) , so what is being done in some reseach centers is that all 'Continental', heuristic approaches to the same 'conflation of ontology, language and knowledge' is thrown overboard as apparent nonsense. One strain in our rich philosophical tradition is therefore economically promoted to the standard to which any system should adhere. I speak of 'invasion' because it has the potential of becoming a threat to what you indicate with 'so far so good'. It has that potential because the approach that is advocated here will obviously lead to some immediate successes, therefore they are backed by very un-theoretical, very real economic power, so what could be called the 'war of competing standards' is really over before it started. In a larger, socio-political sense you could (my present opinion: should) interpret this as the ultimate star wars program for the capitalist system: an impenetrable ontological shield of defense against the feeble human voice of differenciation. Zooming in on "the clear and present danger" of terrorism: it may be exactly that kind of bolstering of economical power and its subsequent systematic negation of ontological difference that actually invokes the acts of terrorism: the only escape route out of never being validated in claims of injustice, because they 're not using the standard ontology. Beware: that's a possible 'meaning', not a justification. In that sense Bush is not using words devoid of meaning at all: his use of 'freedom' and 'democracy' succesfully invoke the ontological standard, a virtual system that is establishing its reality and prohibiting the 'free' use of natural language more thoroughly every day. In that sense the 'war of standards' already ended in 1989, and my humble attempts to construct alternatives are post-historic and rather hilarious. Finally, and luckily, these ontological mechanisms of stratification are procedural themselves and much can be expected of the economic 'endorsement'of ontological schemes coming from the equally rich Eastern tradition. I can't resist referring to a historical parallel of Leibniz taking his system on a promotional tour to China here. Anyway, thanks for the discussion. dv http://www.vilt.net/nkdee (*) Indeed many of the early twentieth century philosophers in this tradition were considered of marginal importance until they were 'rediscovered' because of their 'usefulness' in formal ontological schemes. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in 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__