RHIZOME DIGEST: 09.15.06

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Posted Sept. 14 2006 20:00

RHIZOME DIGEST: 09.15.06

RHIZOME DIGEST: September 15, 2006 Content: +opportunity+ 1. info@year01.com: TERMINAL01 :: CALL FOR SUBMISSIONS 2. Scott Snibbe: Interactive Media Software Engineer for Scott Snibbe 3. Marisa Olson: Deadline extended: Rhizome Curatorial Fellow +announcement+ 4. Hans Bernhard: Google Will Eat Itself - No. 5 5. Ceci: Rhizome Organizational Subscriptions/New Features 6. Ravi Shankar: Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit, Oulipo & Canadian Strange 7. Perry Lowe: Reentry: New York City at EYEBEAM +Commissioned by Rhizome.org for KEYLINES+ 8. Raqs Media Collective: Turn left from the community centre and walk fifty yards + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. From: info@year01.com <info@year01.com> Date: Sep 11, 2006 Subject: TERMINAL01 :: CALL FOR SUBMISSIONS TERMINAL01 :: CALL FOR SUBMISSIONS Year Zero One is seeking submissions for Terminal01 (T01), an interactive networked art exhibition to be launched at Toronto Pearson International Airport in the spring of 2007. T01 will consist of a custom made kiosk housing a touch-sensitive screen, an audio-video output, an embedded web camera, sensors and projection screen. Artists are invited to create site-responsive computer generated work based on their experience and interpretation of air travel environs, mobility, flight data, airports and networked communities. Emphasis will be given to works with a generative component or works dealing directly with themes relevant to travel (space-time). Deadline for submissions is December 1st, 2006. Artist fees paid. T01 is curated by Michael Alstad and David Jhave Johnston. For more info and online entry form please visit: <a rel="nofollow" href="http://www.year01.com/terminal01/submit.html">http://www.year01.com/terminal01/submit.html</a> Year Zero One gratefully acknowledges the Canada Council for the Arts and the Greater Toronto Airports Authority for their support of Terminal01. +++ YEAR ZERO ONE is an artist run site which operates as a network for the dissemination of digital culture and new media through web based exhibitions, site-specific public art projects, an extensive media arts directory and blog. <a rel="nofollow" href="http://www.year01.com">http://www.year01.com</a> +++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Scott Snibbe <scott@snibbe.com> Date: Sep 11, 2006 Subject: Interactive Media Software Engineer for Scott Snibbe Interactive Media Software Engineer We are seeking a software engineer with solid computer science skills for highly engaging and challenging work in interactive media. You will work with media artist Scott Snibbe at his San Francisco studio to create physically reactive public art installations that incorporate computer graphics and computer vision. These installations are installed temporarily and permanently at sites worldwide and you will receive exhibition and publicity credit for your contributions. Key skills required: * Computer Graphics programming - 2D, 3D, simulation, OpenGL, video game programming. * Computer vision programming - especially person tracking and high-quality figure extraction using OpenCV and other lower level libraries. * Software engineering - ability to integrate into a large, relatively well engineered vision/graphics system while improving and extending it. * Masters degree or equivalent in one of the above fields. Skills and interest in the following areas are also useful: * Strong familiarity with windows development and running environments, ability to troubleshoot drivers, graphics cards, video capture * Film, animation and video post-production * Video optics - rear and front video projection, infrared lighting, filters * Organizational and writing skills * Good interpersonal and communications skills We are willing to teach a talented person graphics or vision if their skill is only in one area – computer graphics knowledge is more critical than computer vision, since we have an existing solid framework for vision, while new projects will have substantial new computer graphics code. The work we do is technically sophisticated, often at the level of contemporary research. The work offers an opportunity to make a contribution to international public art projects that you can include in your research history, portfolio and demo reel. Please see www.snibbe.com and www.sonaresearch.com for examples of our work. Our past employees and interns have gone on to positions at top companies and art institutions worldwide. This is a great training ground for someone wanting to break into the field of interactive art, computer graphics or computer vision; this is also a wonderful opportunity for someone whose talents are midway between art and engineering and wants a uniquely satisfying job. The position is paid US$4000 per month at a contract rate and includes health insurance. Due to the relatively modest pay, we will consider candidates who can work with us for a limited engagement, in addition to those able to make a longer term commitment. Our studio provides a uniquely positive, playful and kind workplace with an emphasis on our social mission of bringing delight, meaning and new forms of social interaction to the general public. Please send a letter of interest, resume and sample work to jobs@sonaresearch.com. We will request interviews and recommendation letters from the top candidates. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Marisa Olson <marisa@rhizome.org> Mailed-By: rhizome.org Date: Sep 12, 2006 Subject: Deadline extended: Rhizome Curatorial Fellow Hello. Because I know that these things tend to revolve around school schedules, I've extended the deadline for this by one week, to Wednesday, 9/20. Please forward to students, colleagues, etc… JOB OPPORTUNITY: Curatorial Fellow (part-time, unpaid) RHIZOME.ORG Rhizome.org is a leading new media arts organization and an affiliate of the New Museum of Contemporary Art. Currently celebrating our tenth anniversary, Rhizome's programs support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways. These include online publications and discussion lists, exhibitions (online & offline), performances, screenings, public talks and events, the ArtBase archive, artists' commissions, and other educational programs. For more information about Rhizome, visit: <a rel="nofollow" href="http://rhizome.org/info/">http://rhizome.org/info/</a> Rhizome seeks a Curatorial Fellow to assist with the research, planning, and production of exhibitions and public programs, as well as writing and editing content for Rhizome's website and publications. This position is a unique opportunity for a person interested in pursuing a career in the new media arts field to further their engagement with the community and hone their professional skills. The Curatorial Fellow must be based in New York and must be able to commit to 15 hours of work per week, for an academic year, beginning in September 2006 and ending in the summer of 2007. These hours may include occasional evening and weekend events. This position is unpaid, but academic credit may be arranged. Reporting directly to Rhizome's Editor & Curator, the Curatorial Fellow will work on all phases of the exhibition and editorial processes, including researching new projects, writing copy, and assisting with the implementation of current programs. The Curatorial Fellow will also develop crucial experience in development and communications. The Fellow's primary responsibilities may include: * Becoming a Site Editor and assisting with the management of reBlog content * Writing and editing occasional Rhizome News articles and other texts * Researching editorial ideas and writers * Liaising with artists, public program participants, and venues * Assisting in the promotion of events * Co-coordinating the Rhizome ArtBase, including researching art works * Planning, production, and on-site coordination of public events As the Curatorial Fellow advances, there may be opportunities to curate an exhibition or event, and to write feature articles. In general, the Fellow will play an important role in helping to strategize and execute strong, dynamic programs and editorial content. QUALIFICATIONS: Candidates should have a level of familiarity with new media and its histories and discourses. They should also possess a Master's degree or be enrolled in a graduate rpogram. At least one year of arts administration experience is required and preference will be given to candidates with prior curatorial and/or editorial experience. At a minimum, the candidate should have very strong writing, editing, and analytical skills, and very high internet literacy. Knowledge of Microsoft Office software is also required and basic Photoshop skills are preferred. TO APPLY: Please email a cover letter, resume or c.v., three references, and three writing samples (url's or attachments) to Marisa Olson at marisa(at)rhizome.org. Review of applications will begin immediately and all materials should be submitted by Wednesday, September 20, for consideration. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Hans Bernhard <play@ubermorgen.com> Date: Sep 11, 2006 Subject: Google Will Eat Itself - No. 5 Dear GWEI Subscribers The current stats: Google Shares owned by GWEI: 123 Amount of USD: 47.276,28 Adsense-Clicks: 126.336 Adsense-Page Impressions: 5.448.926 Adsense-CTR: 2,31% Counter: 202.345.126 Years until GWEI fully owns Google Current Google Share Price : 384.36 USD, Symbol: "GOOG" Google's Legal Department has contacted us with a very nice and open letter signed by Dr. Arnd Haller, Legal Rep. He stated that Google thinks we are doing great work but somehow something illegal, that they are fully aware that this is an art piece but still we should kindly stop with our assumed illegal activity. Letter in german: <a rel="nofollow" href="http://www.gwei.org/pages/google/legalletter1.html">http://www.gwei.org/pages/google/legalletter1.html</a> Our next exhibition will be at the ICC NTT Museum, Tokyo (JP). The "Connecting Worlds" Exhibition curated by Yukiko Shikata, with artists such as Peter Fischli and David Weiss, Dennis Oppenheim, Ambient.tv, Wayne Clements. We will show a digital Slideshow next to a terminal with the web-site: <a rel="nofollow" href="http://www.gwei.org/pages/exhibitions/slideshow_ICC_tokyo">http://www.gwei.org/pages/exhibitions/slideshow_ICC_tokyo</a> Media Coverage was very good during the last months, GWEI was featured in BBC World (Radio), Kulturzeit (3Sat TV), Telepolis, Artforum News <a rel="nofollow" href="http://www.artforum.com/news/week=200628">http://www.artforum.com/news/week=200628</a> and in a lengthy article in Spiegel Online (Deutsch): <a rel="nofollow" href="http://www.spiegel.de/netzwelt/netzkultur/0,1518,435195,00.html">http://www.spiegel.de/netzwelt/netzkultur/0,1518,435195,00.html</a> and "die Presse" (Deutsch) <a rel="nofollow" href="http://diepresse.com/Artikel.aspx?channel=k&ressort=k&id=569850">http://diepresse.com/Artikel.aspx?channel=k&ressort=k&id=569850</a> and Sueddeutsche Zeitung (SZ) (Deutsch) <a rel="nofollow" href="http://www.sueddeutsche.de/kultur/artikel/756/79677/">http://www.sueddeutsche.de/kultur/artikel/756/79677/</a> and Heise Online, attacking our future project called Amazon Noir: <a rel="nofollow" href="http://www.heise.de/english/newsticker/news/76240">http://www.heise.de/english/newsticker/news/76240</a> Additionally, on July 12, 2006 we have frozen a copy of GWEI and added it to the Rhizome Artbase for conservation. <a rel="nofollow" href="http://www.rhizome.org">http://www.rhizome.org</a> And.. we will present GWEI on October 24th at the New Museum New York for the Rhizome 10 years anniversary. best regards and lovely hugs from the team UBERMORGEN.COM feat. Alessandro Ludovico vs. Paolo Cirio Hans Bernhard UBERMORGEN.COM / etoy.holding Skype Hans_Bernhard Studio +43 1 236 19 85 Mobile +43 650 930 00 61 Email hans@ubermorgen.com <a rel="nofollow" href="http://www.ubermorgen.com">http://www.ubermorgen.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Ceci <ceci@rhizome.org> Date: Sep 12, 2006 Subject: Rhizome Organizational Subscriptions/New Features The Fall semester is here, and I would like to remind fellow Rhizomers of our organizational subscription program! <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> We introduced a number of new features relevant to the academic community. We?ve added a New Media Residency List to our growing collection of New Media Resources. (You can add resources to this list, if you?d like. See <a rel="nofollow" href="http://www.rhizome.org/resource">http://www.rhizome.org/resource</a>). We also recently developed a Rhizome Toolkit that should help organizational subscribers access and utilize all the features and resources in Rhizome?s membership program with greater ease. The Rhizome Toolkit is comprised of a User Guide, cataloguing information and an updated description of Rhizome that you can plug into your library?s catalog and/or database subscription page. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Ravi Shankar <shankarr@ccsu.edu> Date: Sep 13, 2006 Subject: Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit, Oulipo & Canadian Strange <a rel="nofollow" href="http://drunkenboat.com">http://drunkenboat.com</a> Announcing the premiere of Drunken Boat, the international online journal of the arts, Issue #8. A special triple issue dedicated to the inaugural PanLiterary Awards Winners in seven genres; the spreading potentiality of the Oulipo; and the very strangest of current Canadian Arts and Letters. Featuring over 125 contributors, including a radio play by Mark Rudman and Martha Plimpton, ambigrams by Doug Hofstadter, archival material from Raymond Queneau and Marcel Duchamp, translations by Cole Swenson and Keith and Rosemarie Waldrop, video from Adeena Karasick, photos by Allyson Clay and Gabor Szilasi, among many others. Including new work from the PanLiterary Judges: PEN/Faulkner Award winner Sabina Murray, conceptual artist and musician DJ Spooky, poet, translator and librettist, Annie Finch, Fellow of the Royal Geographic Society, Alexandra Tolstoy, trace/Alt-X New Media Award winner Talan Memmott, and video art pioneer and TV interventionist David Hall. Congratulations to Scott Withiam, Christiana Langenberg, Jason Nelson, Erik Bünger, John Fillwalk, Geoffrey Demarquet and Jacques Leslie for winning the inaugural PanLiterary Awards and thanks to guest curators Jean Jacques Poucel, Sina Queyras and designer Shawn McKinney for the special folios. Please consider making a tax-deductible contribution to Drunken Boat to help keep the arts alive online: <a rel="nofollow" href="http://drunkenboat.com/db8/donate.html">http://drunkenboat.com/db8/donate.html</a> Enjoy the issue and let us know what you think. Happy navigating! -The Editors <a rel="nofollow" href="http://www.drunkenboat.com">http://www.drunkenboat.com</a> *************** Ravi Shankar Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Perry Lowe <perry@eyebeam.org> Date: Sep 14, 2006 Subject: Reentry: New York City at EYEBEAM Reentry: New York City merges iconic night cityscapes with HD computer simulations in a series of studies for a daring new public art project: synthetic meteor showers in the Manhattan sky. Evoking the spectacle of the Apocalyptic Sublime painting movement and the audacity of Land Art, these new simulations created by Bill Dolson during his Eyebeam residency will be on view Sept. 21 through Oct. 21, with a special opening reception Sept. 21, 6-8pm. The exhibition is open to the public Tuesday through Saturday from 12-6pm and is free of charge with a suggested donation. Eyebeam is located at 540 W. 21st Street between 10th & 11th Aves in Chelsea. Reentry: New York City contains twelve HD videos of synthetic meteor showers envisioned as luminous, ephemeral drawings in the upper atmosphere that will persist for only seconds or at most, minutes. While quite fantastic, the studies are conceived to demonstrate the technological feasibility of the project, established with the contributions of scientists at agencies such as NASA, Ames Research Center and Los Alamos National Laboratory, among many others. Technical and conceptual background information will be explained in an animated demo, short documentary and printed handouts accompanying the exhibition. Reentry: New York City uses new technologies to draw on the tradition of the early large scale land art first produced in the 1970s by such innovators as Michael Heizer, Robert Smithson, Robert Morris and Walter de Maria, evoking the same sense of daring, wonder and existential awareness which the scale of these seminal works produced. Updated in a scientifically inspired gesture, the synthetic meteors avoid the permanent monumentalism of earlier land art by their dynamic and ephemeral nature. Reentry New York City recalls the Apocalyptic Sublime, a painting genre of the late 18th and early 19th centuries in Britain, in both content and intent. Leading artists of the time including Benjamin West, William Blake and JMW Turner produced popular Apocalyptic Sublime works depicting apocalyptic themes such as The Deluge or scenes from the Book of Revelations, often in urban settings and frequently featuring comets or meteors. The projections and screens in Reentry will be presented salon style. However, in the two hundred years since the Apocalyptic Sublime, the purview of art has been extended from the depiction of an apocalyptic event to the physical staging of one, the grandeur of the proposition, both commenting on and questioning our own spectacular society. Dolson is simultaneously exhibiting digital C-prints of frames from these video studies at Photographic Gallery, 252 Front Street (South Street Seaport Historic District) in New York City. The exhibition, Trajectories: Carter Hodgkin & Bill Dolson opens September 28 with an artists' reception 6-9 pm. For information on Dolson's Sky/Ground works, including Synthetic Meteors, along with biographical and technical notes, please visit <a rel="nofollow" href="http://www.billdolson.com/">http://www.billdolson.com/</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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Raqs Media Collective +Commissioned by Rhizome.org+ For KEYLINES, a Project of Rhizome's Tenth Anniversary Festival of Art & Technology <a rel="nofollow" href="http://www.rhizome.org/events/tenyear/keylines.rhiz">http://www.rhizome.org/events/tenyear/keylines.rhiz</a> +Please visit KEYLINES to respond or post your own essay!+ "Turn left from the community centre and walk fifty yards" In Delhi, most neighbourhood residential 'colonies' have a building (or a set of buildings) haphazardly labelled 'Community Centre' abutting them. Usually this is little more than a faded sign affixed to a more or less shell-like concrete structure. Empty rooms waiting to be filled with elusive acts of 'community.' Sometimes, the precincts of a 'community centre' evolve into a bustling local market. Other times, they remain mainly abandoned, apart from the period of the annual Dussehra festival when they become festooned with the ersatz performativity of the Ramlila cycle of plays, or the wedding season when tinsel and electrical decoration make dramatic appearances. In all cases, the idea of the 'Community Centre' persists as the anomalous mandated space for 'community' to come into being in a large, anomic city. It is like an otherwise nondescript bird that periodically comes into rich mating plumage. The word 'Community' veers between suggesting an abandoned facility and an erratic, ephemeral festivity, or stable but low-intensity commerce, and the mundane transactions of daily life. Paradoxically, the community centre is never really 'central' to the life of the neighbourhood; it occupies what could be called a significant proportion of its margins. Its centrality, if any, lies in the fact that people recognize it as a constant, if not very spectacular, landmark that helps them orient their immediate urban micro-landscape. So when giving directions to someone's house, one could say, 'Turn left from the community centre and walk fifty yards.' It may not be inappropriate to think of online 'Communities' with the metaphors and concepts gleaned from a reading of Delhi's 'Community Centres.' Some online communities are like evolved neighbourhood markets (community centres in mercantile or transactional drag) – spaces of low-intensity but ongoing interaction, which deepen the life of a space and its inhabitants by providing a platform for regular contact and transaction. Others are communities that ebb and flow, or swing between poles of relative inactivity and occasional, or periodic exuberance (with a wide and graduated spectrum in between); still others are places where people can perform their varied socialities, sometimes in a manner that involves radical subversion of given social roles, or by cohabiting, for a moment, a charged and liminal space. This may involve traversals of the thresholds that frame everyday life. In such cases, the space of the community may be energized (or even brought into being) momentarily by the enactments that constitute what, in ritual dynamics, has been called 'Communitas' by the anthropologist Victor Turner. Online 'communities,' like neighbourhood community centres in Delhi, are not central to the act of communication. But they do and can act as the stable landmarks that help orient a communicative landscape. Peer-to-peer networks can be like the markets that encrust the space of the 'community centre.' A mailing list can be like one in which the kids of the neighbourhood hang out in relative anonymity, but which also sometimes becomes the stage for grandstanding and performative excess. Collaborative blogs can be seen as analogs of instances where community centres actually end up being used as neighbourhood clubhouses, where people gather to play the odd game of carom, or talk about the problems affecting the electricity or water supply in their street. Each of these instances points to a heterogeneity of usage and modes of cohabitation, which somehow gets overshadowed by the relatively conceptual clumsiness of the term 'Community.' One lineage of the term comes from the act of enumeration. A headcount establishes a group of people as a unit which can be thought about, which can be named – a 'community.' Typically, such headcounts are undertaken by the state (and sometimes by well-meaning 'civil society' stakeholders), and the 'communities' so established become social facts only following the exercise of enumeration. These 'census' operations erase distinctions between the people counted and draw distinctions with other people, grouped together in other acts of head-counting. Here the word 'community' has little to do with what people do (either by themselves, or together) and more with how they appear to officials undertaking the headcount. The opacity of their actions is compensated for by the desired transparency of their mere appearance. Community, then, becomes a social statistic, an object of planning, development, reform, scrutiny, taxation, and, occasionally, punitive measures. We prefer to think of the word community more in terms of the associations that can be gleaned from 'community centres' – as spaces always waiting to be filled with things that people do, which can be quite separate from the purposes for which the spaces were built in the first place. 'The idea of Community' as a shell, waiting to be filled with actions (both normal as well as transgressive), or contested by different claims, or lying just short of abandonment, may be more interesting in the long run to think through than the fulsome and perennially optimistic sense in which it peppers the discourse of new media. Meanwhile, the 'Community Centre' nearest to where we are in Delhi has become a shelter for people taking a breather from the early showers of a late monsoon. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 35. 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>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +