RHIZOME DIGEST: 7.31.05

discussion

Posted July 30 2005 20:00

RHIZOME DIGEST: 7.31.05

RHIZOME DIGEST: July 31, 2005 Content: +note+ 1. Francis Hwang: Member RSS: 300 more feeds! 2. Lauren Cornell: Spotlit works 3. Lauren Cornell: Farewell to Kevin +announcement+ 4. Alessandro Ludovico: History of Networked Art conference 5. susana mendes silva: skyphone to artphone 6. marc: Net films 'linked' on Furtherfield… +opportunity+ 7. Lauren Cornell: Editor position at Rhizome.org 8. Hye-young Shim: Curator and Project Manager at Art Center Nabi +comment+ 9. Curt Cloninger: steal this cocept: LOWSRC – progressive interlacing +scene report+ 10. Trebor: Prog:Me Review (Rio de Janeiro 2005) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 7.25.05 From: Francis Hwang <francis@rhizome.org> Subject: 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: <a rel="nofollow" href="http://rhizome.org/member.rhiz?user_id=1036863">http://rhizome.org/member.rhiz?user_id=1036863</a> Note the line that says "Member RSS feed" and points you to this: <a rel="nofollow" href="http://rhizome.org/syndicate/member/1036863.rss">http://rhizome.org/syndicate/member/1036863.rss</a> … 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 <a rel="nofollow" href="http://rhizome.org/support/">http://rhizome.org/support/</a> . Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 7.26.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: 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 (<a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a>) 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 artists¹ projects from the ArtBase to be spot-lit on the front page. At this point, Rhizome staff will be choosing the different works if anyone would like to be involved in the selection process, please email me with suggestions. We are starting with Jim Andrews¹ Nio (2001) Best, Lauren + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 7.27.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: 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 new 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. McGarry¹s 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 I¹m 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 7.25.05 From: Alessandro Ludovico <a.ludovico@neural.it> Subject: 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. <a rel="nofollow" href="http://www.neural.it/nnews/historyofnetworkedart.htm">http://www.neural.it/nnews/historyofnetworkedart.htm</a> <a rel="nofollow" href="http://www.ecn.org/wikiartpedia/comunicati/historyofnetworkedart.htm">http://www.ecn.org/wikiartpedia/comunicati/historyofnetworkedart.htm</a> 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 - <a rel="nofollow" href="http://neural.it/">http://neural.it/</a> daily updated news + reviews English.Neural.it - <a rel="nofollow" href="http://english.neural.it/">http://english.neural.it/</a> Neural printed magazine - <a rel="nofollow" href="http://neural.it/n/nultimoe.htm">http://neural.it/n/nultimoe.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 7.27.05 From: susana mendes silva <arslonga@netcabo.pt> Subject: 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: <a rel="nofollow" href="http://homepage.mac.com/susana_mendes_silva/Artphone.htm">http://homepage.mac.com/susana_mendes_silva/Artphone.htm</a> For more information about prog:ME <a rel="nofollow" href="http://www.progme.org/">http://www.progme.org/</a> by LuÃs Silva in <a rel="nofollow" href="http://vercodigofonte.blogspot.com/2005/07/still-artist-in-chat-room.html">http://vercodigofonte.blogspot.com/2005/07/still-artist-in-chat-room.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 7.29.05 From: marc <marc.garrett@furtherfield.org> Subject: 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 <a rel="nofollow" href="http://www.furtherfield.org">http://www.furtherfield.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 7.27.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: 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 the 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 of writers, and supervising the publishing of content on Rhizome¹s front page. The Editor will work in collaboration with Rhizome staff on strategic planning and program development with a particular focus on Rhizome¹s online 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 7.29.05 From: Hye-young Shim <shy@nabi.or.kr> Subject: 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, <a rel="nofollow" href="http://www.nabi.or.kr">http://www.nabi.or.kr</a>) 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 cvâ??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 <a rel="nofollow" href="http://www.nabi.or.kr">http://www.nabi.or.kr</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 7.26.05 From: Curt Cloninger <curt@lab404.com> Subject: 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 ( <a rel="nofollow" href="http://www.aec.at/fleshfactor/arch/msg00127.html">http://www.aec.at/fleshfactor/arch/msg00127.html</a> ) ++++++++++ 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: <a rel="nofollow" href="http://www.c3.hu/collection/form/">http://www.c3.hu/collection/form/</a> Eryk Salvaggio used ascii art to commemorate 9/11: <a rel="nofollow" href="http://anatomyofhope.net/wtc/2/">http://anatomyofhope.net/wtc/2/</a> cf: <a rel="nofollow" href="http://www.ljudmila.org/~vuk/ascii/">http://www.ljudmila.org/~vuk/ascii/</a> <a rel="nofollow" href="http://turbulence.org/spotlight/ASCII_BUSH/">http://turbulence.org/spotlight/ASCII_BUSH/</a> 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: <a rel="nofollow" href="http://www.mteww.com/five_small_videos/sliding_compression/index.html">http://www.mteww.com/five_small_videos/sliding_compression/index.html</a> 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: <a rel="nofollow" href="http://playdamage.org/42.html">http://playdamage.org/42.html</a> (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 ( <a rel="nofollow" href="http://www.doombuggies.com/media/wallpaper/dynamite_800.jpg">http://www.doombuggies.com/media/wallpaper/dynamite_800.jpg</a> ). Or like the Edward Gorey animated introduction to Mystery on PBS (cf: <a rel="nofollow" href="http://www.awn.com/mag/issue5.04/5.04pages/lambgorey.php3">http://www.awn.com/mag/issue5.04/5.04pages/lambgorey.php3</a> ). ++++++++++ MARKETING retro low res emulation is modish (pun intended). cf: <a rel="nofollow" href="http://www.mnartists.org/work.do?pageIndex=1&rid=14550">http://www.mnartists.org/work.do?pageIndex=1&rid=14550</a> <a rel="nofollow" href="http://www.wired.com/wired/archive/13.08/play.html?pg=5">http://www.wired.com/wired/archive/13.08/play.html?pg=5</a> <a rel="nofollow" href="http://www.beigerecords.com/cory/Exhibitions/">http://www.beigerecords.com/cory/Exhibitions/</a> <a rel="nofollow" href="http://www.lust.nl/lust/mtv/">http://www.lust.nl/lust/mtv/</a> 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 ( <a rel="nofollow" href="http://lab404.com/373">http://lab404.com/373</a> ), I'll probably make this concept an assignment. I currently have my students make a collaborative quilt: <a rel="nofollow" href="http://mmas.unca.edu/~cloninger/373/2005s/quilt/">http://mmas.unca.edu/~cloninger/373/2005s/quilt/</a> And a collaborative alphabet (a la piotr szyhalski): <a rel="nofollow" href="http://mmas.unca.edu/~cloninger/373/2005s/abc/index.html">http://mmas.unca.edu/~cloninger/373/2005s/abc/index.html</a> 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 7.30.05 From: Trebor <trebor@buffalo.edu> Subject: 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, translator, 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 and 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 Ã¼ber-parents HÃ©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. <a rel="nofollow" href="http://www.institutotelemar.org.br/centrocultural/">http://www.institutotelemar.org.br/centrocultural/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Kevin McGarry (kevin@rhizome.org). ISSN: 1525-9110. Volume 10, number 31. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. 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