RHIZOME DIGEST: 12.10.04

discussion

Posted Dec. 9 2004 19:00

RHIZOME DIGEST: 12.10.04

RHIZOME DIGEST: December 10, 2004 Content: +announcement+ 1. Bob Wyman: NYC Art Mobs Launches on Dec. 8! 2. Jo-Anne Green: Turbulence Guest Curator: Low-fi 3. Nanette Wylde: launching chico.art.net 4. Shawn Greenlee: meme@brown announces new Ph.D. program +opportunity+ 5. Amy Youngs: New Media Artists Wanted at the Ohio State University 6. Shelley Hornstein: Mosaica - Call for Projects - deadline January 1 7. napoleon brousseau: call for submissions and proposals, Emmersive Gallery 8. kanarinka: Art Interactive - Call For Exhibition Proposals 9. Kevin McGarry: FW: Exit Art Archivist Job Opportunity 10. Kevin McGarry: FW: REAL SPACE New Media Residency 11. Jeff Tancil: Tenement Museum Call for Proposals +work+ 12. Rhizome.org: Just added to the Rhizome ArtBase: museum of rumour by maria miranda 13. Rhizome.org: Just added to the Rhizome ArtBase: Any Wall by Robert Krawczyk +book review+ 14. Charlotte Frost: A Review of New Media Art: Practice and Context in the UK 1994-2004, Edited by Lucy Kimbell, Arts Council of England and Cornerhouse Press, 2004. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 12.07.04 From: Bob Wyman <bobwyman@pubsub.com> Subject: NYC Art Mobs Launches on Dec. 8! See: <a rel="nofollow" href="http://www.smartmobs.com/archive/2004/12/07/nyc_art_mobs_la.html">http://www.smartmobs.com/archive/2004/12/07/nyc_art_mobs_la.html</a> David Gilbert of Marymount Manhattan College writes: Our "Art Mobs" team is using mobile text messaging and podcasting to allow people to experience art in a new way. Along with the Department of Art and the mobile arts organization YellowArrow, we are hosting a gallery event on Wednesday, Dec. 8, here in Manhattan to showcase our technologies. The show is open to the public, and guests can read about the event, view an instructional video, and download the podcast at <a rel="nofollow" href="http://mod.blogs.com/art_mobs">http://mod.blogs.com/art_mobs</a>. See the actual blog posting for more data. <a rel="nofollow" href="http://www.smartmobs.com/archive/2004/12/07/nyc_art_mobs_la.html">http://www.smartmobs.com/archive/2004/12/07/nyc_art_mobs_la.html</a> Sorry if this is a repeat. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 12.07.04 From: Jo-Anne Green <jo@turbulence.org> Subject: Turbulence Guest Curator: Low-fi December 7, 2004 Turbulence Guest Curator: Low-fi <a rel="nofollow" href="http://turbulence.org/#guest">http://turbulence.org/#guest</a> [you may need to reload/refresh] Low-fi's curatorial contribution to Turbulence.org is the prototype of a distribution system that co-exists symbiotically on other sites. Rather than producing additional content, it is an embedded syndication of Low-fi's current editorial and guest list activity that updates automatically to provide a brief introduction, title, artists¹ names and links to relevant Low-fi projects. ABOUT LOW-FI Low-fi is an artist collective focusing on net art, mediation, and distribution systems. Their main activity centers around <a rel="nofollow" href="http://www.low-fi.org.uk">http://www.low-fi.org.uk</a> and commissioning net art. Low-fi's activity is extended by a program of monthly guest contributions which offer a diverse weave of perspectives on net culture. Low-fi's current active members are: Kris Cohen, Rod Dickinson, Jenny Ekelund, Luci Eyers, Alex Kent, Christian Nold, Jon Thomson, and Chloe Vaitsou. For more Guest Curators, see <a rel="nofollow" href="http://turbulence.org/curators/index.html">http://turbulence.org/curators/index.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 12.08.04 From: Nanette Wylde <nanl@preneo.com> Subject: launching chico.art.net chico.art.net featuring works by Lionello Borean + Chiara Grandesso Katie Bush David Crawford Carla Diana Robert J. Krawczyk Geoffrey Thomas Jody Zellen www.csuchico.edu/art/net December Â 2004 - March 2005 produced by the Electronic Arts Program at California State University, Chico + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships 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 Kevin McGarry at Kevin@Rhizome.org or Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 12.10.04 From: Shawn Greenlee <seg@02909.com> Subject: meme@brown announces new Ph.D. program —————————————— please pardon cross postings. —————————————— meme@brown (Multimedia & Electronic Music Experiments @ Brown) and the Brown Department of Music are pleased to announce a new Ph.D. program in Electronic Music and Multimedia. Applications are now being accepted for the 2005-2006 academic year. The deadline for applications is January 1, 2005. Candidates in the Ph.D. program will focus on the creative use of technology in order to: - conduct original technical research - create multidisciplinary works of art - gain expertise in sound, space & image - develop new modes of performance and interaction through composition, programming and engineering Fellowships and Teaching Assistanceships are available to qualified applicants. meme@brown is an interdisciplinary center for real-time interactive installation and musical performance. Located in the Steinert Building on the Brown University campus, meme@brown is known for art and research that traverse the boundaries between computer music, installation, video, theater and dance. As part of the larger Brown and RISD (Rhode Island School of Design) digital media community, meme@brown provides expertise in real-time computer music and interactive video and tracking, as well as specializations in interface design and gestural controller hardware/software. Faculty: Todd Winkler, Associate Professor, Co-Director Butch Rovan, Associate Professor, Co-Director Thomas Ciufo, Technical Manager Affiliated Brown Departments: Visual Arts, Computer Science, Modern Culture and Media, Theatre, Speech and Dance, and Creative Writing. For more information, please contact Butch Rovan (Butch_Rovan@brown.edu). Also, for program and application information please see: <a rel="nofollow" href="http://www.brown.edu/Departments/Music/meme">http://www.brown.edu/Departments/Music/meme</a> meme@brown Department of Music 1 Young Orchard Avenue Box 1924 Brown University Providence, RI 02912 401.863.3234 Todd_Winkler@brown.edu Butch_Rovan@brown.edu <a rel="nofollow" href="http://www.brown.edu/Departments/Music/meme">http://www.brown.edu/Departments/Music/meme</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 12.04.04 From: Amy Youngs <youngs.6@osu.edu> Subject: New Media Artists Wanted at the Ohio State University Earn money, gain experience teaching art, focus on making your artwork and, at the end of 2 successful years, earn a Masters of Fine Art - all without paying tuition. Art and Technology at the Ohio State University is seeking applicants to the MFA degree program for 2005 - 2007. Art & Technology is an interdisciplinary studio art program in computer mediated art, which includes electronics and kinetics, interactive, robotic sculpture, 3D modeling and animation, holography and light, digital video, multimedia, net art, installation and sound. Students are encouraged to consider conceptual approaches to art making while working with content and contexts that may not fit within traditional definitions of art or display venues. The Ohio State University is one of the nation's largest, most comprehensive universities. As members of the University community, students in the Department of Art have the opportunity to draw on a wide variety of resources that may be pertinent to their work. The University Fine Arts Library holds over 40,000 volumes. Ohio State's Advanced Computing Center for the Arts and Design is known internationally as one of the top centers for graduate students focused in animation and 3D modeling. The History of Art Department has a comprehensive slide, print and digital collection of more than 450,000 items. The Wexner Center for the Arts presents exhibitions, dance, film, and performances by nationally and internationally known contemporary artists. 90% of studio art graduate students receive Graduate Teaching Assistantships or University Fellowships. GTAs receive a stipend for nine months of service and a full waiver of tuition. All graduate students in the Department of Art are provided with studio space. Art Department: <a rel="nofollow" href="http://art.osu.edu/">http://art.osu.edu/</a> Application information: <a rel="nofollow" href="http://art.osu.edu/department_pages/app_info/app_info.html">http://art.osu.edu/department_pages/app_info/app_info.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + For $65 annually, Rhizome members can put their sites on a Linux server, with a whopping 350MB disk storage space, 1GB data transfer per month, catch-all email forwarding, daily web traffic stats, 1 FTP account, and the capability to host your own domain name (or use <a rel="nofollow" href="http://rhizome.net/your_account_name">http://rhizome.net/your_account_name</a>). Details at: <a rel="nofollow" href="http://rhizome.org/services/1.php">http://rhizome.org/services/1.php</a> ++ Through December 31: a free domain with each hosting plan purchased! ++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 12.04.04 From: Shelley Hornstein <mosaica@yorku.ca> Subject: Mosaica - Call for Projects - deadline January 1 Call for online projects: Project Mosaica, a new website devoted to contemporary Jewish culture online, is seeking projects from individuals and groups on the theme of Jews and Diaspora: Jewish Culture, Web Culture, New Culture. Two $1,000 (CND) production honoraria will be awarded to the successful candidates whose web projects address the possibilities of the virtual diaspora with this theme. Projects should be innovative and address the visual possibilities of the web as well as contribute to an understanding of the multi-valent nature, complexities, significance and changes in meaning of diaspora. This call is intended to be as inclusive as possible: projects enlisting any and all artistic disciplines are welcome. Provide a project description in 500 words including the following: a statement about the projectâ??s relationship to Jews and diaspora; why the web is a viable medium for the project; and an explanation of how the project will be sustainable beyond implementation. Include a web-ready presentation. Include a CV. Include a selected portfolio of previous work in CD-R, DV-R or video-DVD (region-one compatible) as appropriate, featuring no more than three images or five minutes of video. Proposals to be submitted in English or French; however, we recognize that other languages may play a role in the final project. Innovative content and its adaptation to web aesthetics will be the primary consideration in the selection process. Artists will maintain copyright of their productions, which will be disseminated by Mosaica on the site <a rel="nofollow" href="http://www.mosaica.ca">http://www.mosaica.ca</a> and may be presented at public talks and screenings. Submission material will not be returned. Applications must be submitted by January 1, 2005. Online applications are to be submitted to mosaica@yorku.ca Decision date: Candidates will be notified by March 1, 2005. A condition of the honorarium is completion of the project by September 1, 2005. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + NEW: Rhizome Member-curated Exhibits <a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a> View online exhibits Rhizome members have curated from works in the ArtBase, or learn how to create your own exhibit. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 12.06.04 From: napoleon brousseau <nbrousseau@cdnfilmcentre.com> Subject: call for submissions and proposals, Emmersive Gallery Emmersive Gallery is currently accepting proposals for its 2005/2006 programming year. We are a newly established gallery situated in the heart of the Queen Street West gallery district in Toronto. Our mandate is to exhibit contemporary time-based and computer-generated works with an emphasis on marketability. Our dynamic media platform is designed to serve as a consulting service for private collectors, museums and corporations. Our venue operates on a 6 week cycle and accommodates solo, two-person and group exhibits from local, national and international artists. Submission deadline is January 8th 2005. download a PDF Submission Form Please include: CV, Artist Statement, Project Proposals, DVD or CD documentation, URL's, as well as any other relevant information. no slides, films, video tapes, original artworks, or photographs will not be accepted. For information on the gallery exhibition and venues contact: Maria LegaultProgram Director at 416 597 1664 or maria_legault@emmersive.org Emmersive Gallery 1096 Queen Street West. Toronto, Ontario Canada / M6J 1H9 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 12.06.04 From: kanarinka <kanarinka@ikatun.com> Subject: Art Interactive - Call For Exhibition Proposals —- PLEASE FORWARD FAR AND WIDE —- Art Interactive in Cambridge, MA, invites curators to submit exhibition proposals for the 2005-06 season. Art Interactive's mission is to provide a public forum that fosters self-expression and human interaction through the development and exhibition of art that is contemporary, experimental, and participatory. Previous exhibitions have included Engaging Characters (Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator), and eVolution (Christiane Paul, Curator). The following call can also be found at: <a rel="nofollow" href="http://www.artinteractive.org/curatorial_call">http://www.artinteractive.org/curatorial_call</a>. Questions: contact proposals@artinteractive.org ——————————————- Call for Exhibition Proposals Art Interactive in Cambridge, MA, invites curators to submit exhibition proposals for the 2005-06 season. Art Interactive's mission is to provide a public forum that fosters self-expression and human interaction through the development and exhibition of art that is contemporary, experimental, and participatory. Previous exhibitions have included Engaging Characters (Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator), and eVolution (Christiane Paul, Curator). To review these and other Art Interactive exhibitions, please visit: <a rel="nofollow" href="http://www.artinteractive.org/show_previous.php">http://www.artinteractive.org/show_previous.php</a>. Art Interactive encourages proposals that presents works in any media, but each proposal must address the goals described in the curatorial mission statement. Please note that Art Interactive discourages artists who are acting as curators from submitting proposals that include their own work. To read the curatorial mission statement, please visit: <a rel="nofollow" href="http://www.artinteractive.org/curatorial.php">http://www.artinteractive.org/curatorial.php</a>. Jurors Proposals will be reviewed by Art Interactive's Curatorial Committee, comprised of Rachael Arauz, Independent Curator, Sharon Matt Atkins, Assistant Curator, Currier Museum of Art, George Fifield, Director, Boston CyberArts Festival and Adjunct Curator of Media Arts, DeCordova Museum, Joseph Ketner, Director, Rose Art Museum, Jeff Talman, Artist, Emanuel Lewin, Director, Art Interactive, Catherine D'Ignazio, Associate Director, Art Interactive, Winnie Wong, Director of Curatorial Planning, Art Interactive. Gallery Space Art Interactive is located in the Central Square neighborhood of Cambridge, MA. The exhibition space is approximately 2,000 square feet with 16-foot ceilings. Two glass walls provide extensive natural light, and the space can be partitioned by four movable modular wall panels. Visits to the space during gallery hours are encouraged, and a floor plan is available upon request. Support If accepted, Art Interactive provides the following resources to assist the Curator: 1) Exhibition Coordinator, Exhibition Designer and Graphic Designer to assist in these aspects of exhibition planning. 2) Press and marketing support, Event Coordination, and Education and Outreach are handled primarily by Art Interactive. 3) Technical support and labor for construction and installation. 4) Printing and design of posters, postcards, press releases, mailings, and an exhibition brochure. 5) A host of high-end equipment including computers, projectors, cameras, etc. A detailed specification list is available upon request. In addition to these resources, Art Interactive will provide total additional support of $2500. This is typically used for stipends, travel, shipping, purchase of special construction materials or equipment. If the budget for the proposed show exceeds $2500, please provide a detailed plan for how and when additional funds will be raised. Art Interactive is able to provide some administrative support, planning and strategy for raising additional funds for a compelling curatorial project. Deadline Proposals must be received at Art Interactive no later than February 1, 2005. Notifications will be sent by email to proposers on March 15th, 2005. Submission Guidelines Submissions must include 8 copies of the following: 1. Curator's CV (please include name, address, email address) 2. Proposed exhibition title (maximum 10 words) 3. Exhibition Abstract (maximum 500 words) 4. Exhibition Checklist (maximum 1 page) 5. Proposed Budget (see above, "support") 6. Supporting visual materials Supporting visual material can include DVDs, CD-ROMs, websites, and printed photographs. A self-addressed stamped envelope may be included in the submission for the return of these materials. Please send all submissions by mail to: Curatorial Committee Art Interactive 130 Bishop Allen Drive Cambridge, MA, 02139 Questions For more information, please visit: <a rel="nofollow" href="http://www.artinteractive.org/curatorial_call">http://www.artinteractive.org/curatorial_call</a>. For additional inquiries, please email proposals@artinteractive.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 12.07.04 From: Kevin McGarry <kevin@rhizome.org> Subject: FW: Exit Art Archivist Job Opportunity From: Richard Rinehart <rinehart@berkeley.edu> Date: Fri, 3 Dec 2004 15:37:35 -0800 To: preservation@lists.berkeley.edu Subject: Exit Art Archivist Job Opportunity Exit Art Archivist Job Description Since its founding in 1982, Exit Art has presented the work of over 2,000 artists and grown from a pioneering alternative art space into a model cultural center with a substantial reputation for curatorial innovation, depth of programming in diverse media, and especially for bringing to public attention the work of important unknown and under-recognized artists. Over the past two decades, Exit Art has accumulated and preserved its rich history of artists' materials and is now at a critical stage: making its archival materials available to the public and online. Exit Art receives thousands of requests each year from scholars, curators, doctoral students, and artists for information that is currently only accessible by appointment. Currently, Exit Art seeks to hire an Archive Manager who will work closely with the Executive Director and Curatorial staff to conserve, digitize, describe, and make available online the unique cultural materials in Exit Art's archives. The conservation and collection management of the physical archives include: + Label, catalogue, and store the contents of approximately 5,000 exhibitions files into archival-quality file folders and document boxes + Organizing and storing oversized original exhibition invitations, posters, catalogues and didactics + Cleaning, labeling and organizing slides and 4x5 negatives + Transferring, labeling and organizing videotape from VHS, 3/4", DVCAM, Hi-8 and Betacam to DigiBeta + Digitizing, labeling and organizing audio cassette tape and creating archival re-masters on CD-R (this will be done during the digitization stage of the project) + Implement a FileMaker Pro driven database that will create a record of the materials in the Exit Art archive + Work with on-staff technologist to prepare for the digitization of the archive making records available on-line Job Description: + Oversees the conservation and collection management of the physical archive as listed above + Supervises the organization and maintenance of the Exit Art Archive and the archive room + Helps to prepare budget reports and financials for archive-related expenses and grants + Responsible for purchase and maintenance of all archive equipment + Supervises archive interns + Acts as a liaison between advisory panel and Exit Art + Responsible for reporting the progress of the archive project and implementing a system analysis for the public using the physical and online archive Requirements: Candidates must be self-starters, goal-oriented and have a strong interest in archiving conceptual and inter-media art; Should have experience in organizing, analyzing and conserving paper files, slides, photographs and video and database management; Strong organizational, leadership and management abilities; Proficient with both Mac and PC platforms; MS Office, FileMaker Pro, Photoshop, Illustrator and archive digitization techniques is highly recommended; BA in Library Science or similar field highly preferable. Start date is immediately. This is a full-time, salaried position with benefits. Salary is commensurate with experience. Interested applicants should send their resume and cover letter to Jodi Hanel, by email to jodi@exitart.org or by mail to Exit Art, 475 Tenth Avenue, New York, NY 10018. No phone calls, please. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 12.07.04 From: Kevin McGarry <kevin@rhizome.org> Subject: FW: REAL SPACE New Media Residency (fwded from theredproject.com) REAL SPACE A New Media Residency Sponsored by Do While Studio and Studio Soto What A six-week process-oriented artist?Äôs residency for the development of a new media project. The residency provides living, working and exhibition space in the heart of downtown Boston, as well as ?Äúthink tank?Äù support from professionals in the field. Projects should be experimental, research-oriented, community-based, and in need of further development. When Residency: June 15 - July 31, 2005. Opening reception/Artist Talk: July 29, 2005. Installation/Show: July 29 - August 28, 2005. Who Artists who work with new media and technology. Why We provide real space for real ideas. New media and technology may well offer innovative ways of expressing artistic concepts, but real, physical space is still the best venue for sharing work with the community. How You propose a new media project that meets the residency criteria. We select one resident per year. If we select your project, we provide the necessary support and resources to help you develop it. Who Decides A select panel of new media professionals which might include artists, curators and invited members of Do While Studio and Studio Soto. For more information on the residency program please visit us at: www.newmediaresidency.org Sponsored by: www.dowhile.org and www.studiosoto.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 12.09.04 From: Jeff Tancil <jtancil@tenement.org> Subject: Tenement Museum Call for Proposals Overview The Lower East Side Tenement Museum is currently accepting proposals for web-based exhibits that will be produced through its Digital Artists in Residence Program (DARP). The Museum will host two virtual residencies. During these residencies, artists will work off-site to complete web-based exhibitions that explore some aspect of the contemporary immigrant experience. All works completed through the DARP program will forward the Tenement Museum's mission to 'promote tolerance and historical perspective through the presentation and interpretation of a variety of immigrant and migrant experiences on the Lower East Side, a gateway to America.' Duration and Exhibition Dates Each residency will last for six months. First residency: Begins April 2005. Exhibition/site launches in October 2005. Second residency: Begins June 2005. Exhibition/site launches in July 2005. Criteria for Selection Preference will be given to proposals that: + Embody and forward the Museum's mission. + Make exceptional and innovative use of the dynamic, interactive qualities of the Web. + Are produced by and/or focus on contemporary immigrant experiences. + Display a deep understanding of and innovative approach to the project's subject matter. + Can be successfully completed during the six-month residency. Technology All proposed pieces must be web-based and be able to be viewed with 4.0 and higher-generation browsers. All completed projects must be able to function on the Museum's web server. The Museum runs a Windows 2000 Server and supports the following technologies: + ASP + PHP + Flash + MySQL Databases + MSSQL databases + Java + Javascript Accessibility Applicants should be aware of users with special needs. In turn, applicants are must consult the World Wide Web Consortium's (W3C) Content Accessibility Guidelines (<a rel="nofollow" href="http://www.w3c.org/TR/WAI-WEBCONTENT">http://www.w3c.org/TR/WAI-WEBCONTENT</a> ) and detail how they will respond to the needs of these users. Benefits for Artists All projects created by DARP residents will be hosted on the Museum's web server. In turn, each DARP site will be featured on the Museum's home page <a rel="nofollow" href="http://www.tenement.org">http://www.tenement.org</a>) for three months and will continue to reside on the site after this period, if requested by the artist. Artists selected for the residencies will also be able to utilize the Museum's web server to store and test their work during development. The Museum will provide artists with a $5000 stipend for the project and may also reimburse artists for up to $2500 worth of expenses. Artists will only be reimbursed for expenses that are deemed necessary for the completion of their work. Artists must submit a list of proposed expenses with their proposals. The Museum will also help promote the exhibits. The Museum's PR & Marketing department will help write and distribute a press release for each exhibit, as well as promotional announcements that will appear in its e-mail newsletter and Calendar of Events. Artists who wish to utilize the collections should detail how they plan to do so. The Museum will pay for printing and mailing. Artists may utilize the Museum's library, as well as its collections of artifacts and historic images. Access to these materials will only be provided as is deemed necessary. Artists should detail how they wish to draw on the collections in their proposals. More Information on the Museum's collections is available at <a rel="nofollow" href="http://tenement.org/research_collections.html">http://tenement.org/research_collections.html</a>. Please note that this is a virtual residency. The Museum is unable to supply housing or office space. Informational Meetings The Museum will hold informational meetings for all applicants who wish to learn more about the Museum and the DARP project. The first meeting will be on January 10th at 2pm; the second meeting will be on January 24th at 4pm. During these meetings, applicants will take a tour of the Museum's tenement building and will also have to time to discuss the DARP project with the Museum's Web Producer. Attending this meeting is strongly recommended. Anyone interested in attending these meetings should contact Jeff Tancil, Web Producer, at 212-431-0233 x.234. If you are unable to attend either meeting, we suggest that you take one of the tours of the tenement at 97 Orchard Street. Information about these tours is available online at <a rel="nofollow" href="http://www.tenement.org/tours.html">http://www.tenement.org/tours.html</a>. If you are unable to visit the Museum, you can also take a virtual tour of the tenement: <a rel="nofollow" href="http://www.tenement.org/index_virtual.html">http://www.tenement.org/index_virtual.html</a>. If possible, however, we strongly suggest that you visit the Museum in person. How to Apply Proposal Overview Applicants should submit a 2-5 page proposal, not including attachments, to the Museum (contact information is provided below). In their proposal, artists should detail the concept, scope and theme of one original work. Applicants should also discuss how their project will specifically address both the immigrant experience and the Museum's mission. All proposals are due no later than February 15, 2005. Attachments All proposals must include the following attachments + Budget of proposed expenses + Schedule Schedules should reflect the six-month duration of the residency. Schedules must include the following deliverables: o Three formal project reviews with the Museum's Web Producer and the DARP Advisory Board. o A beta version of the site to be completed no later than six weeks prior to the launch of the project. o Launch date. + Resume + Work Samples Applicants must submit 2-3 samples of web sites and/or web-based exhibits that they have created. Applicants can either submit a list of URLs or CD-ROMs that include their work. Please specify the work that you performed on each project. Applicants can also submit additional samples of work completed in other mediums. Group Size Applicants can apply either as individuals or as part of a group. If you are applying as a group, you must demonstrate the unique role of each member in producing the exhibition. Please note that the stipend and expenses are the same regardless of group size. Contact Information Applications and attached materials should be submitted to the Museum either by mail or e-mail. All proposals are due no later than February 15, 2005. E-Mail jtancil@tenement.org Mail 91 Orchard Street New York, NY 10012 Attn: Jeff Tancil Please direct any questions to the Museumâ??s Web Producer. He can be contacted by e-mail (jtancil@tenement.org) or phone (212-431-0233 .234) About the Lower East Side Tenement Museum The heart of the Lower East Side Tenement Museum is the tenement at 97 Orchard Street. From 1863 to 1935, 97 Orchard was home to an estimated 7,000 people from over 20 nations. The Museum uses the stories of 97 Orchard Street residents to raise public consciousness on social issues, which endure to this day, including: welfare, immigration and child labor. Museum walking tours and tenement building tours, dramas, readings, media presentations, publications, exhibitions, and research projects reinforce this new approach to history and breath life into this neglected and vital area of our national experiences. About the DARP Program The DARP program was started to encourage the creation of web-based art that explores issues related to the Museumâ??s mission and work. The first series of DARP residences began in the Fall of 2001. During this first round of residencies, DARP provided funding and support for three new projects created by local artists and one work that was created by two New York high school students. The works produced during the first round of residencies were: o Claudia Chow's Banana <a rel="nofollow" href="http://www.tenement.org/banana">http://www.tenement.org/banana</a> o Jenny Polak and Lauren Gill's Hard Place <a rel="nofollow" href="http://www.tenement.org/HardPlace">http://www.tenement.org/HardPlace</a>. o CUP and HONEST's Code City <a rel="nofollow" href="http://www.tenement.org/codecity">http://www.tenement.org/codecity</a> o La Lutta's The Immigrant Experience <a rel="nofollow" href="http://www.tenement.org/immigrantexperience">http://www.tenement.org/immigrantexperience</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. Date: 12.07.04 From: Rhizome.org (artbase@rhizome.org) Subject: Just added to the Rhizome ArtBase: museum of rumour by maria miranda Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?29323">http://rhizome.org/object.rhiz?29323</a> + museum of rumour + + maria miranda + The Museum of Rumour is a fictive work that presents ongoing 'pataphysical research into the study of rumour. It uses a sort of 'gay science' of multiple and contrary theories - from the physics of motion to the theory of six degrees of separation. In particular the museum charts the uncanny connections of the so-called small world effect by mapping the intersections of rumours through the nodal point of Gertrude Stein, a major figure of rumour. + + + Biography Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark. We have been working together for over 15 years, beginning in radio and then from the early '90s making work with CD-roms, installations, websites and net art installations. Maria Miranda is a new media artist based in Sydney. Visit <a rel="nofollow" href="http://www.out-of-sync.com/">http://www.out-of-sync.com/</a> for further details. Norie Neumark is a sound/radio/new media artist based in Sydney. Visit <a rel="nofollow" href="http://www.out-of-sync.com/">http://www.out-of-sync.com/</a> for further details. Currently we are interested in working with the fictive possibilities of the net – playing on the borderland between fiction and reality. Investigations include anomalies, rumour, difference, Gertrude Stein, ducks, everyday life, trees and frogs, Jules Verne, volcanoes, Jorge Luis Borges – through a variety of 'scientific' approaches, from rumourology to emotionography to data collecting. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. Date: 12.10.04 From: Rhizome.org (artbase@rhizome.org) Subject: Just added to the Rhizome ArtBase: Any Wall by Robert Krawczyk Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?29726">http://rhizome.org/object.rhiz?29726</a> + Any Wall + + Robert Krawczyk + Any Wall This piece speculates on a possible replacement for Sol LeWitt's draftsperson with a web application for his wall drawings, a simple experiment in viewer directed art. This is a parody of the original concept of the wall drawing. This is not a wall drawing. This is not art by Sol LeWitt. You are not Sol LeWitt if you choose to execute this. This JAVA applet is not Sol LeWitt. You are the artist. Imagine an additional button that could send you a printed copy of the drawing you generated, size and payment to be determined. Imagine if such a web page could drive a real-time display the size of an actual wall or room. Changes to the wall could be presented from all over the world at some time interval. A send button would be added to queue the next arrangement. Or imagine if the wall is covered with a future version of digital vinyl or digital ink technology turned into a digital paint. Is Sol LeWitt's "machine for art" now complete? + + + Biography Robert J. Krawczyk, is an Assistant Professor in the College of Architecture at the Illinois Institute of Technology in Chicago focusing on digital craftsmanship. During his twenty-one years at IIT, he has developed and taught a series of CAD and digital design courses covering 2D and 3D CAD, image composition, animation, and form generation methods. In addition to teaching, he is an advisor in the PhD and Master's programs on form generation and other related digital design methods. Robert is a graduate of the University of Illinois Chicago, College of Architecture; prior to teaching at IIT; he pioneered digital graphic applications in the architectural office of Murphy/Jahn in Chicago for eight years, covering the 1970's. After leaving Murphy/Jahn he started a computer consulting firm that continues today. His research into digital methods and artwork covering science, mathematics, architecture, and technology continues to be published and presented internationally in the form of prints, web pieces, sculptural, and architectural studies. A highlight of his digital artwork was being selected for the SIGGRAPH 2001 and 2003 Art Gallery, including the 2001 SIGGRAPH International Traveling Art Show. Artwork is displayed at: home.netcom.com/~bitart and student work, papers, and other projects are at: www.iit.edu/~krawczyk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 14. Date: 12.10.04 From: Charlotte Frost <charlotte@digitalcritic.org> Subject: A Review of New Media Art: Practice and Context in the UK 1994-2004, Edited by Lucy Kimbell, Arts Council of England and Cornerhouse Press, 2004. A Review of: New Media Art: Practice and Context in the UK 1994-2004, Edited by Lucy Kimbell, Arts Council of England and Cornerhouse Press, 2004. By Charlotte Frost Having somewhat ripped up the conference circuit this year, I was relieved to discover a book, in the form of New Media Art: Practice and Context in the UK 1994-2004, which is rather like attending a conference but without the flu (ISEA), travel expenses (ISEA again!) and inevitable weariness (take your pick!) associated with such events. New Media Art is the Arts Council of England¹s round-up of ten years of funding new media projects. Its opening explains: ³The book is part catalogue and part anthology, providing a gateway to other references and sources for the reader to explore; it presents a wide range of voices and approaches to new media practice and illustrates the extraordinary breadth and diversity of the constituencies and cultures of the new media arts landscape in the UK.² (P.7) And its exactly 300 pages offer an informal introductory glimpse of a decade of UK-based new media art creation, curation and context, from the perspective of regular new media ?knowledgables¹. This book acts as a conference substitute, however, not in any formal didacticism, but in a more valuable and intimate way. Each concise essay, case study, or conversation, which constitute its canon, is more like one of those invaluable discussions that takes place in-between, rather than actually at, the panels and workshops put on at most new media conferences. Indeed, the fact this book is less ?keynote¹ than it is ?coffee-break¹ makes it no less informative. Its articles from some of ?those who where there¹, such as Armin Medosch, Lisa Haskel, Rachel Baker, Josephine Berry Slater, Sarah Cook, Charlie Gere, Saul Albert, Pauline Van Mourik Broekman and the book¹s editor Lucy Kimbell, mean that if you missed hanging out in backspace you can certainly capture the camaraderie and creativity. Unlike many new media books that take emphasis away from networking and package their information as static art historical-style readers, this book stays true to its roots. In fact New Media Art might be better than actual networking because even the savviest socialite couldn¹t hope to cover such terrain and so many topics and still have time for tea! However as long as many conferences remain logistically prohibitive to a broad section of artist groups (flu, travel expenses and weariness not withstanding), there will always be important voices we are not hearing from, and despite the extensive knowledge of the contributors, the missed opportunity presented by this book was to give a voice to many of the artists often muted by such occasions. One formal talk which does resonate is Steve Dietz¹s ?Why Have There Been No Great Net Artists?,¹ which was originally a presentation at CADRE in 1999, and serves to remind us that sometimes it is these very problems within new media which best characterise its creation and context. In this famous article, as most will no doubt be aware, Steve Dietz outlines some of the paradoxes in net art: ³The problem with net art is that it is so opaque. The problem with net art is that it is so obvious. The problem with net art is that not everyone can see it. The problem with net art is that it takes too long. The problem with net art is that it's ephemeral. The problem with net art is that it's too expensive. The problem with net art is that anyone can make it. The problem with net art is no one supports it. The problem with net art is that it is being usurped. The problem with net art is that it's boring. The problem with net art is that it's too challenging. The problem with net art is all those plug-ins. The problem with net art is that it is so reliant on industry standards. The problem with net art is that it's old hat. The problem with net art is that it's too new. The problem is that there is no great net art.² (p.78) And this book is certainly not exempt from such pandemonium, having caused fervour on the lists prior to publication, being criticised for the projects it ignored and the notion that New Media could be geographically located or fenced by any time-frame. However, New Media Art¹s most notable problems are also those of all new media. The problem with New Media Art: Practice and Context in the UK 1994-2004 is its title. The problem with New Media Art is that it is a book. The problem with New Media Art is that it is so controversial. The problem with New Media Art is that it isn¹t controversial enough. The problem with New Media Art is its glaring omissions. The problem with New Media Art is all the people it has included. The problem with New Media Art is it is global. The problem with New Media Art is its UK-centric. Thus whether one believes this book describes such issues or suffers because of them, the fact it encounters them makes it a truer reflection of the scene. Therefore, my only real problem with New Media Art: Practice and Context in the UK 1994-2004 seeing as I rather like networking and never did make it to backspace is the amount of wasted paper. It isn¹t that the paper the essays are printed on is wasted, but the unusually excessive use of paper seems like a retort to the paperless online world, and this makes it hard to accept any missing content or the lack of an attempt to tackle the ?problems¹ head-on. Where Rachel Greene and Christiane Paul might be forgiven for missing out some of the key figures in net/digital arts because of the constraints of Thames and Hudson World of Art books, it is hard to accept that the Arts Council couldn¹t have fitted more into their book. If you can¹t afford the conference network financially, physically, logistically, or politically, this book is a pretty close substitute; if you do attend, however, take it with you and fill in some of the blank spaces with some of your own conversations, and maybe put a couple of tea cup rings on it (not least to disrupt the ordered pixels that cover its many pages) and soon, it might fully resemble a context for new media art production in the UK. Charlotte Frost <a rel="nofollow" href="http://www.furthertxt.org">http://www.furthertxt.org</a> <a rel="nofollow" href="http://www.furtherfield.org">http://www.furtherfield.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Kevin McGarry (kevin@rhizome.org). ISSN: 1525-9110. Volume 9, number 49. 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>. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +