<br />RHIZOME DIGEST: February 10, 2006<br /><br />++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++<br /><br />Content:<br /><br />+opportunity+<br />1. sachiko hayashi: CALL FOR PAPERS, PANELS, DEMONSTRATIONS & PERFORMANCES<br />2. Lauren Cornell: Rhizome Commissions Program call for proposals<br />3. carlos rosas: Job Posting: Assistant/Associate Professor of New Media Art<br />4. Marisa Olson: call for entries: DOLORES, artist residency in Munich<br />5. {soundLAB): SoundLab: call for soundart<br /><br />+work+<br />6. Lee Walton, Marisa Olson, Sal Randolph, T.Whid: Wappening #2<br /><br />+announcement+<br />7. nathaniel stern: The Upgrade! Joburg presents: Daniel Hirschmann<br />8. Chris Byrne: Art-Place-Technology, Liverpool: International Symposium<br />on Curating New Media Art, 30 March - 1 April 2006<br />9. Marjan van Mourik: Lovebytes 2006<br /><br />+comment+<br />10. Sal Randolph: Re: Net Aesthetics 2.0 Panel<br /><br />+thread+<br />11. abe linkoln, Michael Szpakowski, Marisa Olson, aabrahams, Pall Thayer,<br />Ryan Griffis, marc, Dirk Vekemans, manik, Lee Wells, Jim Andrews,<br />jo@turbulence.org, Eric Dymond, Myron Turner, op, Nad: isabelle dinoire<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: sachiko hayashi <look@e-garde.com><br />Date: Feb 4, 2006<br />Subject: CALL FOR PAPERS, PANELS, DEMONSTRATIONS & PERFORMANCES<br /><br />CALL FOR PAPERS, PANELS, DEMONSTRATIONS & PERFORMANCES<br /><br />DIGITAL ART WEEKS 2006 ETH Zurich<br /><br />[Kon.[Text]] Symposium<br />Zurich, Switzerland, Thursday July 13th to Sunday July 16th, 2006<br /><br />Digital Art Weeks - ETH Zurich - <a rel="nofollow" href="http://www.digitalartweeks.ethz.ch">http://www.digitalartweeks.ethz.ch</a><br /><br />The Digital Art Weeks PROGRAM (DAW06) is concerned with the application of<br />digital technology in the arts. Consisting of symposium, workshops and<br />performances, the program offers insight into current research and<br />innovations in art and technology as well as illustrating resulting<br />synergies in a series of performances during the Digital Art Weeks<br />Festival each year, making artists aware of impulses in technology and<br />scientists aware of the possibilities of the application of technology in<br />the arts.<br /><br />[Kon.[Text]], this year's Digital Art Weeks SYMPOSIUM concerns the use of<br />the Performative Surround in the arts and the technology that drives it.<br />The Performative Surround pertains to the immersive quality and quantity<br />of the setting of a performative artwork that uses electronic media<br />enhancement. In a series of lectures, demonstrations, panels and<br />performances, artists and researcher will examine the use of electronic<br />media in articulating the performer's presence through the possibilities<br />of the multi-sensuality of electronic media.<br /><br />The organizers of the Digital Art Weeks ETH Zurich are seeking<br />presentations, demonstrations and performances on all themes specific to<br />performance using electronic media that explore a concept of the<br />Performative Surround. Submissions of both theoretical and empirical<br />studies are invited from the perspectives of the performing arts and<br />computer science and as well as other topics relevant areas.<br /><br />Suggested submission topics for papers, demonstrations and performance<br />include, but are not limited to the following themes:<br /><br />1. Media Enhanced Artwork in the areas of Performance, Dance and Sound-Art<br />2. Laptop Music (including Live-Coding!) & Film Accompaniment (Live-Cinema<br />& Re-Scoring)<br />3. Mobile Art & Music Works that explore Performer Networking and Audience<br />Participation<br />4. Net-poetry and literature & computer mediated communication (i.e.,<br />Hyper-Media Embedding)<br />5. Grammar- or Syntactically based Software Systems for Multimedia Systems<br />DEADLINE FOR ALL PROPOSALS: Friday, March 17, 2006.<br /><br />Notification of acceptance of proposals will be sent out on or before<br />Friday, April 7, 2006.<br /><br />SUBMISSION GUIDELINES<br /><br />DIGITAL ART WEEKS 2006 (DAW06) is interested in artistic and theoretical<br />work in the form of:<br /><br />* Papers, Panels and Presentations can include DVDs, audio CDs,<br />videotapes, web-sites, etc. Papers and Presentations can be 25 or 45<br />minutes in length. DAW06 organizers will build panels based on reviews of<br />materials submitted.<br /><br />* Proposed artwork to be included in the DAW06 Festival may take the form<br />of performances with or without media enhancement or be in the form<br />screenings live or fixed material.<br /><br />* Applications should not exceed 500 words. Applicants should indicate one<br />of the festival categories in the subject of the message. Please include a<br />200 word max bio.<br /><br />* All proposals must be submitted in plaintext only format either as an<br />attachment and/or within the body of the email message.<br /><br />* In case of Audio and/or Video examples, please provide a valid URL to a<br />web site containing them.<br /><br />* If your presentation requires specific technologies, please describe<br />your needs in detail.<br /><br />All proposals should be submitted electronically to:<br />Art Clay - arthur.clay@inf.ethz.ch<br /><br />or should be sent per mail to:<br />Art Clay<br />Computer Systems Institute<br />ETH Zentrum, RZ H 18<br />Clausiusstrasse 59<br />CH-8092 Zürich<br />Switzerland<br /><br />All accepted papers will be published on-line in the Digital Art Weeks<br />digital library.<br /><br />CONTACTS<br /><br />DIGITAL ART WEEKS General Requests:<br />daw-info@inf.ethz.ch<br /><br />DIGITAL ART WEEKS Chairs:<br /><a rel="nofollow" href="http://www.jg.inf.ethz.ch/wiki/DAW/Chairs">http://www.jg.inf.ethz.ch/wiki/DAW/Chairs</a><br />Jürg Gutknecht<br />Art Clay<br />Stefan Müller Arisona<br /><br />Join the DAW Mailing List:<br /><a rel="nofollow" href="https://lists.inf.ethz.ch/mailman/listinfo/daw-list">https://lists.inf.ethz.ch/mailman/listinfo/daw-list</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org><br />Date: Feb 9, 2006<br />Subject: Rhizome Commissions Program call for proposals<br />Please submit, and help us spread the word!<br /><br />Information on how to submit can be found at the following link:<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />Thanks and best,<br />Lauren<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: carlos rosas <rosasstudio@overtheedge.net><br />Date: Feb 9, 2006<br />Subject: Job Posting: Assistant/Associate Professor of New Media Art<br /><br />We are in the process of an ongoing new media search at Penn State<br />University: see description below…<br /><br />———————————–<br /><br />New Media Art, Early Career Position<br />The Pennsylvania State University<br />State College, Pennsylvania<br /><br />NEW MEDIA ARTIST - Assistant Professor or untenured Associate Professor.<br />This is a permanent, tenure-track position.<br /><br />Qualifications: Graduate degree and at least two years of college-level<br />teaching experience beyond graduate assistantship. Demonstrated commitment<br />to research and professional activity at the national and international<br />level. Outstanding teacher of new media studio art courses. In addition to<br />experience with digital media, the successful candidate should possess<br />knowledge of contemporary art, theory and criticism as it relates to new<br />media art practice.<br /><br />Responsibilities: Teach undergraduate and graduate new media courses.<br />Provide leadership in curriculum development for the new media area of<br />concentration in the Penn State School of Visual Arts. Active<br />participation in undergraduate and graduate programs across disciplines,<br />plus other school duties.<br /><br />The New Media Art area of concentration in the Penn State School of Visual<br />Arts (SoVA) includes creative 2d, 3d, and 4d work in Net art, sound,<br />video, interactivity, gaming, multimedia, installation, activism/tactical<br />media, robotics, haptic environments, open source, hybridity, transmedia,<br />wireless art, nomadic work, motion graphics, animation, and technological<br />and cultural interfaced performance. Applicants with expertise and<br />creative research in one or more of these areas are encouraged to apply.<br /><br />Starting Date: AUGUST 2006<br /><br />Salary: Commensurate with qualifications and experience.<br /><br />Application Deadline: Ongoing search and will continue until a suitable<br />candidate is identified.<br /><br />Application Procedure: Applicants should submit a letter addressing her or<br />his qualifications relative to the responsibilities specified above; a<br />current vitae; artist statement; video, DVD, CD-ROM, or other appropriate<br />media; and the name, address, email, and phone number of four (4)<br />references. Please submit materials to: New Media Search committee c/o Dr.<br />Charles Garoian, Director, PENN STATE School of Visual Arts, Position<br />#W005-34, 210 Patterson Building, University Park, PA 16802.<br /><br />Please include a self-addressed, stamped envelope for the return of your<br />materials.<br /><br />Penn State is committed to affirmative action, equal opportunity, and the<br />diversity of its workforce.<br /><br />———————————– —————————————–<br /><br />Carlos Rosas<br />Associate Professor, Head New Media Art<br />New Media Search Committee Chair<br />Studio Program Head (interim)<br />School of Visual Arts (SoVA)<br />The Pennsylvania State University<br />University Park, PA 16802<br />email: crosas@psu.edu<br />web: <a rel="nofollow" href="http://www.sva.psu.edu">http://www.sva.psu.edu</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: Marisa Olson <marisa@rhizome.org><br />Date: Feb 9, 2006<br />Subject: call for entries: DOLORES, artist residency in Munich<br />From: Annette Schemmel <a.schemmel@gmx.de><br /><br />Dear ladies and gentlemen,<br /><br />being one of the curators of a young Munich art institution,<br />Lothringer13/laden (www.programangels.org), I would like to ask for your<br />network-support in order to spread the information on our latest format:<br /><br />DOLORES, a new, 2-months artist residency for foreign fine art<br />practicioners in Munich. Application-Deadline: 28.2.2006!<br /><br />Please find information on DOLORES and detailed criteria for applications<br />Below. Please feel free to forward that information to anyone you consider<br />as fitting!<br /><br />Thanks in advance,<br /><br />Annette Schemmel<br />annette@programangels.org<br /><br />—<br />DOLORES (Doku e.V. - Lothringer13/laden - Residency)<br /><br />For the first time in 2006 two Munich art institutions, the unique<br />artist-colony Domagkstrasse/Doku e.V. and the established city-run art<br />space Lothringer13/laden offer a 2-month artist residency in Munich for<br />art producers from abroad: DOLORES!<br /><br />E-mail-application deadline: 28.2. 2006<br /><br />Our interest is to temporarily overcome the financial exclusiveness of our<br />home-town for foreign artists and to connect to art praxes aside the first<br />art market on an international level by creating dialogue and networks.<br /><br />The residency term is 1.08.2006 - 30.09.2006. Doku e.V. places a single<br />bedroom in an artist Wohngemeinschaft and a 2-moths public transport<br />ticket at the host?s disposal. In addition to that the Lothringer13/laden<br />show-room is kept vacant for studio work and a 10-day solo-exhibit<br />(including a 500.- EUR project-budget, PR and opening event) by the<br />resident at the end of September 2006.<br /><br />Details:<br /><br />Interested artists, fitting into the below listed criteria, are asked for<br />digital applications up to the 28.2.2006 on alle@programangels.org with<br />the code ?DOLORES-application? in the subject line of the e-mail,<br />including<br /><br />1. their post- and e-mail-address and telephone-number<br />2. a short text about their motivation (max. 1 page)<br />3. a short CV<br />4. a project proposal for the residency-term and the exhibit (about 1 page).<br /><br />A jury, consisting in a curator from Doku e.V., the curatorial team of<br />Lothringer13/laden and the editor of Munich arts-Newsletter (RADAR), will<br />decide about the proposals by the middle of march 2006.<br /><br />Candidates musn?t live in Germany by the date of their application and<br />have to have a foreign citizenship. Candidates musn?t profit from second<br />stipends in Munich by the time of their application, neither by the time<br />of the residency (august/september 2006).<br /><br />Candidates for DOLORES should have a degree in Fine Arts or an<br />equivalent/similar education. There is no age-limit. Experimental and/or<br />media-based artistic strategies, such as performance, net-art,<br />installation, are preferred, yet not conditional.<br /><br />For the Dolores-programme?s focus being on the dialogue with the host, the<br />candidate's ability to speak English is a prerequisite. If interested, the<br />resident will be brought into contact with the local art scene (art<br />academy, galleries, musea, artist community).<br /><br />Residence in Munich during august/September 2006, participation in an<br />official welcome-event in DOKU e.V. and developing a solo-show for<br />Lothringer13/laden are obligatory conditions for the resident. The<br />resident must not labour more then 10 h/week besides his artistic work<br />during his residency-term in Munich.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome ArtBase Exhibitions<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a><br /><br />Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition<br />on the politics of internet appearances, guest-curated by Marina Grzinic<br />from the Rhizome ArtBase.<br /><br /><a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: {soundLAB} <virtu@kulturserver-nrw.de><br />Date: Feb 10, 2006<br />Subject: SoundLab: call for soundart<br /><br />Call for soundart<br />deadline 30 June 2006<br /><a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=8&cat=54">http://netex.nmartproject.net/index.php?blog=8&cat=54</a><br />.<br />Soundlab<br /><a rel="nofollow" href="http://soundlab.newmediafest.org">http://soundlab.newmediafest.org</a><br />is invited to launch its 4th edition<br />in the framework of the Cologne based soundart event<br />KlangDrang Festival www.klangdrang.org<br />6-7 October 2006 and be part of the interactive media exhibition<br />by [R][R][F]2006—>XP - <a rel="nofollow" href="http://rrf2006.newmediafest.org">http://rrf2006.newmediafest.org</a><br />on the same occasion.<br />.<br />—><br />—>Call for submissions<br />Deadline 30 June 2006<br />.<br />SoundLab<br />is looking for soundart works of<br />a) experimental character<br />b) electronic music<br />c) Voice -sound/music integration<br />d) and other forms<br />.<br />Theme : "Memoryscapes"<br />based on the subjects: —> "memory" and "identity"<br />.<br />The submission has to be posted on a webpage for download,<br />please do not send it as an email attachement.<br />Submission format: .mp3<br />Size: Max 5MB, exceptions possible, but on request.<br />.<br />The authors/artists keep all rights on their submitted works.<br />.<br />Deadline 30 June 2006<br />Please use this form for submitting:<br />*******************<br />1.name of artist, email address, URL<br />2. short biography/CV (not more than 300 words)<br />3. works (maximum 3), year of production, running time<br />a) URL for download<br />4. short statement for each work<br />(not more than 300 words each)<br />.<br />Confirmation/authorization:<br />The submitter declares and confirms<br />that he/she is holding all author's rights<br />and gives permission to include the submitted work<br />in "Soundlab" online environment until revoke.<br />Signed by (submitter)<br />.<br />Please send the complete submission to<br />soundlab@newmediafest.org<br />subject: Soundlab edition IV<br />.<br />Deadline 30 June 2006<br />.<br />This call can be also found on<br /><a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=8&cat=54">http://netex.nmartproject.net/index.php?blog=8&cat=54</a><br />.<br />*****************************<br />editions I - III of SoundLab -<br />can be found on<br />SoundLab Channel/Memory Channel 7–>at<br />[R][R][F]2006—>XP<br /><a rel="nofollow" href="http://rrf2006.newmediafest.org">http://rrf2006.newmediafest.org</a> via the artistic body<br />or separately also via<br /><a rel="nofollow" href="http://rrf2006.newmediafest.org/schannel.htm">http://rrf2006.newmediafest.org/schannel.htm</a> or<br /><a rel="nofollow" href="http://soundlab.newmediafest.org">http://soundlab.newmediafest.org</a><br /><br />Both are corporate parts of<br />[NewMediaArtProjectNetwork]:||cologne<br />www.nmartproject.net<br />the experimental platform for art and New Media<br />operating from Cologne/Germany<br /><br />and its common weblog is<br />NetEX - networked experience<br /><a rel="nofollow" href="http://netex.nmartproject.net">http://netex.nmartproject.net</a><br /><br />************************************************<br />info(at)nmartproject.net<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via<br />panel-awarded commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: T.Whid <twhid@twhid.com><br />Date: Feb 10, 2006<br />Subject: Re: Fwd: Wappening #2<br /><br />Hi all,<br /><br />I made it. I had a strange sort of elation when I exited the subway and<br />saw him still standing there freezing and knowing that I had his salvation<br />bulging in my coat pocket.<br /><br />Lee's pieces along this line are a weird sort of flash anti-mob where only<br />a few 'in-the-know' even know there's art happening. A sly statement on<br />the 'special' knowledge some contend one needs to appreciate some forms of<br />contemporary art?<br /><br />Also we need to coin a phrase for this type of work (MTAA has also made<br />work along these lines): net.flux anybody?<br />On 2/10/06, Sal Randolph <sal@highlala.com> wrote:<br />> I'm getting ready to head over there, but is anybody closer? It<br />> would take me 45 min or so to get there.<br />><br />><br />> On Feb 10, 2006, at 12:34 PM, Marisa Olson wrote:<br />><br />> > These are some of Lee Walton's best projects…<br />> ><br />> > Will someone in NY please get to the 23rd street NRW & give this dude<br />> > an orange? :)<br />> ><br />> > ———- Forwarded message ———-<br />> > From: Lee Walton <lee@leewalton.com><br />> > Date: Feb 10, 2006 9:15 AM<br />> ><br />> > FRIDAY, FEBRUARY 10TH 2006<br />> ><br />> > Greetings,<br />> ><br />> > At this very moment Rob Bohn is standing on a corner in NYC and<br />> > desperately<br />> > needs your help.<br />> ><br />> > <a rel="nofollow" href="http://www.leewalton.com/">http://www.leewalton.com/</a><br />> ><br />> > Utilize your vast networks and resources. He is depending on you…<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: nathaniel stern <nathaniel.stern@gmail.com><br />Date: Feb 6, 2006<br />Subject: The Upgrade! Joburg presents: Daniel Hirschmann<br /><br /><a rel="nofollow" href="http://atjoburg.net/upgrade/">http://atjoburg.net/upgrade/</a><br /><br />Announcing the latest node in the International Upgrade! network:<br />Johannesburg, South Africa.<br /><br />We begin this Friday with a presentation by Daniel Hirschmann, 3PM in the<br />"Digital Convent" at Wits School of the Arts' Digital Arts Program. Map:<br /><a rel="nofollow" href="http://www.wits.ac.za/artworks/contact/map.htm">http://www.wits.ac.za/artworks/contact/map.htm</a><br /><br />Daniel Hirschmann is an artist, technology enthusiast and Harry Potter<br />fan. He is passionate about building and playing with sculptural<br />interfaces between the real and digital worlds. Other interests include<br />most things geeky, gorgeous or interesting. His work has been shown at art<br />exhibitions and conferences in New York, France, England and South Africa.<br />Recent works include a tactile 3D display surface titled Glowbits (2004),<br />and an exhibition involving a fleet of personality enhanced robots in<br />Nice, the Nicebots (2004). His days are currently spent as a researcher in<br />Fabrica, Benetton's creativity hub in Italy.<br /><br />His presentation: an introduction to the Benetton-owned creative hub known<br />to the world as Fabrica - a space in which the fusion of Art and Marketing<br />is explored. In the presentation, Daniel will look at<br />questions of approach and creativity tailored to the retail/ commercial<br />world.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Chris Byrne <chris@crowriver.net><br />Date: Feb 6, 2006<br />Subject: Art-Place-Technology, Liverpool: International Symposium on<br />Curating New Media Art, 30 March - 1 April 2006<br /><br />Art-Place-Technology<br />International Symposium on Curating New Media Art<br />Liverpool School of Art & Design and FACT Centre<br />30 March - 1 April 2006<br /><br /><a rel="nofollow" href="http://www.art-place-technology.org">http://www.art-place-technology.org</a><br /><br />New media art is a global phenomenon: a rapidly changing and dynamic field<br />of creative practice which crosses conventional categories and<br />disciplinary boundaries, challenging our assumptions about art.<br /><br />- How do curators engage with new media art?<br />- What makes a good curator of new media art?<br />- What can we learn from the pioneers of this field?<br />- What does the future hold for curating new media art?<br />- What common ground exists with other disciplines?<br /><br />These and other issues will be explored at Art-Place-Technology. Speakers<br />include figures who are shaping the practice and theory of curating new<br />media art, including:<br /><br />Inke Arns, Artistic Director, Hartware MedienKunstVerein, Dortmund.<br />Sarah Cook, Curator and Co-editor, CRUMB, University of Sunderland<br />Paul Domela, Deputy Chief Executive, Liverpool Biennial<br />Lina Dzuverovic, Director, Electra, London<br />Charlie Gere, Reader in New Media Research, Lancaster University<br />Beryl Graham, Curator and Co-editor, CRUMB, University of Sunderland<br />Ceri Hand, Director of Exhibitions, FACT, Liverpool<br />Drew Hemment, Director, Futuresonic, Manchester<br />Kathy Rae Huffman, Director of Visual Arts, Cornerhouse, Manchester<br />Stephen Kovats, International Programs Developer, V2, Rotterdam<br />Amanda McDonald Crowley, Director, Eyebeam Art & Technology Center, New York<br />Francis McKee, Head of Digital Arts & New Media, CCA, Glasgow<br />Alfred Rotert, Co-director, European Media Art Festival, Osnabrück<br />Trebor Scholz, Institute for Distributed Creativity, New York<br />Dimitrina Sevova & Alain Kessi, codeflow, Zurich<br />Paul Sullivan, Director, Static Gallery, Liverpool<br />Simon Worthington, Mute, London<br /><br />Art-Place-Technology will look at historical and current projects by some<br />of the world's leading curators of new media art, and discuss how curating<br />new media art creates interfaces with the art world, museum culture,<br />media, publishing and academia.<br /><br />Further programme details and registration:<br /><a rel="nofollow" href="http://www.art-place-technology.org">http://www.art-place-technology.org</a><br />Tel +44 (0)151 2315190<br />E-mail APT@ljmu.ac.uk<br /><br />Art-Place-Technology is hosted by the Liverpool School of Art & Design,<br />Liverpool John Moores University in collaboration with FACT and Art<br />Research Communication.<br /><br />Supported by Arts Council England North West, Media Arts Network.<br /><br />———————————-<br />Art Research Communication<br />newsletter@a-r-c.org.uk<br />www.a-r-c.org.uk<br />———————————-<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: Marjan van Mourik <webmaster@targetfound.nl><br />Date: Feb 8, 2006<br />Subject: Lovebytes 2006<br /><br />Lovebytes 2006. Environments<br />International Festival of Digital Art and Media<br /><br />20 - 25 March<br />Sheffield UK<br />The 10th Lovebytes Festival explores the relationship between physical<br />and digital environments. Featuring live music and multi- media<br />performances, film screenings, workshops and exhibitions of new media<br />work from around the world.<br /><br />Main events 23 - 25 March<br />Exhibitions run for various periods between 20 March - 11 June<br />Performing Live: Francis Dhomont / Fennesz / Aoki Takamasa / CM von <br />Hausswolff / Dfuse / Leafcutter John / Iris Garrelfs / Pixelwrangler /<br />Si-Cut Db / Dave Clarke / Nathan Fake / Calika / Mint / Millicent / Ochre<br />/ Digitonal / Ultre / Jethro Bagust / Rowan Porteus / Jake Harries<br /><br />Djs: V3ctor / A+R (Alku/Mego)<br /><br />Film Screenings and Talks: Richard Fenwick / desperate optimists / David<br />Slade / Colin Harvey / Semiconductor / Carl Michael von Hausswolff &<br />Thomas Nordanstad / Leo Obstbaum & Miguel Marin / Prevett & McArthur /<br />Olsen / UK Film Council / Japan Media Arts Festival / International<br />Festival of Cinema & Technology / onedotzero / Animate! / Mirrorball<br /><br />Workshops: Julian Oliver / Mark Fell & George Saxon / Flat-e / Matt Gray<br /><br />Exhibitions: HFR-LAB / Junebum Park / Julian Oliver & Steven Pickles /<br />Hiraki Sawa / Squidsoup / Daniel Crooks<br /><br />Venues: Showroom Cinema / Workstation / Millennium Galleries / Sheffield<br />University Student's Union / Access Space / Site Gallery / HUBs<br />(Sheffield Hallam Student's Union)<br /><br />+ more to be confirmed.<br /><br />Programme details and booking information available 25 February<br /><a rel="nofollow" href="http://www.lovebytes.org.uk">http://www.lovebytes.org.uk</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />From: Sal Randolph <sal@highlala.com><br />Date: Feb 9, 2006<br />Subject: Re: Net Aesthetics 2.0 Panel<br /><br />To view this entire thread, click here:<br /><a rel="nofollow" href="http://rhizome.org/thread.rhiz?thread=20235&text=38670#38670">http://rhizome.org/thread.rhiz?thread=20235&text=38670#38670</a><br /><br />+ + +<br /><br />> On 2/8/06, Lee Wells <lee@leewells.org> wrote:<br />>> Curious to hear what people thought about the Panel at EAI on Monday?<br />Some interesting things that came up during the panel:<br /><br />– Outsider Imagery – The widespread influence of what one of the<br />artist's (Michael Bell-Smith) called 'internet folk art' – animated gifs,<br />avatars, personal blogs, home pages, mashups, game sprites, etc. All of<br />the individual quirky production of gazillions of internet users. If you<br />include webcams in that list, then all of the artists on the panel used<br />some of these elements and aesthetics.<br /><br />– Nostalgia – Caitlin Jones brought up the question of whether most of<br />the work had an aspect of nostalgia for earlier (more utopian?)<br />technological times (sometimes just a few years ago) – all the<br />artists resisted this idea, saying pretty much that it was just too hard<br />to keep up with the absolute now of the internet, and that using aesthetic<br />elements which were a few years in the past was just a side effect of<br />this. Despite that, once the idea of nostalgia was in the air, it was<br />hard to dismiss.<br /><br />– The Sublime – interestingly the Sublime was somehow connected (during<br />the discussion) with being in a gallery (as opposed to being online – is<br />that the mundane?) – And as MTAA mentioned on their blog post (<br /><a rel="nofollow" href="http://www.mteww.com/mtaaRR/news/mriver/rhz_field_trip.html">http://www.mteww.com/mtaaRR/news/mriver/rhz_field_trip.html</a> ) there was an<br />amazing mashup on the projector for a good long time with the wikipedia<br />entry for the sublime interrupted by manic (and gorgeous) jodi.org black<br />and white pop-up windows. Sublime indeed. Other candidates for the<br />sublime were Marisa Olson's & Abe Linkoln's universal acid videos (which<br />you can see at <a rel="nofollow" href="http://www.universalacid.net/">http://www.universalacid.net/</a> ) , Michael Bell-Smith's<br />video Continue (not online, but there's a still at<br /><a rel="nofollow" href="http://www.foxyproduction.com/artist/workview/5/169">http://www.foxyproduction.com/artist/workview/5/169</a> ) and Cory Archangel's<br />classic Super Mario Clouds.<br /><br />– Memes – on the internets, no one can hear you unless you meme. Cory<br />Archangel brought up the need for his online work to be meme- able, and<br />also the idea that he keeps his internet work what he called 'fey' –<br />meaning that it has to function in the non-art context of someone running<br />across it while at work etc. where it's "just a website". Internet<br />artworks have to survive without the hushed chapel of the gallery,<br />competing with all the other information & detritus, and amusement online.<br /> One of the strategies internet artworks use as a survival tool is to be<br />meme-able.<br /><br />– The Game – to roughly quote Michael Connor "The last thing you want to<br />tell somebody is that the Superbowl is just a game – 'turn that off, it's<br />just a game'. Art isn't just a game. It's a *game*." Meaning that the<br />fact the art world is a play space, and that art is a kind of game doesn't<br />make it any less serious, if anything it makes it more serious. I believe<br />he used the word 'transcendent'. There's that sublime again.<br /><br />– 2.0 – No one on the panel really thought we were at a 2.0 moment, but<br />I wonder if we might be without knowing it. To me the interesting element<br />of what's usually called web 2.0 is the shift from websites as spaces of<br />presentation towards websites as genuinely social spaces. Most of the<br />panelists worked in the (very extended) tradition of video, so we didn't<br />really see the other side of net art, the really networked, collaborative<br />end of things which is a much a part of net art as what might be visible<br />on a screen.<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />11.<br /><br />From: abe linkoln <abe@linkoln.net>, Michael Szpakowski<br /><szpako@yahoo.com>, Marisa Olson <marisa@rhizome.org>, aabrahams<br /><aabrahams@bram.org>, Pall Thayer <p_thay@alcor.concordia.ca>, Ryan<br />Griffis <ryan.griffis@gmail.com>, marc <marc.garrett@furtherfield.org>,<br />Dirk Vekemans <dv@vilt.net>, manik <manik@ptt.yu>, Lee Wells<br /><lee@leewells.org>, Jim Andrews <jim@vispo.com>, jo@turbulence.org, Eric<br />Dymond <dymond@idirect.ca>, Myron Turner <myron_turner@shaw.ca>, op<br /><t@panda-man.info>, Nad <nad@daytar.de><br />Date: Feb 7-9, 2006<br />Subject: isabelle dinoire<br /><br />To view this entire thread, click here:<br /><a rel="nofollow" href="http://www.rhizome.org/thread.rhiz?thread=20225&page=1">http://www.rhizome.org/thread.rhiz?thread=20225&page=1</a><br /><br />+ + +<br /><br />+abe linkoln <abe@linkoln.net> posted:+<br /><a rel="nofollow" href="http://dvblog.org/isabelle-dinoire">http://dvblog.org/isabelle-dinoire</a><br />+Michael Szpakowski <szpako@yahoo.com> replied:+<br /><br />This is as well made as one would expect it to be. The music is great &<br />the creation of a kind of 'arc of suspense', of crafting an implied<br />narrative out of the source material is done with consummate skill. Why<br />then do I feel so uncomfortable with it? I think because it seems to<br />impose a narrative from particular fictional genres, horror, SF ( & here I<br />call as my witness the music, accomplished as it is, and the synching of<br />the final frames to the music, the<br />convulsive quality of it - & I don't think I am simply projecting any<br />personal squeamishness here) onto a current event,the story of which<br />moreover, even allowing for the hype & distortion endemic to our media, is<br />clearly a complex web of tragedy, resourcefulness, gratitude, ( oh -& a<br />deep strangeness, I don't deny).. I can't help feeling that this piece,<br />effective as it is (& perhaps precisely because of this) somehow fails in<br />an artistically and ethically problematic way to *tell the truth*…<br />michael<br />+Marisa Olson <marisa@rhizome.org> replied:+<br /><br />I agree. It was very engaging.<br /><br />> I can't help feeling that this piece, effective as it<br />> is (& perhaps precisely because of this) somehow fails<br />> in an artistically and ethically problematic way to<br />> *tell the truth*…<br /><br />I find this to be an interesting point. Some questions…<br /><br />*Why is it artistically important to tell the truth?<br />*Why is it ethically important to tell the truth in a work of art?<br />*How does this piece fail to tell the truth, in your opinion?<br />*[How] does it lie?<br />*Is this simply a question of humane reference to human subjects or some<br />larger point about the responsibility of art? (all art?)<br />*Is this an expectation imposed on a work of art because of its use of<br />"documentary" material?<br />*Is the "reality" of the source material, itself, not true enough?<br />*Or do you find this to be some sort of "double positive" (ie true footage<br />plus true footage equals falsity..)?<br />*Without implying that this piece tries to do so, but just jumping to the<br />larger question, is it "artistically and ethically problematic" to draw<br />from verite to escape from and/or parody reality?<br /><br />Sorry–I had to use at least one French word in this post. :)<br />+aabrahams <aabrahams@bram.org> replied:+<br /><br />This is what I wrote to Abe this morning :<br /><br />> "I do appreciate your work a lot, but this time I don't understand you.<br />> For me the images on the télé were a lot more impressive.<br />> you made a cartoon out of an act of courage. (even when certainly<br />> inspired/obliged by for-fame-looking surgeons)<br />> and you didn't denounce anything<br />><br />> you were<br />> just making fun?<br />><br />> did I miss something?<br />><br />> best Annie Abrahams"<br />><br /><br />it's impossible to tell the truth.<br />this is not about truth or falsity<br /><br />maybe about morals?<br />+Marisa Olson <marisa@rhizome.org> replied:+<br /><br />I fully understand where you are coming from in saying that Linkoln might<br />have "made a cartoon out of an act of courage," but this piece doesn't<br />read to me as someone "just making fun"–except perhaps in the sense that<br />it employs many techniques that are common to his work and which are, in<br />themselves, often "fun."<br /><br />To put it very crudely, we are talking about an act of remixing a face.<br />Given Linkoln's body of work, it's interesting to juxtapose tissue<br />sampling and the sampling of media. It's not my role to overstate or<br />impose such an "intention" upon this work, but I think it can definitely<br />be read in that way.<br /><br />I honestly see nothing immoral about this video. That's obviously just one<br />person's subjective response, but it's one informed by another subjective<br />response to the mainstream discourse surrounding face transplants. The<br />subject is scary, exciting, and confusing. I think Linkoln is part of a<br />generation of artists who make remixes to make sense of things in a media<br />saturated culture.<br /><br />And it just so happens that this all occurs in a time of intense policy<br />debate about both cloning and copyright.<br /><br />> it's impossible to tell the truth.<br />> this is not about truth or falsity<br /><br />I agree with you here, Annie.<br /><br />This video reads, to me, like an animation of the "techniques of the<br />observer," as Jonathan Crary famously put it. Observation, itself, is a<br />complex operation…<br /><br />Meanwhile, it's interesting to observe the response to this work. Dare I<br />ask in what way "the images on the télé were a lot more impressive," and<br />how they were any more "moral" than Linkoln's video? Is this your<br />sentiment about the footage?<br /><br />I have to say that I personally find some of the pithy headlines and media<br />treatment of this story to be more outrageous…<br /><br />Anyway, I think this is an important conversation with implications far<br />broader than the reception of Linkoln's video.<br /><br />Marisa<br />+abe linkoln <abe@linkoln.net> replied:+<br /><br />hello,<br /><br />this video is about the truth of nerve endings and microphones.<br /><br />abe<br />+Michael Szpakowski <szpako@yahoo.com> replied:+<br /><br />Hi Marisa<br />Whoa! :)<br />I did try to phrase my rather uncertain response to the piece in as<br />temperate a way as possible precisely in order to avoid a polarised yes it<br />is no it isn't kind of thing.<br /><br />Some responses:<br /><*Why is it artistically important to tell the truth?><br />Of course there's no law that says it is but my contention would be that<br />art which in *some sense* reflects the complex structure of reality is<br />more likely to interest me & take up my time & lead me to recommend it to<br />others as worthy of *their* time than work that does not.<br /><br /><*Why is it ethically important to tell the truth in a work of art?><br />I'm in favour of truth telling in general - of striving to understand how<br />& why things work the way they do & then (in life , politics &c) stating<br />this as clearly & straightforwardly as possible & (in art) creating work<br />which *somehow* (begs a lot of questions I know!) bears witness to or<br />least does not oversimplify tendentiously, or glibly, or cheaply,<br />what is going on.<br /><br /><*How does this piece fail to tell the truth, in your opinion? & *[How]<br />does it lie?><br />Well I *worry* that it doesn't tell the truth -I *worry* that it ( & I'll<br />put it more brutally than Annie) feels like a cheap shot -*but* I'm not<br />sure..I'm genuinely interested & open to discussion on it..<br /><br />This is open to misunderstanding & I absolutely don't want to raise the<br />polemical temperature but I have a similar problem with this rather nicely<br />made miniature that I do with 'Birth of a Nation' or 'Triumph of The Will'<br />-the *craply made* problem pieces are not in the long run problem<br />pieces… and of course I'm *not*, absolutely *not* suggesting there is a<br />similar degree of moral doubt here as in those pieces, but it's the<br />combination of a very assured technique with the problematic content that<br />bothers me.(& I don't reject *anything* in principle in art as far a<br />content or<br />technique goes, *how* it's deployed is the interesting question & this<br />comes back to me to what I would call artistic 'truth')<br /><br />I'm going to pass on the rest of your questions because I've set out my<br />stall here I think as clearly<br />as I can. I just wanted to address two more issues from other bits of this<br />discussion.<br /><br />One. The remix thing. Well, Marisa, as you know, nobody loves a remix as<br />much has I do but, I do find your analogy "remixing the face" a little<br />strained -I'm not sure that one can in any way read back worries about<br />this piece to attacks or concerns about or even defense of remix culture<br />from this rather artifical rhetorical tactic..<br /><br />Two. I *do* believe in truth -or at least that we can approach the truth<br />about things by the exercise of observation & reason both scientifically (<br />& I include history &c. here) and artistically. I think this probably does<br />underlie some of our differences? What do you think? :)<br />+Pall Thayer <p_thay@alcor.concordia.ca> replied:+<br /><br />I would just like to jump in here and say that, although I'm not going to<br />say that art has to tell the truth in any way shape or form, I believe an<br />element of truth adds validity to the conceptual side of work. For<br />instance, a piece purporting to be a carnivore client could easily be<br />faked with a simple script generating the data that is being presented as<br />carnivore data. Would we know the difference? But one of the things that<br />makes carnivore clients interesting is the fact that the data being used<br />is a true representation of what's going on on a given network. Since we<br />can't necessarily tell the difference, it's comes down to the artist's own<br />personal integrity. If we take for instance, Vito Acconci's Seedbed. He<br />didn't really have to masturbate under the floorboards. No-one even knew<br />he was<br />there. What if we found out that he faked it all, he wasn't really<br />masturbating. Does the work remain the same?<br /><br />One of the reasons I have an opinion about this is that a couple of years<br />ago I was doing some work with some theater people. I had all sorts of<br />ideas, wanted to set up some sensors and use them to trigger lighting etc.<br />The theater people looked at me and said, "Why?" We can just fake it. We<br />can make it "look" like the actors are controlling the lights, and it<br />dawned on me that theater is an art of lies and fakery whereas (I think)<br />conceptually grounded visual arts are an art of truth.<br /><br />BUT (and there always has to be a "but".) As is always the case in art,<br />you have instances where the opposite is tested. Where the primary concept<br />is the "lie". Such as with MTAA's One Year Performance. But of course it's<br />presented in a way that you know that slight-of-hand plays a part. The lie<br />isn't being hidden.<br /><br />OK, I'm just spewing this stuff out as I go along so I reserve the right<br />to reverse my position on anything I've said. I think this is a topic<br />worthy of much discussion. Especially in regards to data-based artwork,<br />much of which takes the "truth" (data) and twists it into something else.<br />As in Jonah Brucker-Cohens Police State. The carnivore collected data is<br />true. But what about the message that the work relays to the viewer? I<br />know the piece is hearing the truth, but is it telling me the truth?<br /><br />Pall<br />+Ryan Griffis <ryan.griffis@gmail.com> replied:+<br /><br />this is an interesting thread…<br /><br />to take up Pall's points, which bring up some great things to discuss: how<br />does work like Walid Raad/Atlas Project's generate a response in relation<br />to truth/fabrication? One could say the there are "give aways" to the<br />work's fabricated elements, but i think that all depends on the audience.<br />Those "in the know" know…<br /><br />Or how about the Center for Tactical Magic? or CAE? or the Yes Men? Part<br />of the effect and affect of the work is that momentary (or for some,<br />sustained) suspension of disbelief. (or maybe more accurately, suspension<br />of relief!)<br /><br />Going back a bit historically for this discussion, Alan Sekula's critique<br />of documentary and photography are interesting to consider. This statement<br />is particularly relevant here: "What I am arguing is that we understand<br />the extent to which art redeems a repressive social order by offering a<br />wholly imaginary transcendence, a false harmony, to docile and isolated<br />spectators." (from "Dismantling Modernism, Reinventing Documentary"<br />1976/8) Sekula goes on however to argue that a new kind of documentary is<br />needed, from his very Marxist position, that is critical of the<br />"objectivity of the camera" while recreating a kind of socialist realism.<br />To update that, Nato Thompson (MassMoCA curator of "The Interventionists")<br />has been working with people like CAE, CTM, CLUI, Speculative Archive,<br />Trevor Paglen, etc) and compiled a small article + series of works for Art<br />Journal last year, prefacing the works with this statement:<br /><br />"What unifies their individual approaches is a shared attempt to deploy<br />the aesthetics of truth in order to raise criticality. By aesthetics of<br />truth, I mean an intellectual manipulation of visual codes that signify a<br />truth claim. To be clear about what this entails, examples might include<br />videotaped confessions, textbook-inspired design strategies, and<br />experimental lectures in which claims are asserted that are, in fact,<br />inaccurate, if not flagrantly false. Yet these projects do not simply<br />manipulate the visuality of what may lead us to accept them as truth but,<br />more important, they use this method critically to raise concrete<br />historical issues. Their work is not simply sign play. The subjects of the<br />individual projects range from Ninjitsu to beekeeping to the prison<br />industry to the United States–backed coup in Chile."<br /><br /><a rel="nofollow" href="http://www.findarticles.com/p/articles/mi_m0425/is_1_63/ai_114632849/pg_1">http://www.findarticles.com/p/articles/mi_m0425/is_1_63/ai_114632849/pg_1</a><br /><br />i don't think i would have arrived at this discussion so much from abe's<br />video on my own… it just doesn't push those same buttons for me. i have<br />a similar reaction to it as Marisa expressed. i read it as a response to<br />the immediacy of the media image (document) that is already read through<br />other narratives (sci-fi, "Face Off," etc). it doesn't challenge the<br />dominant narrative (as "truth") as much as show how problematic and<br />discursive that narrative already is.<br />+aabrahams <aabrahams@bram.org> replied:+<br /><br />I just watched the video again<br /><br />What I saw yesterday on the television, was more scary, more exciting and<br />more confusing. ( and I would like to add : also more interesting and even<br />more artistic )<br /><br />In my opinion the remixing didn't bring around an extra that might justify<br />the use of the image of a person with a handicap without her conscent.<br /><br />I don't think the metaphor of remixing a face is chosen quit well.<br />Isabelles face was repaired. Remixing a face would have been served better<br />with Orlan as the subject.<br /><br />[….]<br /><br />I was profoundly shocked yesterday when I saw this woman, being glad with<br />a face I thought ugly monstruous. (but she came from no face at all, no<br />control at all over her mouth muscles, so indeed what a gain) I cannot<br />look at a media image as an image or as a narration. I see and feel<br />reality behind. (but not truth)<br />+marc <marc.garrett@furtherfield.org> replied:+<br /><br />I agree with Annie,<br /><br />and I also see the mediation and the spectacle of someone's pain created<br />into theatre, snuff-tainment.<br />+Dirk Vekemans <dv@vilt.net> replied:+<br /><br />> exciting, and confusing. I think Linkoln is part of a<br />> generation of artists who make remixes to make sense of<br />> things in a media saturated culture.<br />> Marisa<br /><br />Nice wording and the artist might agree, but personally i don't see how<br />remixing media into more media brings you or your audience any closer to<br />making sense of things. Can be fun but it only adds more media to the<br />media, reiterates pointless referrals to referrals to prrt prrt building<br />up to an endless repetition of the global amen to the the state of things.<br />If this particular instance is a statement (the indicative artistic<br />framing of it), it is a (funny/sarcastic/whathaveyou) statement of echoing<br />the statement of that amen. Sure it _also_ echoes the other (?) media's<br />disrespect for the individual once called isabelle d., but who could hold<br />anyone responsible for such a minor moral injustice when he's part of a<br />generation of artists?<br /><br />OTH Abe's work is nice enough, i admire it's vitality, but that part of it<br />that makes it that vital sure isn't the remixing methodology, more in<br />spite of it like what often happens to a good artist using a method.<br />There's that old delicate balance of punk in it, sometimes, haha. And then<br />this, well no, it doesn't/didn't get really through to me, hence it fails<br />for me, no truthbells ringing, or, to be more exact, i see no way out<br />hiding behind it, only some well-crafted powerful images that stick to<br />your retina a while, until the usual dumbness of give-us-our-daily-horror<br />takes over.<br />+manik <manik@ptt.yu> replied:+<br /><br />Marisa wrote:<br /><br />>To put it very crudely, we are talking about an act of remixing a face.<br />>Given Linkoln's body of work, it's interesting to juxtapose tissue<br />>sampling and the sampling of media. It's not my role to overstate or<br />>impose such an "intention" upon this work, but I think it can definitely<br />>be read in that way.<br /><br />Annie's right.In Isabelle's case we couldn't talk about<br />"remixing",maybe,we can talk about "insert"(part of face<br />,de facto, fill a gap in one missing face.Remixing could,eventuality,<br />treat completed,new look of Isabella's face,so this term<br /> point the way this man(Mr.Linkoln)treat a problem:it's something out of<br />his comprehend of human as a<br />complex structure.In his words:" This video is about the truth of nerve<br />endings and microphones."<br />On certain way this particular woman became heap of nerve<br />endings,playground for bad comprehend "remixing" game.<br />So :Orlan's kind of"remixing"product,same as Mickey Rourke,or<br />Tiger,Lizard…man,but<br />Isabelle is horrible incident,and Marisa's quasi excuse("To put it very<br />crudely")talk about something<br />worse than crudely-she is indifferent same as Mr.Linkoln."It's not my role<br />to overstate or<br />impose such an "intention" upon this work, but I think it can definitely<br />be read in that way."<br />Obvious your role IS to do what you've already dun.<br />About "intention":my intention's to put in one grave all dead<br />person(soldiers and their victims)in Iraq war.<br />That could be nice example of "remixing",more cynical intention than<br />Mr.Linkoln's,certainly.<br />Must I ask what you think about political consequence of such<br />"intention"?Just think about Danish comic.<br />To treat Isabelle Dinoire on Mr.Linkolns way is easy,mean and immorality.<br /><br />More Marisa:<br /><br />>I honestly see nothing immoral about this video. That's obviously just one<br />>person's subjective response, but it's one informed by another subjective<br />>response to the mainstream discourse surrounding face transplants. The<br />>subject is scary, exciting, and confusing. I think Linkoln is part of a<br />>generation of artists who make remixes to make sense of things in a media<br />>saturated culture.<br /><br />>And it just so happens that this all occurs in a time of intense policy<br /><br />I'm sure you deeply doubt in moral of this video(simple psychological<br />rule is when somebody talk<br />about honest,there's something wrong with it,kind of "homosemantism",I<br />suppose,equivalent in body<br />language,touch nose when lie etc).<br />I'm not familiar with "mainstream discourse surrounding face<br />transplants",but it's consolation for us to know that Mr.Linkoln is part<br />of such semantic disposed generation.<br />He maid express his self one day?In culture…<br />I'm disgust with people who profit on somebody else's pain.<br />(Mr.Linkoln is paradigm for cases like that,as artist unimportant.)<br /><br />MANIK<br />+Lee Wells <lee@leewells.org> replied:+<br /><br />I love reading the list when it gets all revved up and the personalities<br />textually collide.<br /><br />I think there could have been a more well thought out explanation about<br />the piece as well. Only putting it context with his previous work doesn't<br />doesn't quiet cut it. Abe's piece is kind of a one liner and conceptually<br />falls short for me. I didn't see the interview on tv but saw the photos<br />today in the paper in addition to Abe's video, I felt sorry for her.<br /><br />For as little as Abe has said today about his piece I find it interesting<br />that Manik is the only one to evoke any sort of response out of him.<br />+Jim Andrews <jim@vispo.com> replied:+<br /><br />I haven't seen the original footage it was taken from. I suspect that must<br />have been painful to view. Certainly viewing Abe's piece produced painful<br />little shivers. Not solely at what the surgeons had done but what the<br />video editing had done. A face transplant and then a video transplant of<br />that.<br /><br />I wasn't sure, actually, about Abe's intent. I didn't really make any<br />judgements about it.<br /><br />The video reminded me of something Salman Rushdie once said (and I<br />undoubtedly recollect it improperly), to the effect that we sometimes<br />become grotesques (but freer) in our nonetheless real and valuable<br />attempts to heal ourselves in a world that is often grotesquely<br />indifferent to pain and suffering.<br /><br />Of course the question crossed my mind if Abe was being cruel in his use<br />of this footage, later, reading the posts, but that wasn't really clear to<br />me in viewing the video, although it is painful to watch.<br /><br />But, Abe, I don't think you can hide behind statements like "this video is<br />about the truth of nerve endings and microphones". That may or may not be<br />what you thought it was about. It is definitely about this particular<br />woman's pain, isn't it, whatever else it is about such as media blah blah.<br />However you cut it. However you cut it, you cut her.<br /><br />It feels to me that you should acknowledge that. Presenting the pain of<br />other people in works of art is not uncommon. It goes way back even beyond<br />the tragedies to religious ritual. But it is still volatile and delicate<br />as flesh and bone. As is the recognition.<br />+jo@turbulence.org replied:+<br /><br />Two human faces, side by side, stretched taught as a drum, manipulated and<br />toyed with (much like a cat toys with a mouse before he kills it). As if<br />this is not monstrous enough, Linkoln has cut her vocal chords, silenced<br />her, period.<br /><br />Truth?<br /><br />The artist?s?<br />The subject?s?<br />Mine?<br />+Dirk Vekemans <dv@vilt.net> replied:+<br /><br />i thought sth similar for a moment too, but i find that's (sorry for the<br />pun) stretching it a bit, art i mean: no way this is going to register as<br />an event to that effect, it would have to matter before it could do that<br />and it doesn't matter because it doesn't escape the (monstrous) repetition<br />it re-enacts. Art fails, thank god and these things are orchestrated for<br />failure.<br /><br />You're taking the metaphor where it doesn't go, it's mistaking what we put<br />into it for what gets out, including its unwonted side effects. Cartoons<br />and cartoonists don't kill people, mediatised avalanches of hatred and<br />frustration do.<br /><br />In the unlikely event i.d. (sic) get's to see this, she'll (hopefully)<br />just classify it as more media bs. If there's any real moral issue here<br />it's restricted to us, Lincoln's piece making us perhaps painfully aware<br />of what might be, or how we fail to make the audience aware, or even<br />ourselves. Art silencing art. Remixing as an artistic process encourages<br />silence, encapsulating the encapsulation.<br />+Ryan Griffis <ryan.griffis@gmail.com> replied:+<br />i'm starting to think that the whole "truth" discussion was/is a bit off<br />the mark…<br /><br />i could, very likely, be totally wrong, but it sounds like people are more<br />concerned with the responsibility of affect + representation?<br /><br />when someone says "linkoln has cut her vocal chords…" that has to be<br />taken as a statement about representation. we're not talking about<br />Santiago Sierra after all.<br /><br />both the original video and linkoln's mod are tools for affect, no? is the<br />question about which one is more manipulative (i.e. less transparent)?<br />which one is more oppressive/repressive to the objectified (and, i guess,<br />by extension, us)? i think the critiques of the vid make some good<br />points…<br /><br />all of this kind of reminds me of the news i've been listening to all day<br />regarding the controversial danish cartoons… many journalists are saying<br />they understand the "free speech" rights of the publishers, but such<br />rights don't negate responsibility or create obligations. "just because<br />they can" isn't justification. that point can def be translated into remix<br />culture… is a remix liberating just by nature?<br />+Eric Dymond <dymond@idirect.ca> replied:+<br /><br />I think the piece has much in common with a Francis Bacon Portrait.<br />I'm not going to get heavily involved, but I don't see why this either<br />truthful, untruthful, moral or immoral. It seems to use digital media to<br />push and pull reality without losing the essence of the source, as a <br />Bacon painting pushes and pulls the appearance of his subject. This is<br />interesting in that it's time based( now I'm thinking of the Nurse from<br />The Battleship Potemkin by Eisenstien). You should know there is a good<br />deal of distance between the actual subjects life and the imagination<br />contained in the work, which makes it successful for me.<br />Eric<br />+Myron Turner <myron_turner@shaw.ca> replied:+<br /><br />This thread has worked up such a great amount of interest that I was<br />finally drawn in to see what it was all about. I'm afraid I couldn't help<br />finding the video amusing–it was so over the top. So the question is,<br />first: what did I find amusing, and secondly at what is the amusement<br />directed?<br /><br />My amusement was first of all separate from the subject, isabelle<br />dinoire–that is, what I saw was a spoof of 40's/50's horror flicks. But,<br />I had seen the Dinoire interview on the news, and cutting through the<br />sympathy that one could not help but feel was her intention to continue<br />smoking despite its dangers to the immune system and its potential to<br />cause rejection. So, somehow absurdity seemed to pile on absurdity. And my<br />amusement.<br /><br />But once the real Isabelle entered into my reaction, when I was no longer<br />reacting to just the spoof of horror flicks, I had to step back and ask<br />what kind of person I was to find this pathetic situation amusing. And<br />here is where the second question comes in: at what is the amusement<br />directed.<br /><br />Well, I don't really think I'm such a bad guy. But, I found her intention<br />to continue smoking to be ridiculous, ethically ridiculous. Not that she<br />doesn't have the right to destroy herslf. But here is a person who has<br />focused on her case the attention of the world's medical community, who<br />has put the state to great expense in order to undertake the procedure and<br />who has moreover, willingly or not, participated in bringing the attention<br />of the world to her plight and has implictly if not in fact explicity, in<br />the interview, asked for our sympathy and good wishes. So her reckless<br />disregard struck me as ridiculous, and I'm afraid that that sense of the<br />ridiculous added to my amusement when I watched the video.<br /><br />That's my personal response. But it doesn't answer any questions about the<br />video itself. Is the video in fact a spoof? And if so at what is the humor<br />directed? Is it simply directed at the genre? Well, it can't be, at least<br />not for us, since we can't dissociate it from the interview and the<br />situation. Or is it a serious piece, expressing revulsion. If so, what's<br />the revulsion directed at? Or is it ambidextrous, expressing both<br />amusement and revulsion? Someone mentioned that the video is part of the<br />artist's larger interest in re-mixing. I can see that, but I'm not clear<br />about what the video wants us to understand from that allusion. I guest<br />what I'm saying is that I don't feel the video supplies us with enough<br />context to make these judgments and that we are left to supply the<br />contexts ourselves. It's hard for me to believe, for instance, that<br />there's not an element of pardoy in the piece. But to be honest, I'm not<br />sure. And if there is parody, I'm not sure what the parody means.<br />So,finally, I'm left on my own.<br />+op <t@panda-man.info> replied:+<br /><br />i think that only parts of her face have been replaced, not all of it<br />(from what i got from the news) so i believe she still retains most of her<br />original emotions (i think emotions express intuitive stuff and when we<br />use our body language to communicate such things they transcend the<br />physicality of the body, well, i think this experience will tell us more<br />about how the body codes intuitive communication)<br />+Nad <nad@daytar.de> replied:+<br /><br />Marisa Olson wrote:<br /><br />> To put it very crudely, we are talking about an act of remixing a<br />> face.<br />> Given Linkoln's body of work, it's interesting to juxtapose tissue<br />> sampling and the sampling of media. It's not my role to overstate or<br />> impose such an "intention" upon this work, but I think it can<br />> definitely<br />> be read in that way.<br /><br />yes i also think one could read it in this way. However there is something<br />crucially missing in this juxtaposition:<br /><br />What is so special about Dinoires case? Its not the remixing of tissue<br />itself. It is the fact that the tissue comes from another persons face. a<br />dead person. another living.<br /><br />and that fact is the scary and facinating part of it - not the way she<br />looks like now or the tissue mixing. a face is also an interface. it is<br />the bridge from the outside to the inside. if you meet someone you try to<br />"read in his/her face". so what tells us her face now?<br /><br />I do not see that Abes work reflects this (to my point of view) most<br />important part. So i miss it.<br /><br />Moreover I didnt see Isabelle Dinoire speaking, I saw only Abes video and <br />the first thought i had was: you can always find someone make an odd face<br />at a moment and then sample it into a horror face. My computer is quite<br />slow and so even Marisas beautiful face (in your joint blog video) stopped<br />sometimes in some awkward positions, which made her look "scary" once in a<br />while :-)…. So why is it so scary to see Isabelle Dinoire in Abes<br />video?- my guess is that this is only in part due to the fact of her<br />actual appearance it is mostly due to what we know about her… the fact<br />of the dual person.<br /><br />Abes images are truely catching. He did a good job in choosing them.<br /><br />they are really sticky.<br />however i cant help it, they remind me of some school yard situation:<br />there was a girl who was heavily limping due to a polio. she also had to<br />wear some device. there was a group of boys watching her and then some of<br />the boys started to mimic her by limping around. the boys were scared,<br />they were feeling uneasy and invoking the disrespectful reaction was<br />somehow helping them. a strange mechanism, but one can observe it quite<br />often.<br /><br />i do not want to draw any parallels to your work Abe I have no idea what<br />your intentions were…this is just what i got in my head when i saw your<br />video.<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the<br />New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation,  The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council on<br />the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 11, number 6. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
