<br />RHIZOME DIGEST: April 28, 2006<br /><br />++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++<br /><br />Content:<br /><br />+note+<br />1. Ceci: Seeking Contributions for New Media Arts Syllabi List<br />2. Patrick May: Director of Technology's report, April 2006<br />3. Patrick May: 2006-2007 Rhizome Commissions Program<br /><br />+opportunity+<br />4. diopcj@jmu.edu: Call for Entries: Contemporary Mathematical<br />Photography and New Media<br />5. idc@distributedcreativity.org: Call for Papers: 'free'<br />6. Colleen Tully: Pixel Pops! Deadline Extension & Exhibition Date Change<br /><br />+announcement+<br />7. Joel Slayton: ISEA2006/Papers_Forum<br />8. Neural: The Work of Media Art in The Age of Digital Reproduction<br />9. Thomas Beard: Flipped Chips<br />10. Greg Smith: mutek 2006 lineup/details<br />11. emwod33@hotmail.com: Trampoline in Tokyo<br />12. Marisa Olson: The GIF Show, Rx Gallery-SF, opens May 3<br /><br />+Metadata Thread - Part 1+<br />13. Lauren Cornell, Richard Rinehart, Rob Myers, David Chien, Pall Thayer,<br />Ryan Griffis, Sal Randolph: Metadata<br /><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: Ceci <ceci@rhizome.org><br />Date: Apr 21, 2006<br />Subject: Seeking Contributions for New Media Arts Syllabi List<br /><br />We at Rhizome are currently compiling a New Media Arts Syllabi List, which<br />will be made available to our members in upcoming months. The syllabi will<br />span from the last ten years, and like the new media art field itself, it<br />will incorporate a wide range of disciplines (robotics, theory,<br />comparative literature, musicology, art history, etc.). If you are<br />interested in contributing your syllabi to this list, please contact me at<br />ceci@rhizome.org.<br /><br />We hope this list will become a valuable and continuing resource for the<br />teachers and students who represent<br />a significant part of our member base.<br /><br />Thank you!<br /><br />Ceci<br /><br />– <br />Ceci Moss<br />Sales Associate, Rhizome.org<br />tel. 212.219.1288 x211<br />fax. 212.431.5328<br />email. ceci@rhizome.org<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Patrick May <patrick@rhizome.org><br />Date: Apr 23, 2006<br />Subject: Director of Technology's report, April 2006<br /><br />Hello,<br /><br />So this has been a rocky but ultimately positive month for Rhizome. :-/ <br />Two major outtages disrupted service and delayed our programs. However, I<br />used these problems as an opportunity to make Rhizome stronger. <br />Additionally, some very positive things have happened, including the<br />launch of a new Advanced Search tool.<br /><br />Problems detailed below…<br /><br />=== Disk Error<br /><br />Early in the morning on March 28th, the Rhizome server crashed with a<br />severe disk error. While the database and mailing lists were backed up,<br />we still had to rebuild Rhizome.org on a fresh server. This contributed<br />to most of our delays, as we rebuilt each service individually. Among the<br />services that were disrupted were:<br /><br /> + Rhizome internal email<br /> + Rhizome.org website<br /> + Search and Advanced Search<br /> + RAW and RARE email lists<br /> + All syndications<br /> + The payment process, including online Credit Card submissions<br />and the tools for processing mailed checks<br /> + The commission submission forms<br /><br />=== Mailia<br /><br />On the weekend of April 7th, RAW began receiving a massive flow of email<br />from the "Mailia" project. These emails overloaded the server and caused<br />several outages. Unfortunately, this coincided with the time that users<br />were finalizing their commissions proposals. I unsubscribed the Mailia<br />project from RAW and blocked email from Mailia to Rhizome.<br /><br />I have since been in touch with the artist responsible for Mailia. He told<br />me that Mailia itself was the victim of a mail bomb, and it bounced<br />messages with a forged "list@rhizome.org" address back to Rhizome.org. He<br />has forwarded me examples of the emails that Mailia received and his story<br />appears credible. Furthermore, the artist has agreed to block any email<br />from Mailia to the Rhizome lists (raw@rhizome.org, list@rhizome.org).<br /><br />I would like to restore the artist's access, pending these actions:<br /><br /> + additional investigation of the emails that Mailia received<br /> + configuration of RAW to prevent a repeat of the mail bomb /outage<br />situation<br /><br />It is not in the interest of Rhizome to block or ban users, especially<br />from RAW. I will have more updates on this situation later.<br /><br />=== Artbase<br /><br />There have continued to be problems with artbase submissions. This<br />service was disrupted when the new site went up in December, and was hit<br />again when the server went down in late March. The tools have been fixed,<br />but we still have to catch up with the many submissions that have been<br />made.<br /><br />Additionally, I need to review cloned artwork before posting them online. <br />Due to the issues over the last month I have not had the time to post<br />uploaded cloned artworks. I shall be focusing my efforts in this<br />direction.<br /><br />===== Positive Notes<br /><br />While we have encountered difficulty this month, we have still<br />accomplished several important projects:<br /><br /> + structured Rhizome.org server for planned load balancing<br /> + fixed several key performance bottlenecks on Rhizome.org website<br /> + our site traffic is up to a new record, over 5.4 million page views<br /> + our commissions program received a record 180 exciting submissions<br /> + launched new Search and Advanced Search tools<br /><br />=== Commissions<br /><br />As noted, we received a record number of submissions. The voting phase<br />has begun:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/voting/">http://rhizome.org/commissions/voting/</a><br /><br />Another email with more details will follow shortly.<br /><br />=== Search and Advanced Search<br /><br />We have released a new search and advanced search:<br /><br /> <a rel="nofollow" href="http://rhizome.org/search/">http://rhizome.org/search/</a><br /> <a rel="nofollow" href="http://rhizome.org/search/advanced.rbw">http://rhizome.org/search/advanced.rbw</a><br /><br />These tools have an entirely new search back end. Much of this<br />development had been completed before the server crash in late March. We<br />went ahead and pushed this out instead of installing the old search. <br />These tools are still somewhat beta, so please let us know how they work<br />for you.<br /><br />===== Summary<br /><br />With the recent restoration of RARE and launch of new Advanced Search, we<br />have completed the restoration of Rhizome services. Over the last month,<br />a number of individuals have contacted us about various issues with<br />Rhizome. Now that the server is stabilizing, our focus is turning to<br />these issues and we hope to have them resolved in the coming week(s). I'd<br />like to take a moment to thank all our members, who have been so patient<br />during this difficult time.<br /><br />Cheers,<br /><br />Patrick<br /><br />–<br />Patrick May<br />Director of Technology<br />Rhizome.org<br />phone: (212) 219-1288 x202<br />AIM: cyclochew<br />+ + +<br /><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 />Patrick May <patrick@rhizome.org><br />Date: Apr 23, 2006<br />Subject: 2006-2007 Rhizome Commissions Program<br /><br />Hello,<br /><br />The voting for the 2006-2007 Rhizome Commissions Program has begun.<br />Voting is open to Rhizome Members. If you are eligible, please go to:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/voting/">http://rhizome.org/commissions/voting/</a><br /><br />If you care about which proposals and which art you want to see supported,<br />please take the time to vote!<br /><br />I have emailed all the candidates, and asked them:<br /><br />+ not to participate in list discussion on any of the work under<br />consideration.<br />+ not to change their proposal sites during the discussion in an attempt<br />to win more votes.<br /><br />For those voting, please pay attention to whether each proposal actually<br />meets the requirements of the Call For Proposals:<br /><br />+ these commissions are intended to fund (in whole or in part) new works<br />or new elaborations of/additions to existing work.<br />+ these commissions are intended for works that take the internet as their<br />primary vehicle for production<br /><br />Finally, note that we are starting the voting 2 weeks later than planned. <br />This round of voting will last until May 2nd. For more information about<br />the voting schedule or process, please check:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/voting/">http://rhizome.org/commissions/voting/</a><br /><br />Cheers,<br /><br />Patrick<br /><br />–<br />Patrick May<br />Director of Technology<br />Rhizome.org<br />phone: (212) 219-1288 x202<br />AIM: cyclochew<br />+ + +<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: diopcj@jmu.edu <diopcj@jmu.edu><br />Date: Apr 25, 2006<br />Subject: Call for Entries: Contemporary Mathematical Photography and New<br />Media<br />Presented by N E W I M A G E G A L L E R Y<br /><br />Deadline for Proposals: June 12, 2006<br /><br />Reviewing photography and new media with mathematical themes and<br />inspirations for an exhibition in Fall 2006. This includes all traditional<br />and digital photography processes, photography-related mixed media, video,<br />installations, interactive stations, and performance-based work.<br /><br />Send appropriate documentation on slides, CD, web site links, dvd, or<br />video; an image list; a statement outlining the mathematical implication<br />of your work; a resume; any other support material; complete and accurate<br />contact information; an SASE for return of your materials.<br /><br />Artists, mathematicians, and others may apply. There is no application fee.<br /><br />Curated by James Madison University professors Dr. Elizabeth Brown (Math),<br />Corinne Diop (Art), Rebecca Silberman (Art, New Image Gallery Director).<br /><br />New Image Gallery is James Madison University?s contemporary photography<br />gallery, located at 131 Grace St, Harrisonburg, VA.<br /><br />Direct submissions or questions to: Corinne Diop, School of Art & Art<br />History, MSC 7101/ 800 S. Main St, James Madison University, Harrisonburg,<br />VA 22807; diopcj@jmu.edu; (540) 568-6485; <a rel="nofollow" href="http://www.jmu.edu/art/">http://www.jmu.edu/art/</a>.<br /><br />This exhibition is co-sponsored by James Madison University?s School of<br />Art & Art History <a rel="nofollow" href="http://www.jmu.edu/art/">http://www.jmu.edu/art/</a> and the Institute for Visual<br />Studies <a rel="nofollow" href="http://www.jmu.edu/ivs">http://www.jmu.edu/ivs</a>.<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: idc@distributedcreativity.org <idc@distributedcreativity.org><br />Date: Apr 26, 2006<br />Subject: Call for Papers: 'free'<br /><br />FOR IMMEDIATE RELEASE - 26 April 2006<br /><br /> M/C - Media and Culture<br /> <a rel="nofollow" href="http://www.media-culture.org.au/">http://www.media-culture.org.au/</a><br /> is calling for contributors to the 'free' issue of<br /><br /> M/C Journal<br /> <a rel="nofollow" href="http://journal.media-culture.org.au/">http://journal.media-culture.org.au/</a><br /><br />M/C Journal is looking for new contributors. M/C is a crossover journal<br />between the popular and the academic, and a blind- and peer-reviewed<br />journal.<br /><br />To see what M/C Journal is all about, check out our Website, which<br />contains all the issues released so far, at<br /><<a rel="nofollow" href="http://journal.media-culture.org.au/">http://journal.media-culture.org.au/</a>>.<br />To find out how and in what format to contribute your work, visit<br /><<a rel="nofollow" href="http://journal.media-culture.org.au/journal/submission.php">http://journal.media-culture.org.au/journal/submission.php</a>>.<br /><br /> Call for Papers: 'free'<br /> Edited by Trebor Scholz and Rachel Cobcroft<br /><br />Today, freedom is far from free. Network and hardware access bears often<br />ignored costs. 'Free and open' at times means 'closed and expensive'.<br />Freedom can be conceptualised to fit innumerable agendas. Freedom is the<br />freedom to say no, to withdraw your collaboration, to refuse friendly<br />cooperation. To be free is to live one's contradictions. But whose freedom<br />do we praise? There is no solace in the liberty of being employed but<br />poor, surveilled and uninsured.<br /><br />For Stewart Brand the central hacker ethos indicates that 'information<br />wants to be free'. Lessig's Free Culture and Stallman's Free Software mark<br />the tension between proprietary and open source domains - the battle<br />between intellectual 'property' and creativity. The flood of civic,<br />participatory technologies such as the blog contributes to a larger number<br />of voices being heard. Online, commons-based peer production creates<br />novel, economic realities that no venture capitalist can kill.<br /><br />For Yochai Benkler these alternative economies are not fads but real<br />facts. They are not utopian dreams but lived reality. Sociable Web media<br />allow for larger individual freedom and the potential to co-create<br />society. The freedom to remix, to mash up, to reconceptualise,<br />recontextualise, hybridise, breathes in free cultural formations.<br />Knowledge repositories like Wikibooks allow for knowledge-on-call, albeit<br />bringing access which is at times partial and exclusive. Such openly<br />accessible initiatives out-collaborate even the best-paid Britannica<br />editors.<br /><br />Freedom is an inalienable right that has often been overruled in the name<br />of justice and liberty. Citizens worldwide are armchair passengers on the<br />nightly news train or watch reality TV shows such as 'Big Brother'. They<br />dream of their lives as thankfully being 'free'. After all, to be free is<br />a guaranteed human right, as enshrined by the United Nations in the<br />Universal Declaration of Human Rights. Captured in this document is the<br />right to freedom of thought, conscience, and religion; freedom of<br />expression and opinion; and the right to life, liberty, and security of<br />person.<br /><br />This issue of M/C Journal asks a question which intentionally traverses<br />politics, media, philosophy, techno-studies, and new media art: to what<br />extent are we, and can we expect to be, free?<br /><br />The United States' statesman Benjamin Franklin reminds us that 'they that<br />can give up essential liberty to obtain a little temporary safety deserve<br />neither liberty nor safety.' Bertolt Brecht associated a blue sky with<br />freedom. How much space is there for freedom in spaces of your actions,<br />thoughts and feelings, online and off? Ubiquitous multinationals sell us<br />the freedom to customize as privilege of the user. Increasingly, companies<br />give away things for free. Enticing 'free gifts' must be paid back in the<br />long run to the Googles and Ebays. We buy into the hierarchies of sharing<br />and exchange.<br /><br />Are freedom, independence and autonomy merely illusions in the<br />participatory panopticon? The potential of being on the loose is the power<br />to shape civic society while learning to live with hybridity. Which<br />threats to freedom are we prepared to accept in the pursuit of the<br />rhetoric of freedom? Can we live with the cruel lie that to preserve<br />freedom, one must strike pre-emptively?<br /><br />We invite contributions from theorists, practitioners, and all those who<br />dare to reclaim the discourse of freedom.<br /><br />Feel free to contribute! Send 1000-1500 word articles to<br />free@journal.media-culture.org.au.<br /><br />For more information: free@journal.media-culture.org.au<br /><br />Article deadline: 26 June 2006<br />Issue release date: 23 Aug. 2006<br />M/C Journal was founded (as "M/C - A Journal of Media and Culture") in<br />1998 as a place of public intellectualism analysing and critiquing the<br />meeting of media and culture. Contributors are directed to past issues of<br />M/C Journal for examples of style and content, and to the submissions page<br />for comprehensive article submission guidelines. M/C Journal articles are<br />blind peer-reviewed.<br /><br />————————————————————————<br /><br />Further M/C Journal issues scheduled for 2006:<br /><br />'collaborate': article deadline 6 March 2006, release date 3 May 2006<br />'street': article deadline 1 May 2006, release date 28 June 2006<br />'free': article deadline 26 June 2006, release date 23 August 2006<br />'filth': article deadline 21 August 2006, release date 18 October 2006<br />'jam': article deadline 16 October 2006, release date 13 December 2006<br /><br />————————————————————————<br /><br />M/C - Media and Culture is located at <<a rel="nofollow" href="http://www.media-culture.org.au/">http://www.media-culture.org.au/</a>>.<br />————————————————————————<br />M/C Journal is online at <<a rel="nofollow" href="http://journal.media-culture.org.au/">http://journal.media-culture.org.au/</a>>.<br />All past issues of M/C Journal on various topics are available there.<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: Colleen Tully <colleen.tully@recol.com><br />Date: Apr 27, 2006<br />Subject: Pixel Pops! Deadline Extension & Exhibition Date Change<br /><br />Pixel Pops! Submission Deadline Extension and Exhibition Date Change - New<br />Deadline: 8 July 2006<br /><br />Call for Submissions - Pixel Pops!<br /><br />International exhibition in October 2006 in Prague, Czech Republic.<br />This is an artist-organized exhibition, coordinated by Natalia Vasquez<br />(Miami, US), Michal Blazek (Prague, Czech Republic), and Joan Sanchez<br />(Barcelona, Spain).<br /><br />There are no fees to enter.<br />This will be a juried show based on work submitted.<br /><br />We will arrange to display a variety of digital works. All work must show<br />evidence of extensive computer manipulation or be otherwise highly<br />digital.<br /><br />Acceptable Formats:<br />—Web-based Works (No live Internet available for exhibit, all work<br />should be self-contained. See information below.)<br /><br />—Short Videos & Animations (1-3 minutes preferred, will accept up to 7<br />minutes)<br />*Upload a tiny file (180x120 is OK) for jurying.<br /><br />*It is important that you also send us a file that is big enough for<br />display (up to 10megabytes by email) by the 8 July deadline.<br /><br />*Also send a DVD with your work by 22July (this will ensure high quality<br />resolution for projection)<br /><br />* see shipping address below<br /><br />—Interactive Works (Flash, Director, MaxMSP/Jitter)<br />Interactive works can be "recorded" and uploaded up to 10megabytes.<br />Interactive works must have an additional auto-run mode.<br /><br />Information:<br />*All submitted work must be able to run locally (on a hard drive) in a<br />web browser such as Netscape or Firefox. Please submit by sending an<br />email to poppingpixels@gmail.com with an attachment or web link to your work.<br /><br />*Attach a brief artist statement and a description of your work (up to 1<br />page) as a word document. Texts accepted in English, Espanol, Francais.<br /><br /> *Copyright Info: All artists accepted for this exhibition will retain<br />ownership of copyright and all other rights to their artwork. We retain<br />the right to use images of accepted artwork for promotional reasons<br />concerning the exhibition or future projects.<br /><br />*Multiple submissions are accepted and encouraged!<br /><br />*All participating artists will have their work added to the Popping<br />Pixels site.<br /> www.poppingpixels.org<br /> (Last year's exhibition: New Haven, CT, US- Coordinated by artists<br />Cynthia Beth Rubin and Colleen Tully)<br /><br />*Artists interested in selling your work, please specify with your<br />submission. We will have a list and will connect you with the interested<br />buyer. We will NOT handle sales directly!<br /><br />*********Digital Photographers- this will not be a photography exhibition,<br />but if you've made any remarkable slideshows, videos from stills, or have<br />made your images interactive, please submit!<br /><br />Accepted entries will be announced on Friday 18 August 2006<br /><br />SUMMARY:<br />-SUBMISSION DEADLINE: 8 July 2006<br /><br />-SUBMISSION E-MAIL: poppingpixels@gmail.com<br />(Subject: SUBMISSION)<br /><br />-ATTACH:<br />* Submission(see above for formats)<br />* Artist Statement<br />* Description of your work.<br /><br />-CD/DVD DEADLINE: 22 July 2006<br /><br />Shipping Address:<br /> Natalia Vasquez<br /> Ondrickova 7<br /> 130 00 Praha 3<br /> Czech Republic<br /> *Please note that shipping time from the U.S. to the Czech Republic is<br />approximately 2 weeks. Mark your package 'No Commercial Value' and use<br />the value of actual CD or DVD (approximately 5USD or Euros)*<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: Joel Slayton <joel@well.com><br />Date: Apr 24, 2006<br />Subject: ISEA2006/Papers_Forum<br /><br />ISEA2006 Symposium Papers Online Forum.<br />April 24th ? May 29th.<br /><br />ISEA2006 is taking place in San Jose, California, August 7-13. See<br /><a rel="nofollow" href="http://01sj.org">http://01sj.org</a> for more information about the Symposium and related<br />ZeroOne San Jose Festival.<br /><br />Beginning Monday, April 24th, ISEA2006 will host a month long series of<br />discussions on the accepted paper abstracts for each of the Symposium<br />themes: Interactive City, Community Domain, Pacific Rim and<br />Transvergence. See <a rel="nofollow" href="http://01sj.org/content/blogcategory/138/147/">http://01sj.org/content/blogcategory/138/147/</a> for an<br />overview.<br /><br />An important objective to ISEA2006 is enabling conversation and discourse<br />between audience(s) and presenters. Toward that objective this years ISEA<br />incorporates a single main track of presentations + artists presentations<br />combined with a pre-publishing model. The reading of papers is not<br />permitted. Instead authors will present their abstracts in the on-line<br />Forum and then pre-publish full manuscripts weeks prior to the Symposium. <br />The goal is to inform and influence both authors and audiences as well as<br />create conversational relationships and provide for advanced consideration<br />of topics to be presented at the Symposium. At ISEA2006 each theme will<br />have two extended ?conversational? sessions in which several authors<br />present summaries of their papers followed by a moderated conversation and<br />audience interaction.<br /><br />An important role in the Symposium and Forum is that of the Moderator. We<br />have invited a group of prestigious Moderators who will facilitation of<br />individual sessions of the Online Forum and Symposium.<br /><br />Interactive City: Anthony Burke<br />Community Domain: Sara Diamond<br />Transvergence: TBA<br />Community Domain: Alice Ming Wai Jim<br />Transvergence: Wendy Chun<br />Pacific Rim: Amanda McDonald Crowley<br /><br />The ISEA2006 Papers Forum, April 24nd to May 22nd begins with Interactive<br />City. Beginning with Interactive City, abstracts for each of the Symposium<br />themes will be presented in a series of open public discussions.<br /><br />Interactive City paper titles and authors:<br /><br />Mirjam Struppek, Urban Screens<br />Tapio Mäkelä, Ars Memorativa in the Interactive City<br />Alison Sant, Redefining the Basemap<br />>From Scenography to Planetary Network for Shanghai 2010<br /><br />Each week introduces a new theme and abstracts for consideration.<br /><br />Forum Schedule and Moderators:<br /><br />Transvergence 1: May 1-May 7<br />Moderator: TBA<br /><br />Gheorghe Dan and Alisa Andrasek: Phylotic BodayScapes / Entheogenic<br />Gardens Poly-Scalar Heterotopic Botany<br /><br />Oron Catts and Ionat Zurr, Towards a New Class of Being-The Extended Body<br /><br />Josephine Bosma, Voice and Code: From spoken word and song to writing<br />music to code<br /><br />Community Domain 1: May 8-14<br />Moderator: Sara Diamond<br /><br />Trebor Scholz, The Participatory Challenge: Incentives for Online<br />Collaboration<br /><br />Valentina Nisa, Mads Haahr and Ian Oakley, Community Networked Tales:<br />Stories and Place of a Dublin Neighborhood: The Media Portrait of<br />Liberties<br /><br />Kevin Hamilton, Absence in Common: An Operator for the inoperative Community<br /><br />Community Domain 2: May 8-14<br />Moderator: Alice Ming Wai Jim<br /><br />Joline Blais, Indigenous Domain: Beyond the Commons and Other Colonial<br />Paradigms<br /><br />Sharon Daniel, Public Secrets: Information and Social Knowledge<br /><br />Mara Traumane, Media Referentiality: ?Productive ? Knowledge Networks in<br />Experimental Arts<br /><br />Transvergence 2: May 15-21<br />Moderator: Wendy Chun<br /><br />Steve Anderson, Coming to Terms with the Digital Avant Garde<br /><br />Jon Ippolito and Joline Blais, Art as Antibody: A redefinition of art for<br />the Internet Age<br /><br />Ned Rossiter, Organized Networks as New Institutional Forms<br /><br />Pacific Rim : May 22-29<br />Moderator: Amanda McDonald Crowley<br /><br />Timothy Murray, Chinese Archival Futures<br /><br />*additional Pacific Rim participants to be announced.<br /><br />Please join us for a lively and informative discussion.<br /><br />For more information on Paper Authors and the Symposium: <br /><a rel="nofollow" href="http://01sj.org/content/blogcategory/135/144/">http://01sj.org/content/blogcategory/135/144/</a><br /><<a rel="nofollow" href="http://01sj.org/content/blogcategory/135/144/">http://01sj.org/content/blogcategory/135/144/</a>> .<br />Joel Slayton, Chair ISEA2006/ZeroOne San Jose<br />Steve Dietz, Director ISEA2006/ZeroOne San Jose<br /><br />————-<br /><br />ISEA2006 Symposium<br /><br />The 2006 edition of the internationally renowned ISEA Symposium will be<br />held August 7-13, 2006, in San Jose, California in conjunction with the<br />inauguration of ZeroOne San Jose: A Global Festival of Art on the Edge, a<br />milestone festival to be held biennially.<br /><br />The 13th International Symposium on Electronic Art (ISEA2006) focuses on<br />the critical, theoretical and pragmatic exploration of four important<br />themes <<a rel="nofollow" href="http://01sj.org/content/blogcategory/105/30/">http://01sj.org/content/blogcategory/105/30/</a>> : Transvergence<br /><<a rel="nofollow" href="http://01sj.org/content/blogcategory/26/71/">http://01sj.org/content/blogcategory/26/71/</a>> , Interactive City<br /><<a rel="nofollow" href="http://01sj.org/content/blogcategory/23/68/">http://01sj.org/content/blogcategory/23/68/</a>> , Community Domain<br /><<a rel="nofollow" href="http://01sj.org/content/blogcategory/24/69/">http://01sj.org/content/blogcategory/24/69/</a>> and Pacific Rim<br /><<a rel="nofollow" href="http://01sj.org/content/blogcategory/25/70/">http://01sj.org/content/blogcategory/25/70/</a>><br /><br />What tactics, issues and conceptual practices expose or inform the<br />distinctions of these subject terrains relating to contemporary art<br />practice? What analyses illuminate art practice engaged with new technical<br />and conceptual forms, functions and disciplines; provide for innovative<br />tactical implementations of cultural production involving urbanity,<br />mobility, community and locality; examine the roles and responsibilities<br />of corporations, civic and cultural organizations, discuss strategic and<br />economic planning as it relates to creative community; serve to expose new<br />portals of production and experience; provide for interpretive bridges<br />between cultures and identities; and provide for provocative examination<br />of contemporary political and economic conditions? How is new media art<br />practice re-shaping the world?<br /><br />The ISEA2006 Symposium is an international platform for artists, cultural<br />producers, media theorists, curators and the general public to share the<br />latest ideas and practices involving new media. Enabling discourse across<br />disciplines, ideologies and philosophical frameworks is an important<br />objective as is the facilitation of discussion and conversation. Audience<br />participation is facilitated through expanded moderated sessions, an<br />afternoon Poster Session/Reception and through an on-line forum featuring<br />the pre-published abstracts and papers.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Neural <a.ludovico@neural.it><br />Date: Apr 26, 2006<br />Subject: The Work of Media Art in The Age of Digital Reproduction<br /><br /><a rel="nofollow" href="http://www.streetlevelphotoworks.org/index.html">http://www.streetlevelphotoworks.org/index.html</a><br /><br />The Work of Media Art in The Age of Digital Reproduction.<br /><br />28th - 29th April<br />Centre for Contemporary Arts (CCA) 350 Sauchiehall St. Glasgow.<br /><br />A two-day symposium surveying current projects concerned with preserving<br />the history of media art and initiatives aimed at<br />stimulating practices, networks, critical appreciation and knowledge<br />associated with electronic and digital media arts.<br /><br />Day 1 will provide a 'guided tour' of video art through the early<br />exponents of analogue and film formats and re-examine their place within<br />the contemporary art gallery and museum. This will be interspersed with<br />artists' presentations that help explore the nature and practice of the<br />moving image and its current conditions within the 'visual arts "scene"'.<br />The main drive will be to re-examine the critical frameworks between<br />current practice and its antecedents.<br /><br />Day 2 will involve presentations by members of Mag.Net (Magazine Network<br />of Electronic Cultural Publishers), and will explore print and electronic<br />publications as a mean of supporting new practices and networks around<br />digital culture. Each contributor will present their editorial positions,<br />an overview of practice in their countries, as well as present for pubic<br />discussion some of the debates Mag.Net is interested in - social and<br />virtual networking, developing flexible forms of translocal and transmedia<br />exchange, and the new possibilities available to artists and publishers,<br />such as POD (Publishing on Demand).<br /><br />Day 1: Stephen Partridge (REWIND, Dundee), Daniel Reeves (artist, USA<br />/Edinburgh), Tina Fiske (University of Glasgow), Chris Meigh-Andrews<br />(artist, Preston), Rudolph Frieling (ZKM, Karlsrhue), Mark Neville<br />(artist, Glasgow), Malcolm Dickson (Street Level, Glasgow).<br /><br />Day 2: Daniel Jewesbury (Variant, Glasgow / Belfast), Alessandro Ludovico<br />(Neural Magazine, Italy), Miren Eraso (Zehar Magazine, Basque Country,<br />Spain), Slavo Krekovic (3/4 Magazine, Slovak Republic), Christian Hoeller<br />and Georg Schollehammer (Springerin, Austria), Simon Worthington (Mute,<br />London).<br /><br />£25 each day or £40 for both. Please download booking form from the<br />website and return to Street Level: 26 King Street, Glasgow G1 5QP<br /><br />–<br /><br />Alessandro Ludovico<br />Neural.it - <a rel="nofollow" href="http://www.neural.it/">http://www.neural.it/</a> daily updated news + reviews<br />English content - <a rel="nofollow" href="http://www.neural.it/english/">http://www.neural.it/english/</a><br />Suoni Futuri Digitali - <a rel="nofollow" href="http://www.neural.it/projects/sfd/">http://www.neural.it/projects/sfd/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: Thomas Beard <thomas@ocularis.net><br />Date: Apr 26, 2006<br />Subject: Flipped Chips<br /><br />Ocularis<br />at Galapagos Art Space<br />70 North 6th Street, Brooklyn<br /><a rel="nofollow" href="http://www.ocularis.net/">http://www.ocularis.net/</a><br /><br />Flipped Chips<br />Monday, May 8 at 8 PM<br /><br />Curated by interdisciplinary artist duo LoVid, Flipped Chips includes<br />single channel videos as well as presentations by artists from around the<br />world who custom make their own hardware video instruments.<br /><br />Dan Sandin, Nam June Paik, Steina and Woody Vasulka, Matthew Schlanger,<br />Steve Beck, Jim Wiseman, and Bill Etra represent a generation of pioneers<br />who explored video and moving image synthesis. These artists developed<br />hardware instruments as technological advancements in an era of idealism<br />and utopian views of communication, where video and television were<br />regarded as the ultimate new creative medium, able to elicit widespread<br />cultural and social change.<br /><br />Tonight their work will be shown alongside that of a new generation of<br />artists returning to hardware-based video instruments, like Billy Roisz<br />(NTSC), noteNdo, Jon Satrom, Paul Slocum, Karl Klomp, Cory Arcangel and<br />Paper Rad, and LoVid. Departing from their predecessors, the latter set<br />approaches technology with personal and global nostalgia as well as a<br />romantic infatuation with the media-generating object. Inspired by noise,<br />extreme music, glitch and hacker culture, as well as the fragility,<br />unpredictability, and limitations of technology, they choose to work with<br />decades-old electronic components for personal aesthetic reasons and as a<br />reaction to the dominance of technology and media in mainstream culture.<br /><br />Advance tickets available here:<br /><a rel="nofollow" href="http://www.smarttix.com/show.aspx?showcode=OCU">http://www.smarttix.com/show.aspx?showcode=OCU</a><br /><br />About Ocularis<br /><br />Ocularis is a 501©3 not-for-profit organization that provides a forum<br />for the exhibition of independent, experimental and documentary film/video<br />and new media, as well as international and repertory cinema. Established<br />in 1996 as a rooftop film series catering to local audiences in North<br />Brooklyn, it has since evolved into a weekly cinema, a producer of<br />collaborative film/video work and a summer open-air screening series.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />From: Greg Smith <smith@serialconsign.com><br />Date: Apr 26, 2006<br />Subject: mutek 2006 lineup/details<br /><br />For anybody in the Northeast in North America, I highly recommend checking<br />out Mutek. The festival features Fantastic musical programming with<br />stronger multimedia content every year.<br /><br />,g<br /><br />–<br />greg smith<br /><a rel="nofollow" href="http://www.serialconsign.com">http://www.serialconsign.com</a><br /><a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a><br />416.877.4281<br />smith@serialconsign.com<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />11.<br /><br />From: emwod33@hotmail.com <emwod33@hotmail.com><br />Date: Apr 28, 2006<br />Subject: Trampoline in Tokyo<br /><br />Dislocate<br /><br />Exhibition in Ginza and Koiwa, Tokyo<br />28th July- 18th August 2006<br /><br />curated by Emma Lewis<br />In association with Trampoline and Ginza Art Laboratory<br />www.trampoline.org.uk<br /><br />Call for Submissions<br /><br />Deadline 31st May<br /><br />We constantly swim through an invisible sea of hidden reality ? our<br />environment is not formed only by our physical surroundings but of its<br />multiplicity of insubstantial networks ? constantly transmitting and<br />receiving.<br />Physical geography is being transcended, psycho-geography is extended.<br />We are never located in just one space.<br />Here is not just here but also there.<br /><br />?Dislocate? is an exhibition examining the tensions between the local and<br />the global ? the elements and identity of one local space which are<br />simultaneously intersected by countless global links and influences.<br /><br />In its indefatigable attempt to promote new media art to the world<br />Trampoline ? platform for new media art - is going to Tokyo this summer<br />and is seeking submissions of works which engage with notions of multiple<br />spaces and presence, the ubiquity of new media and the challenge to our<br />sense of place.<br /><br />We are particularly encouraging the submission of video work some of which<br />will be shown on a showreel, others on single monitors. But we also<br />welcome submissions for web streaming, computer based works and sound<br />works. Work should engage with the theme of the exhibition on some level<br />and proposals should outline how this connection is made.<br /><br />In addition to this there is one project as part of the exhibition which<br />the curator invites you to consider submitting to:<br />Audio Tour<br />In joining one space with another and exaggerating a sense of dislocation,<br />the curator is keen to merge other cities with Tokyo in the form of an<br />audio tour, touring one city within another. It is imagined that this<br />audio tour would be worn by visitors to the exhibition and would instruct<br />them on a small walking tour around the city, but as they are walking<br />through the streets of Tokyo they will be listening to a tour of another<br />city.<br />The curator is keen to work with artists interested in audio guides and<br />would like to develop a bilingual audio guide of another city which could<br />then be presented in the area surrounding the gallery in Ginza, Tokyo,<br />referencing one space within another.<br /><br />If you have any ideas which you would like to develop further in relation<br />to this project and in dialogue with Trampoline we would very much like to<br />hear from you.<br /><br />Deadline to submit proposals is May 31st.<br />Please submit to:<br /><br />Emma Lewis<br />Trampoline<br />Broadway Cinema<br />14-18 Broad Street<br />Nottingham<br />NG1 3AL<br />UK<br /><br />emma@trampoline.org.uk<br /><br />0115 8409272<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />12.<br /><br />From: Marisa Olson <marisa@rhizome.org><br />Date: Apr 28, 2006<br />Subject: The GIF Show, Rx Gallery-SF, opens May 3<br /><br />Hello. I wanted to let you know about an exhibition in San Francisco,<br />which is collaboratively presented by Rhizome and Rx Gallery. Below is the<br />text of today's Rhizome News piece, announcing The GIF Show. I'm excited<br />to say that the show features a combination of very active artists and a<br />few exceptionally talented artists for whom this is their first<br />exhibition.<br /><br />I hope that some of you can attend the opening (which will feature live<br />music & visuals by Eats Tapes & Nate Boyce!), but if not perhaps you'll<br />help us spread the word by becoming Myspace friends with the exhibit! :)<br /><br />Best regards,<br />Marisa<br /><br />The GIF Show, an exhibition opening May 3rd, at San Francisco's Rx<br />Gallery, takes the pulse of what some net surfers call 'GIF Luv,' a recent<br />frenzy of file-sharing and creative muscle-flexing associated with GIFs<br />(Graphic Interchange Format files). Curated by Marisa Olson in a West<br />Coast Rhizome collaboration with Rx, the show presents GIFs and GIF-based<br />videos, prints, readymades, and sculptures by a range of artists,<br />including Cory Arcangel, Peter Baldes, Michael Bell-Smith, Jimpunk, Olia<br />Lialina, Abe Linkoln, Guthrie Lonergan, Lovid, Tom Moody, Paper Rad, Paul<br />Slocum, and Matt Smear (aka 893/umeancompetitor). GIFs have a rich<br />cultural life on the internet and each bears specific stylistic markers.<br />>From Myspace graphics to advertising images to porn banners, and beyond,<br />GIFs overcome resolution and bandwidth challenges in their pervasive<br />population of the net. Animated GIFs, in particular, have evolved from a<br />largely cinematic, cell-based form of art practice, and have more recently<br />been incorporated in music videos and employed as stimulating narrative<br />devices on blogs. From the flashy to the minimal, the sonic to the silent,<br />the artists in The GIF Show demonstrate the diversity of forms to be found<br />in GIFs, and many of them comment on the broader social life of these<br />image files. The opening is sure to be just as lively, with music by Eats<br />Tapes and visuals by Nate Boyce. Spread the luv! - Rhizome.org<br /><br /><a rel="nofollow" href="http://www.rxgallery.com/">http://www.rxgallery.com/</a><br /><a rel="nofollow" href="http://www.myspace.com/gifshow">http://www.myspace.com/gifshow</a><br /><br />+ + +<br />Marisa Olson<br />Editor & Curator at Large<br />Rhizome.org at the<br />New Museum of Contemporary Art<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />13.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org>, Richard Rinehart<br /><rinehart@berkeley.edu>, Rob Myers <rob@robmyers.org>, David Chien<br /><david@nakedgremlin.com>, Pall Thayer <p_thay@alcor.concordia.ca>, Ryan<br />Griffis <ryan.griffis@gmail.com>, Sal Randolph <salrandolph@gmail.com><br />Date: Apr 25, 2006<br />Subject: Metadata<br />+Lauren Cornell posted:+<br /><br />Hello everyone,<br /><br />So on the heels of the recent ArtBase discussions on RAW, I'd like to open<br />up the metadata conversation.<br /><br />As some of you know, Rhizome's metadata, by which I mean the vocabularies<br />and descriptive terms that index the content in our archives, was<br />introduced when the ArtBase was founded in 1999. Since that time, the<br />field of new media art has grown and changed dramatically, and we believe<br />the metadata needs to reflect these developments. This conversation will<br />involve a consideration of controlled vocabularies and folksonomies, and<br />can also fold back onto issues recently discussed such as making the<br />ArtBase a repository for code, as Pall Thayer and Rob Myers suggested. <br />It is also an opportunity for Rhizome to collaborate with other<br />professionals and organizations committed to digital preservation.<br /><br />We would like to collectively address the metadata via RAW to get feedback<br />and insight from the Rhizome community. After this discussion, Rhizome<br />staff will have a wrap-up conversation with leading preservation scholars<br />including Michael Katchen from Franklin Furnace, Alain Depocas from the<br />DOCAM project at the Daniel Langlois Foundation, Dr. Sarah Cook co-founder<br />of the list Crumb (www.crumbweb.org), Kenneth Schlesinger of the<br />Independent Media Arts Preservation (IMAP), Caitlin Jones of the Variable<br />Media Initiative (with the Guggenheim Museum) and now Director of<br />Programming at the Bryce Wolkowitz Gallery, and Rick Rinehart, Director of<br />Digital Media at the UC Berkeley Art Museum and Pacific Film Archive. In<br />this wrap-up conversation, we will synthesize the community discussion and<br />finalize a strategy and process for Rhizome to move ahead. Our challenge<br />is to come up with a set of changes that serve the interests of the<br />artists as well as the wide audience that interacts with the ArtBase while<br />keeping Rhizome¹s resources (technical, staff) and systems (membership) in<br />mind.<br /><br />The ArtBase is a singular and highly valuable project. It's also a complex<br />and ongoing problem, one that opens up exciting questions in regards to<br />the preservation and presentation of digital art. As we move towards a<br />celebration of our tenth anniversary, we want to make improvements to this<br />valuable resource a priority.<br /><br />Now, I'd like to introduce Rick Rinehart who will moderate this discussion<br />with Marisa and I. If you don't know Rick, he's worked extensively with<br />digital preservation through his Archiving the Avant-Garde project and the<br />Variable Media Initiative. He also helped design Rhizome's metadata, and<br />wrote a key document entitled 'A Report on Preserving the ArtBase' which<br />can be read here: <a rel="nofollow" href="http://rhizome.org/artbase/report.htm">http://rhizome.org/artbase/report.htm</a> - All that said,<br />Rick is very familiar with the ArtBase and with different systems of<br />metadata. I'm happy to have him involved, and I'm looking forward to this<br />discussion.<br /><br />Best, Lauren<br />+Richard Rinehart added:+<br /><br />Hello Rhizomes,<br /><br />I'm writing to follow up on Lauren's email about the Rhizome ArtBase and<br />to kick off a conversation about the language we use to describe works in<br />the ArtBase.<br /><br />There are different types of metadata relevant to works in the ArtBase and<br />some are fairly straightforward such as Creators, Dates, and Titles. But<br />the type of metadata that is most problematic and at the same time most<br />community-driven is descriptive metadata such as Type, Genre, and<br />Keywords. The data-values used to fill out those metadata are terms taken<br />from vocabularies (the lists of different types, genres, etc.) If you have<br />ever submitted a work to the ArtBase, you know what these look like: Types<br />include animation-art, audio-art, etc.; Genres include abstract-art,<br />allegory-art, etc; and Keywords include access, animation, archive, etc.<br />(a full list of Rhizome's data-values/vocabularies follows below).<br /><br />Rhizome would like to update the vocabularies it uses for this descriptive<br />metadata. Rhizome has cited three reasons for changing; the vocabularies<br />are incomplete, the vocabularies are however key as they are how visitors<br />search the vast Rhizome site, and lastly, but not least, there is no canon<br />or authoritative source for terms related to digital art, so Rhizome can<br />take this practical need and turn it into an opportunity to engage a<br />community discussion about vocabularies and to set an example for others<br />to follow. All metadata specific to one discipline, but especially<br />vocabularies, need to arise from the community's practice and not be<br />imposed from outside or the descriptions and the artifacts being described<br />will never quite match up. It is also important to collaborate and<br />coordinate with other groups working on digital art metadata and<br />preservation, so that's another reason to have this conversation on RAW<br />and why Rhizome will also be convening people from the Variable Media,<br />Archiving the Avant Garde, and Canadian DOCAM projects to discuss this as<br />well.<br /><br />Some questions and considerations that might get the conversation started:<br /><br />1) Do Rhizome's vocabularies need to be compatible with other metadata<br />standards? If so, which, and how much?<br /><br />Thoughts: Many other disciplines and communities use what they call<br />"controlled" vocabularies or authoritative thesauri. For instance the art<br />world has used the Getty's Art and Architecture Thesaurus for years<br />(<a rel="nofollow" href="http://www.getty.edu/research/conducting_research/vocabularies/aat/">http://www.getty.edu/research/conducting_research/vocabularies/aat/</a>).<br />Systems are then built using these vocab standards. If Rhizome were in<br />some way compatible with these standards, then new search engines could<br />search across distributed art resources online from Getty databases to<br />Rhizome's ArtBase ensuring that digital art is not "ghettoized" because of<br />incompatible languages. Interoperability is important in a semantic as<br />well as technical sense, but luckily compatibility does not necessarily<br />require that one adopt the "authoritative" vocabulary completely, or<br />exclusively.<br /><br />2) What can we propose here that Rhizome can practically accomplish given<br />limited resources?<br /><br />The larger cultural world is cursed with a plethora of metadata<br />"standards" and vocabularies that are so complex that no one can afford to<br />implement them and thus they go unused and interoperability remains a<br />theoretical concept. We should be smarter than that. A simple system that<br />works and can be realistically maintained is worth more than a complex<br />solution that never happens.<br /><br />3) Currently the metadata that uses vocabularies is divided into type,<br />genre, and keywords – are these categories sufficient? Should we add<br />others?<br /><br />Thoughts: Many other disciplines and communities use metadata categories<br />similar to this. For instance, in various art-world/museum metadata<br />standards they use Genre to indicate a broad category ("painting"), then<br />Type to indicate a format within the Genre ("watercolor"), and then<br />Subject (keywords) to indicate "intellectual access points" ("landscape")<br />that people will search on to find the record.<br /><br />4) Do we want to enhance/ elaborate/ add on to our existing descriptive<br />terms or keep the current controlled vocab as is, and make folksonomy also<br />an option?<br /><br />Thoughts: Can one use folksonomies or other dynamic systems to keep a<br />vocabulary fresh yet still retain some level of compatibility with other<br />standards?<br /><br />5) who is the artbase for? Who is its audience, and how does that affect<br />our re-design of the metadata.<br /><br />Thoughts: Related to this is the question of what the long-term use of the<br />ArtBase should or will be and how can we support that with better<br />vocabularies?<br /><br />So, let the games begin! What do you think?<br /><br />Richard Rinehart<br /><br />—————————-<br />Rhizome ArtBase Vocabularies<br /><br />TYPE<br />The type field describes the abstract media type of the art object.<br /><br />-Animation-art work in which motion graphics play a significant role<br />-Audio-art work has strong audio component<br />-Game-art work is a game or involves gaming in significant ways<br />-Installation-art object documents a physical installation<br />-Performance-art object documents a performative art work<br />-Software-art work is an executable program or involves original<br />stand-alone software<br />-Video-art object uses Quicktime, RealVideo, or other time-based video<br />-Virtual-art work creates a 3D, immersive or otherwise virtual world<br />-Visual-art work is particularly graphical or especially visual in nature<br />-Text-art work is ASCII or otherwise text-based<br /><br />GENRE<br />The genre field describes the general category of your art object defined<br />through style, form, or content.<br /><br />-Abstract-art object is visually abstract<br />-Allegory-art object uses allegory or metaphor<br />-Anti-art-art object overtly rejects artistic conventions or codes<br />-Collaborative-art object was created by more than one person<br />-Collider-art object dynamically combines material from various sources<br />-Conceptual-art object is driven primarily by ideas<br />-Contextual-art object is site-specific, or requires a specific situation<br />to function<br />-Database-art object incorporates databases or archives<br />-Documentary-art object uses found material as evidence; art object<br />records events for posterity; art object uses documentary data<br />-Event-art object is/was an event such as a performance or netcast<br />-Formalist-art object is primarily concerned with the aesthetics of form<br />-Generative-art object is created afresh for each viewing according to<br />certain contingent factors<br />-Historical-art object is about the recording or revealing of past events<br />-Homepage-art object is (or resembles) a personal website<br />-Information map-art object is about the visual display of statistical or<br />other quantitative information<br />-Narrative-art object tells a story<br />-Offline-art object has a major offline component<br />-Participatory-art object requires input from users<br />-Readymade-art object involves found material not originally meant to be art<br />-Tactical-art object is example of tactical media; art object is<br />resistive, political or otherwise confrontational<br />-Telematic-art object uses distance communication, or allows for remote<br />manipulation of objects<br /><br />KEYWORDS<br /><br /> access<br /> animation<br /> archive<br /> art world<br /> artificial life<br /> audio<br /> bio<br /> body<br /> broadcast<br /> browser<br /> CD-ROM<br /> censorship<br /> cinema<br /> colonialism<br /> commercialization<br /> community<br /> conference<br /> corporate<br /> death<br /> design<br /> desire<br /> digital<br /> disappearance<br /> education<br /> email<br /> exhibition<br /> film<br /> fund<br /> futurism<br /> game<br /> gender<br /> globalization<br /> identity<br /> immersion<br /> interact<br /> interface<br /> Internet<br /> labor<br /> language<br /> live<br /> machine<br /> marginality<br /> media activism<br /> meme<br /> memory<br /> nature<br /> net.art<br /> network<br /> nostalgia<br /> performance<br /> posthuman<br /> postmodern<br /> privacy<br /> public space<br /> publish<br /> queer<br /> radio<br /> resistance<br /> responsibility<br /> robot<br /> rumor<br /> security<br /> social space<br /> space<br /> surveillance<br /> tactical media<br /> technophobia<br /> television<br /> Third World<br /> 3D<br /> underground<br /> utopia<br /> video<br /> virtual reality<br /> VRML<br /> War<br />+Rob Myers replied:+<br /><br />I think folksonomy is best. Tagging works, people understand it, it<br />doesn't take lots of resources up-front, and it can be made compatible<br />with other standards using a good thesaurus. :-)<br /><br />A quick check of the AAT for some common terms (generative, net.art, spam)<br />shows that it is not useful for work Rhizome artbase will actually need to<br />describe.<br /><br />Imagine a tag cloud of the artbase. :-)<br />+David Chien replied:+<br /><br />Hi Richard:<br /><br />My responses are below:<br /><br />> 1) Do Rhizome's vocabularies need to be compatible with other metadata<br />> standards? If so, which, and how much?<br />><br /><br />I think Rhizome vocabularies should be taken with the current folksonomy<br />philosophy as seen most notably on <a rel="nofollow" href="http://del.icio.us/">http://del.icio.us/</a> and<br /><a rel="nofollow" href="http://flickr.com/">http://flickr.com/</a><br /><br />Through the collective mind of a wealth of taggers, you can craft<br />algorithms that can acknowledge all variants of the same tag (ie. net-art<br />versus internet-art) and also allow for unique implementations as seen in<br />Flickr's Interestingness.<br /> <a rel="nofollow" href="http://www.flickr.com/explore/interesting/">http://www.flickr.com/explore/interesting/</a><br />><br />> 2) What can we propose here that Rhizome can practically accomplish<br />> given limited resources?<br /><br />Tagging resources are readily available on an open source level at<br />multiple places. One notably is FreeTag: <a rel="nofollow" href="http://getluky.net/freetag/">http://getluky.net/freetag/</a><br />which is used, I believe, with Upcoming.org. Also crafting a homegrown<br />tagging schema is also pretty straightforward.<br />> 3) Currently the metadata that uses vocabularies is divided into type,<br />> genre, and keywords – are these categories sufficient? Should we add<br />> others?<br /><br />Under the guise of the general tagging approach, I think the 'categories',<br />'genre', and 'keywords' all become redundant. All pieces should be<br />categorized by a collection of tags (maybe under the simple label of<br />"category").<br />> 4) Do we want to enhance/ elaborate/ add on to our existing descriptive<br />> terms or keep the current controlled vocab as is, and make folksonomy also<br />> an option?<br /><br />I think keeping with the folksonomy approach would be ideal. The most<br />daunting task of submitting a piece to the Artbase is the fact that you<br />have to go through a series of check boxes to try and adequately describe<br />you piece. The folksonomy approach of just describing the piece via<br />general terms is ideal.<br />> 5) who is the artbase for? Who is its audience, and how does that affect<br />> our re-design of the metadata.<br /><br />With the folksonomy approach, you can easy provide multiple tools for<br />people who are simply browsing the Artbase. For submitters it'll greatly<br />simplify their submission process. But what needs to exist would the<br />ability for them to update their tags and to tag other pieces – currently<br />the Artbase doesn't even let you edit your pieces.<br /><br />My two cents.<br />+Richard Rinehart replied:+<br /><br />Thanks David, Rob,<br /><br />Folksonomies are of course interesting and appropriate, but exclusively?<br />Also, are there any existing folksonomies that Rhizome could build upon,<br />or would either of you suggest starting from scratch?<br /><br />I'm curious about the statement you made below Rob, that any folksonomy<br />can be made compatible with standards using a good thesaurus. Do you have<br />an example of this? Whether or not one goes with standards, folksonomies,<br />or a hybrid model, knowing how to map between them would be terrific.<br />Although, if one did use a hybrid model, then that would itself create the<br />mapping (each work would have both standardized terms and folksonomic<br />terms applied, so averaging among many works, you'd be able to tell what<br />terms mapped to each other.<br /><br />Your note on the AAT is very (VERY) well taken. Yes, the AAT is not yet a<br />good resource for terms for new media art, yet it is the single standard<br />used most by museums and other organizations collecting new media art. So,<br />one strategy would be to ignore the AAT as irrelevant; but another might<br />be to work with the Getty to update and improve the AAT with relevant<br />terms so that (digital) community-specific practice becomes (museum)<br />community specific practice rather than creating a ghetto (though I'm not<br />sure which is the ghetto of the other here :) In the past, the Getty unit<br />that had maintained the AAT had expressed interest in updating the AAT<br />based on feedback from the relevant community (us).<br />+Ryan Griffis replied:+<br /><br />> 1) Do Rhizome's vocabularies need to be compatible with other metadata<br />> standards? If so, which, and how much?<br /><br />i would think a multi-tiered system would address a lot of Rob and other's<br />(myself included) preference for folksonomic methods. having worked in<br />situations where a more cohesive standard was needed, i also understand<br />the function of a hierarchal meta-data system. this gets at the question<br />of audiences as well. for many uses, a folksonomy system works great, but<br />for others it's not the ideal. translations of those systems into multiple<br />languages, for example can be very problematic in the most standardized of<br />systems.<br /><br />in terms of the artbase, i would think that a folksonomic system works<br />well for "keywords" (just like the tagging process already described)<br />while the classification of "type" "genre" - i would add some other<br />standards for "technology" and some contextual options for "geography" or<br />something - could be something linked up to larger needs, whether it's the<br />Getty or whatever.<br /><br />the hierarchal system however, seems like it would need to be managed<br />based on a coherent and consistent, yet easily applied, set of rules, so<br />that artists aren't subscribing a "type" (for example) that's only based<br />on some idiosyncratic interpretation of "net.art" or "web art" thus<br />foiling the purpose of standardization. i guess i'm saying that those<br />properties of artbase works could/should be managed by some collective,<br />responsible party (someone at Rhizome or a set of volunteers) rather than<br />by the artists. let the artists/"localized" community deal with the<br />folksonomy and tagging. the community tagging process (letting others<br />attach keywords of relevance i.e. del.icio.us) could also be very useful<br />here.<br /><br />i guess as an artist and someone who's had to go through lots of archives,<br />i'm more invested as an artist in the keywords (the "intellectual access<br />points") than the definitions of "type" or "genre" - i'm sure that for<br />conservators however, notions of type, technology, etc are pretty crucial.<br /><br />just my $0.02, but thanks for including us all in the discussion.<br />+Richard Rinehart replied:+<br /><br />Thanks Ryan,<br /><br />You also brought up something I neglected to mention (I thought my email<br />too long already :) and that is vocabularies for "technology". I'm just<br />thinking out-loud that this might be the easiest metadata to populate with<br />vocab terms, because can't we just use MIME types for this? Right now I<br />think all the Rhizome "tech" terms are software rather than hardware<br />based, so it seems we could just solve that little nugget by adopting a<br />well-known and used existing standard, no?<br />+Pall Thayer replied:+<br /><br />I just want to remind everyone that the original idea behind my<br />proposition of extending the ArtBase to accept open-sourced code for<br />projects was a way to bring 'preservation' back into the ArtBase which is<br />being used more often to link to projects than to clone them. So if a<br />project is based on a server-specific setup in a way that it can't be<br />cloned and remain functional, cloning of the source- code would still<br />provide an element of preservation in the ArtBase.<br /><br />+Richard Rinehart replied:+<br /><br />Pall,<br /><br />Good idea. Did you go into how you'd get the source code for proprietary<br />software? Or how the legal issues might work out in doing that? I'd be<br />curious to know. Source code is really, REALLY, nice to have for<br />preservation purposes; I agree.<br />+Pall Thayer replied:+<br /><br />Hi Richard,<br />The suggestion generated a bit of discussion and the thread is<br />available here:<br /><br /><a rel="nofollow" href="http://rhizome.org/thread.rhiz?thread=20893&page=1#40140">http://rhizome.org/thread.rhiz?thread=20893&page=1#40140</a><br /><br />The suggestion was just for open-sourced code and didn't address<br />proprietary software at all. The idea is that if the need or desire arises<br />to reconstruct the work when technology has changed then the<br />reconstruction could be based on the functionality of the original code<br />rather than being based on some vague memories and screenshots.<br />+rob@robmyers.org replied:+<br /><br />Quoting Richard Rinehart <rinehart@berkeley.edu>:<br /><br />> I'm curious about the statement you made below Rob, that any<br />> folksonomy can be made compatible with standards using a good<br />> thesaurus. Do you have an example of this?<br /><br />I don't have an example I'm afraid. It's more a strategy I had in mind for<br />paintr (<a rel="nofollow" href="http://paintr.robmyers.org/">http://paintr.robmyers.org/</a>). Folksonomies and taxonomies are both<br />formalisations of human language, so if my RDF doesn't contain the word<br />"blue" but it does contain the word "color" I can locate my tag in the RDF<br />using wordnet or a thesaurus.<br /><br />> Your note on the AAT is very (VERY) well taken. Yes, the AAT is not<br />> yet a good resource for terms for new media art, yet it is the single<br />> standard used most by museums and other organizations collecting new<br />> media art. So, one strategy would be to ignore the AAT as irrelevant;<br />> but another might be to work with the Getty to update and improve the<br />> AAT with relevant terms so that (digital) community-specific practice<br />> becomes (museum) community specific practice rather than creating a<br />> ghetto (though I'm not sure which is the ghetto of the other here :)<br />> In the past, the Getty unit that had maintained the AAT had expressed<br />> interest in updating the AAT based on feedback from the relevant<br />> community (us).<br /><br />Yes I think that might be a very good project.<br /><br />Possibly collaborating to make AAT net.art aware and having a process to<br />add more terms relatively quickly as they come up? So in artbase have a<br />list of terms you can choose followed by an "other" checkbox that people<br />could add terms they felt weren't in the taxonomy. We (the Rhizome<br />community) could then keep an eye on those and see if they should go into<br />AAT.<br /><br />A folksonomy might be more democratic & easier to implement though. :-)<br /><br />On the subject of proprietary software it might be an idea for Rhizome to<br />get licenses for Windows, ASP, IIS and so on so that software<br />unfortunately written for them can still be run in the future. In a few<br />years time having this stuff available for galleries to hire might<br />actually provide a revenue stream. ;-)<br />+Sal Randolph replied:+<br /><br />I second rob & david's arguments about why folksonomies are great, and I<br />think they would mix amazingly well with rhizome membership (all members<br />would get to tag the artbase as they like). tag cloud of the artbase<br />indeed!! It would naturally evolve as the field of inquiry evolves. Also<br />as someone who has implemented a tagging system with freetag recently,<br />it's *really* easy to do (freetag is php, and I know rhizome's using ruby,<br />but it doesn't look all that hard to write one either, just from surveying<br />the code).<br /><br />Personally I would advocate for a double system, as some have done: free<br />folksonomy tagging by everyone, and then a layer of curated language for<br />either genre or keyword. multiple points of intellectual access are a<br />good thing.<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 the<br />Visual Arts, and with public funds from the New York State Council on the<br />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 16. 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 />
