RHIZOME DIGEST: 05.12.06

discussion

Posted May 11 2006 20:00

RHIZOME DIGEST: 05.12.06

RHIZOME DIGEST: May 12, 2006 ++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++ Content: +opportunity+ 1. Steffani Jemison: Amnesty International Firefly Project International Human Rights Day Commission 2. jake elliott: threadcloud call for contribution 3. Seth Thompson: WIGGED.NET: Call for Works 4. James: Call for Proposals 5. Rencontres internationales Paris/Berlin: LAST CALL. Festival 2006 +announcement+ 6. Jeanie Finlay: Home-Maker has a new home online 7. jonCates: [FRAY] Conference + After (Party) Event 8. Cary Peppermint: Practical Performances In The Wilderness Parts I and II Now On DVblog.org 9. Marisa Olson: HALLIBURTON SOLVES GLOBAL WARMING 10. Pauline Jennings: Evolutionary Patterns and the Lonely Owl (Mutation #2) 11. Andrea Ackerman: ANDREA ACKERMAN 3D COMPUTER ANIMATION SHOWING 12. Erik Loyer: Vectors Ephemera issue now live! +Metadata Thread - Part 3+ 13. Lauren Cornell: Metadata + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Steffani Jemison <commission@aifirefly.org> Date: May 7, 2006 Subject: Amnesty International Firefly Project International Human Rights Day Commission The concept of 'human rights' refers to the minimum standard of legal, civil, and political freedoms guaranteed to all individuals regardless of nationality, ethnicity, and other localizing factors. The clear articulation of these rights in international political conventions and the ongoing discourse around their legislation and enforcement provide a global frame of reference and concrete starting point around which political action–artistic or otherwise–can be organized. In an effort to support Amnesty International's global advocacy and educational work and provide a forum for critically considering the intersection of the human rights framework and contemporary artistic practices, AI Firefly has announced a juried $3,000 commission for the creation of a new art work to be presented on or around International Human Rights Day, December 10, 2006. Applicants must make a commitment to produce the project by December 2006 for public presentation on and after International Human Rights Day on December 10; the presentation could include full-scale production of a theatrical performance, launch of a new media or internet-based project, premiere screening of a film or video project, opening reception for a public art project, or similar presentation. Applicants are encouraged to propose innovative work that critically considers the relationship between contemporary artistic practices, including 'activist' artistic practices, and human rights. See website for complete eligibility details. Download guidelines and an application: www.aifirefly.org/commission. Application deadline: August 4, 2006 Information session: May 24, 2006, 6:30 PM at Alwan for the Arts, 16 Beaver Street. Please visit aifirefly.org/commission to RSVP. Questions? E-mail commission@aifirefly.org. Amnesty International Firefly Project (AI Firefly) is a New York City-based collective of artists and activists affiliated with Amnesty International USA as local group #704. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: jake elliott <jake@structuredsound.net> Date: May 9, 2006 Subject: threadcloud call for contribution this is an open call to contribute to threadcloud at <a rel="nofollow" href="http://threadcloud.info">http://threadcloud.info</a> ===about threadcloud=== threadcloud is social artware for collective curatorial activity in distributed space. the project is developed by 03 skripty kittenz in chicago: jake elliott + tamas kemenczy + siobhan renfroe. it is part of the [FRAY] series of events hosted by the dept. of Film, Video and New Media at the School of the Art Institute of Chicago. :the threadcloud system is split into 02 components: 01: artcloud (web application front-end) anyone can access the artcloud at threadcloud.info and anonymously submit links to digital artworks. the artcloud enables users to describe artworks that have been submitted + descriptively connect them with one another. 02: threadcrab (grid gallery) the grid gallery is the presentation layer for threadcloud. it is operated by an automatic software preparator named threadcrab, who accesses sites with forum or comment functionality (aka blogs, livejournals and online message boards), and installs references to the artwork along with tags, descriptions and relationships drawn from the artcloud's database. :threadcloud is social artware: threadcloud is an attempt at a self-reflexive + critical social software platform presented as software art. threadcloud's criticality w/r/t social software is articulated through its emphasis on anonymity, it's avoidance of hierarchy, and its reliance on unsolicited insertion into pre-existing, digitally-mediated communities via the threadcrab. ===about fray=== [FRAY] is a series of interwoven events organized by the Film, Video and New Media department (FVNM) at The School of the Art Institute of Chicago (SAIC). [FRAY] is focussed on time, screen and code based experimental New Media art. [FRAY] consists of the following interrelated aspects: a conference, discussions and presentations, screenings and clusters of projects running during the Spring 2006 semester. thank you for yr time! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Seth Thompson <seththompson@wigged.net> Date: May 10, 2006 Subject: WIGGED.NET: Call for Works Wigged Productions in collaboration with curator Humberto Ramirez is seeking Web-based artists working in video, animation and netart to contribute projects for an online exhibition addressing the concept of "EXTRAPOLATIONS" We are particularly interested in works situated outside of mainstream visual strategies, using anachronism, simulacra, radical denial, historical revision, nonlinear narratives, humor etc. The idea of critique as an oblique activity, tangential and tactical is central to this project. In order to submit your work for consideration, please provide your name, title of project, short synopsis and URL address by email to extrapolations@hotmail.com, or alternatively send DVD with QuickTime movie or miniDV by May 25, 2006 with requested information to: EXTRAPOLATIONS P.O BOX 1637 BRATTLEBORO, VT 05302-1637 The online exhibition will run from July 1, 2006 through June 15, 2007 and the deadline for submissions is May 20, 2006. – Seth Thompson Wigged Productions seththompson@wigged.net <a rel="nofollow" href="http://www.wigged.net">http://www.wigged.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: James <rhizome@factorynoir.com> Date: May 11, 2006 Subject: Call for Proposals CALL FOR PROPOSALS: "TRANSPOSITION" In this age of increasing data collection, storage, and management, it becomes necessary to create new visual forms for the representation of such information. Second Life provides an atmosphere in which the environment acts as a canvas for temporal representations of data, not only presented to the user but interacted with, and experienced on a different level of immersion than more traditional displays. The management of tools, data, and environments requires the inception of these interfaces. Ars Virtua is seeking computational information design projects unique in nature to the environment Second Life provides. Pieces should contain unique techniques and methods in presenting information design, interaction design, communication design, and/or data visualization. Projects that extend their abilities to interactivity within the virtual reality environment are highly encouraged to apply. Proposals should include: Name and contact information Description of the project Screenshot if available DEADLINE TO SUBMIT: May 19th, 2006. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Rencontres internationales Paris/Berlin <info@art-action.org> Date: May 11, 2006 Subject: LAST CALL. Festival 2006 :: [EN] Call for Entries :: [FR] Appel a' proposition :: [DE] Teilnahmeaufruf EN FRANÇAIS PLUS BAS DANS LE MESSAGE AUF DEUTSCH UNTEN ========================================= IN ENGLISH ========================================= CALL FOR ENTRIES. LAST DEADLINE: MAY 15th, 2006 (postmarked) ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| <a rel="nofollow" href="http://art-action.org/en_info.htm">http://art-action.org/en_info.htm</a> *** Please forward this information as widely as possible *** The Call for entries 2006 is open until May 15th (postmarked). In Autumn 2006, the festival 'Rencontres internationales Paris/Berlin' will present in Paris and Berlin an international programming focusing on film, video and multimedia, gathering works of artists and directors acknowledged on the international scene along with young artists and not much distributed directors. The festival aims at presenting those works to a broad audience, at creating circulations between different art practices and between different audiences, as well as creating new exchanges between artists, directors and professionals. ALL INDIVIDUALS OR ORGANIZATIONS CAN SUBMIT ONE OR SEVERAL PROPOSALS. THE CALL FOR ENTRIES IS OPEN TO FILM, VIDEO AND MULTIMEDIA CYCLES, without any restriction of length or genre. All submissions are free, without any limitation of geographic origin. FILM AND VIDEO: * Video art / Experimental video * Experimental film * Documentary * Fiction MULTIMEDIA: * Installation * Net art, CDrom, DVDrom * Performance art, concert, sound work ALL submissions are sent by mail, enclosed with a filled-in ONLINE ENTRY FORM, UNTIL MAY 15th, 2006 (postmarked). Entry forms and information regarding the 'Rencontres internationales Paris/Berlin' are available on our website <a rel="nofollow" href="http://art-action.org/en_info.htm">http://art-action.org/en_info.htm</a> The 'Rencontres internationales' offer more than a simple presentation of the works. They introduce an intercultural forum gathering various guests from all over the world - artists and directors recognized on the international scene along with young artists and directors who still cannot enjoy a substantial distribution, directors from organizations and emerging structures - testifying of the vivacity of creation and its diffusion, but also of the artistic and cultural contexts that often are in transition or sometimes experiencing deep changes. The festival reflects specificities and crossings of contemporary art practices, and work out this necessary time when points of view meet and are exchanged. ========================================= EN FRANÇAIS ========================================= APPEL A PROPOSITION. DERNIERE DATE LIMITE: 15 MAI 2006 (date d'envoi) ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| <a rel="nofollow" href="http://art-action.org/fr_info.htm">http://art-action.org/fr_info.htm</a> *** Merci de faire circuler cette information le plus largement possible *** L'appel à proposition 2006 est ouvert jusqu'au 15 mai (date d'envoi). Les Rencontres internationales Paris/Berlin présenteront à Paris et Berlin à l'automne 2006 une programmation internationale inédite consacrée aux nouveaux cinémas, à la création vidéo et au multimédia, réunissant des ?uvres d'artistes et de réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés. Les Rencontres internationales ont pour vocation de faire découvrir ces ?uvres à un large public, de créer des circulations entre différentes pratiques artistiques et entre différents publics, de susciter des échanges entre artistes, réalisateurs et acteurs de la vie artistique et culturelle. TOUT INDIVIDU OU ORGANISME PEUT EFFECTUER UNE OU PLUSIEURS PROPOSITIONS D'OEUVRE. L'APPEL A PROPOSITION EST OUVERT POUR LES CYCLES FILM, VIDEO ET MULTIMEDIA, sans restriction de genre et de durée. Les propositions sont gratuites, sans limitation de provenance géographique. FILMS ET VIDEOS : * Art vidéo / Vidéo expérimentale * film expérimental * Documentaire * Fiction MULTIMEDIAS : * Installation * Net art, CD-rom, DVDrom * Performance, concert… TOUTES les propositions sont reçues, par courrier, accompagnées d'une FICHE DE PROPOSITION remplie, JUSQU'AU 15 MAI 2006 (date d'envoi). La fiche de proposition, ainsi que toutes les informations relatives aux Rencontres internationales Paris/Berlin sont disponibles sur notre site web <a rel="nofollow" href="http://art-action.org/fr_info.htm">http://art-action.org/fr_info.htm</a> Plus qu'une simple présentation des ?uvres, les Rencontres internationales proposent un véritable forum interculturel, en présence de nombreux invités venus du monde entier, artistes et réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés, de responsables d'institutions et de structures émergentes témoignant d'une vivacité de la création et de sa diffusion, de contextes artistiques et culturels souvent en transformation ou parfois connaissant de profondes mutations. Les Rencontres internationales rendent compte des spécificités et des convergences des pratiques artistiques, et permettent ce temps nécessaire où les points de vue se croisent et s'échangent. ========================================= AUF DEUTSCH ========================================= TEILNAHMEAUFRUF. LETZTER EINSENDESCHLUSS: 15. MAI 2006 (Datum des Poststempels) ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| <a rel="nofollow" href="http://art-action.org/de_info.htm">http://art-action.org/de_info.htm</a> *** Bitte diese Informationen weiterleiten *** Der Teilnahmeaufruf läuft noch bis zum 15. Mai 2006 (Datum des Poststempels). Das Festival 'Rencontres internationales Paris/Berlin' stellt im Herbst 2006 in Paris und Berlin ein internationales Programm vor, das sich vor allem den Bereichen Film, Video und Multimedia widmet, und sich aus Werken von international anerkannten Künstlern und Filmschaffenden, sowie aus Beiträgen weniger bekannter Künstler zusammensetzt. Das Anliegen der 'Rencontres internationales' ist es, diese Werke einem breiten Publikum zugänglich zu machen, die verschiedenen Schaffensbereiche einander näherzubringen und den Austausch zwischen Künstlern, Regisseuren und Persönlichkeiten aus der kulturellen und künstlerischen Szene zu fördern. Als JEDE PERSON, EINRICHTUNG ODER GESELLSCHAFT KANN SICH MIT EINEM ODER MEHREREN WERK(EN) BEWERBEN. DER TEILNAHMEAUFRUF BETRIFFT DIE KATEGORIEN FILM, VIDEO UND MULTIMEDIA, ohne Einschränkungen in Hinblick auf Genre oder Dauer. Die Bewerbung ist kostenlos und es gibt keine Beschränkungen hinsichtlich des Entstehungslandes. FILM UND VIDEO: * Experimentalfilm * Videokunst/ experimentelles Video * Dokumentarfilm * Fiktion MULTIMEDIA: * Installationen * Net Art, CD-Rom, DVD-Rom * Performances, Konzert… Bis ZUM 15. MAI 2006 (Datum des Poststempels) nehmen wir ALLE Bewerbungen zusammen mit einem ausgefüllten BEWERBUNGSFORMULAR auf dem Postweg entgegen. Das Bewerbungsformular, sowie sämtliche Informationen zu den 'Rencontres internationales Paris/Berlin' finden Sie auf unserer Website : <a rel="nofollow" href="http://art-action.org/de_info.htm">http://art-action.org/de_info.htm</a> Die Rencontres internationales sind mehr als nur eine einfache Ausstellung. Jede Ausgabe ist gleichzeitig ein interkulturelles Forum mit zahlreichen Gästen aus der ganzen Welt. International anerkannte Künstler und Filmemacher neben jungen, aufstrebenden Kollegen, Leiter bedeutender Kunsteinrichtungen neben Betreibern alternativer Strukturen zeugen von der Lebendigkeit des Schaffens und seiner Verbreitung, von der Situation der künstlerischen Praxis in den jeweiligen Ländern, von denen sich manche in einer Übergangsphase befinden oder tiefgreifende Veränderungen erleben. Die Rencontres internationales zeigen die Besonderheiten und Konvergenzen der verschiedenen künstlerischen Praktiken auf und schaffen den notwendigen Zeit-Raum, in dem Sichtweisen aufeinandertreffen und ausgetauscht werden können. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Exhibitions The GIF Show, open May 3-June 3, at San Francisco's Rx Gallery, takes the pulse of what some net surfers have dubbed ?GIF Luv,? a recent frenzy of file-sharing and creative muscle-flexing associated with GIFs (Graphic Interchange Format files). Curated by Rhizome Editor & Curator at Large, Marisa Olson, the show presents GIFs and GIF-based videos, prints, readymades, and sculptures by Cory Arcangel, Peter Baldes, Michael Bell-Smith, Jimpunk, Olia Lialina, Abe Linkoln, Guthrie Lonergan, Lovid, Tom Moody, Paper Rad, Paul Slocum, and Matt Smear (aka 893). GIFs have a rich cultural life on the internet and each bears specific stylistic markers. From Myspace graphics to advertising images to porn banners, and beyond, GIFs overcome resolution and bandwidth challenges in their pervasive population of the net. Animated GIFs, in particular, have evolved from a largely cinematic, cell-based form of art practice, and have more recently been incorporated in music videos and employed as stimulating narrative devices on blogs. From the flashy to the minimal, the sonic to the silent, the artists in The GIF Show demonstrate the diversity of forms to be found in GIFs, and many of them comment on the broader social life of these image files. Become MySpace friends with the exhibit! <a rel="nofollow" href="http://www.myspace.com/gifshow">http://www.myspace.com/gifshow</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Jeanie Finlay <info@ruby-online.co.uk> Date: May 6, 2006 Subject: Home-Maker has a new home online Home-Maker by Jeanie Finlay is now available to view online What makes a house a home, how does this change if you can?t leave? <a rel="nofollow" href="http://www.home-maker.org.uk">http://www.home-maker.org.uk</a> Home-Maker, the interactive documentary project has been touring UK venues for the last 2 years. At the final venue, Hatton Gallery, a team from Heaton Used furniture came in and turned off the computers, packed up the dolls, furniture and ornaments and dismantled the set as they would whenever they perform a House Clearance. Now the only place to view Home-Maker is online. In an online flash environment built by Gareth Howell you can visit Florrie, Roy, Lilian, Betty, Aiko-san, Emi-san and Monji-san in their new online home and hear the stories linked to the belongings in their Derbyshire and Tokyo living rooms in over an hour of streaming mini documentaries. "This largely unprecedented, highly novel approach to portraiture brings up all kinds of touching details of life as it is lived between four walls, amid the dreadfully small collections of significant belongings, haunted by the enduring presence of lost loved ones…." Mick Martin, The Guardian. Home-Maker is the result of two residencies which took place in the living rooms of seven housebound, older people in South Derbyshire, England, and Tokyo, Japan. Jeanie Finlay spent time with each of the seven people, getting to know their histories, preoccupations and passions, creating video and panoramic portraits of each of them in their homes. A Ruby project made with Peoplexpress and Muse Company. In association with On the Edge Research. Supported by Arts Council of England , EM Media, UK Film Council, YOTA and Esmée Fairbairn Charitable Trust. Design by Ruby. Flash online exhibition by Gareth Howell. Winner of a Canon International Digital Creators Web Award. – Jeanie Finlay Ruby Digital jeanie@ruby-online.co.uk <a rel="nofollow" href="http://www.ruby-online.co.uk">http://www.ruby-online.co.uk</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: // jonCates <joncates@criticalartware.net> Date: May 9, 2006 Subject: [FRAY] Conference + After (Party) Event [FRAY] Conference SATURDAY MAY 13 @ 2 PM <a rel="nofollow" href="http://fvnm.info/fray/2006.05.13">http://fvnm.info/fray/2006.05.13</a> Film, Video & New Media Dept @ The School of the Art Institute of Chicago Room 1307 in the MacLean Building 112 S. Michigan Ave CHI IL .US FREE Join [FRAY] for discussions and presentations on connective and collaborative New Media and Digital Arts with Annette Barbier (UNREAL-ESTATES and Interactive Arts and Media Department Columbia College), Ryan Griffis (The Temporary Travel Office and The School of Art & Design University of Illinois at Champaign Urbana), Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago), Lynn Marie Kirby (California College of the Arts), Rob Ray (DEADTECH and dorkbot Chicago), Lincoln Schatz (The Upgrade! Chicago) and Daniel Tucker (AREA Chicago). The [FRAY] Conference consists of the following discussions: 2 PM - 4 PM Multiplicities Ryan Griffis (The Temporary Travel Office and The School of Art & Design University of Illinois at Champaign Urbana) Rob Ray (DEADTECH and dorkbot Chicago) Lincoln Schatz (The Upgrade! Chicago) The Multiplicities discussion focuses on connective + collaborative New Media + Digital Arts praxis in the context of internationalized efforts such as Ryan Griffis' The Temporary Travel Office, Rob Ray's initiation + running of dorkbot Chicago + Lincoln Schatz's development of The Upgrade! Chicago. The Temporary Travel Office, dorkbot Chicago + The Upgrade! Chicago are all effort to organize platforms or networks of New Media + Digital Arts praxis that foreground collaborations, sharing + international connectivities. As platforms, these systems act as connection points or hubs in an emerging + growing network of artistic activities. 4 PM - 6 PM Connectivities Annette Barbier (UNREAL-ESTATES and Interactive Arts and Media Department Columbia College) Mark Hansen (Professor in English Language & Literature, Cinema & Media Studies; University of Chicago) Lynn Marie Kirby (California College of the Arts) The Connectivities discussion directs our attention to New Media + Digital Arts projects that traverse multiple histories, theories + practices such as Annette Barbier's UNREAL-ESTATES, Mark Hansen's New Philosophy for New Media + Lynn Marie Kirby's Latent Light Excavations. Annette Barbier's collaborative works such as Path of the Dragon are playable New Media experiences that tell poetic + alternative histories of specific places. Mark Hansen's theoretical work on the multiple connections between + departures from philosophic traditions in New Media art emphasizes lived experiences + embodiment rather than mechanical metaphors for technology. Lynn Marie Kirby's Latent Light Excavations operate out of a poetics of space as well as an interest in digital processing + recording technologies to remember + reconnect to specific locations. Together these projects present varying takes on poetic + philosophic connections between specific human experiences of New Media. <a rel="nofollow" href="http://fvnm.info/fray/2006.05.13">http://fvnm.info/fray/2006.05.13</a> Then, after the [FRAY] Conference join us for the… [FRAY] After (Party) Event ++ Performance Inside Out SATURDAY MAY 13 @ 9 PM - ON Chicago Art Department 1837 S. Halsted CHI IL .US FREE The Chicago Art Department hosts the [FRAY] After (Party) Event. the [FRAY] After (Party) Event event is co-presented by the Film, Video & New Media and Performance Departments. Students of the Film, Video & New Media and Performance Departments are organizing and curating Performance Inside Out, a program of performance in the context of New Media that will take place @ the Chicago Art Department and online during the After (Party) Event. The Chicago Art Department: <a rel="nofollow" href="http://chicagoartdepartment.org">http://chicagoartdepartment.org</a> [FRAY]: <a rel="nofollow" href="http://fvnm.info/fray">http://fvnm.info/fray</a> // jonCates # Assistant Professor - Film, Video & New Media # The School of the Art Institute of Chicago # <a rel="nofollow" href="http://www.fvnm.info">http://www.fvnm.info</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Cary Peppermint <cp70@restlessculture.net> Date: May 9, 2006 Subject: Practical Performances In The Wilderness Parts I and II Now On DVblog.org 6 Chapters from the database DVD "A Series of Practical Performances In The Wilderness - Summer 2005" are now up on DVBlog.org including "Digging for Chicory," "Doable," and "Home Economics." Take a look! Chapters 4, 5, and 6 <a rel="nofollow" href="http://dvblog.org/">http://dvblog.org/</a> To view Chapters 1, 2, and 3 <a rel="nofollow" href="http://dvblog.org/a-series-of-practical-performances-in-the-wilderness-1">http://dvblog.org/a-series-of-practical-performances-in-the-wilderness-1</a> ————————— A Series of Practical Performances In The Wilderness, Summer 2005 is a video performance work made in the woods and on rural back-lots. Performative chapters on the DVD include, Move This Rock, Waiting On Bob, DoAble, Home Economics, Sticks Like Snakes, Digging for Chicory, and Springwater Finale. This video is the first in a series of forthcoming performance-art videos by Peppermint & Nadir which engage issues, ideas, and mythologies of the American concepts of wilderness, space, the frontier, and humans' ethical relation to animals, forestlands, and nature. This project is part of Cary Peppermint and Christine Nadir's series of performance-art videos begun in 2002. Peppermint is an artist who works with new media technologies to create networked environments incorporating the internet, physical installations, experimental music and sound, and live performance. Until recently, Cary directed the Digital Art and Design program of Hartwick College, and in Fall 2006 he will assume the digital media position at Colgate University's Department of Art and Art History. Christine Nadir teaches literature at State University of New York College at Oneonta and is a doctoral candidate at Columbia University where she is completing her dissertation. Its working title is "The Future of the World: Sacrifice, Economy, and Ethics in Environmental Literature and Ecocriticism." Christine feels that these videos capture some of the energy, activities, and thoughts that she and Cary have experienced as New Yorkers living in the wilderness for four months every year: trying to establish a functional home without running water, electricity, or maintained roads; developing relationships with locals; un-learning the romanticization of nature while re-learning humanity's dependence on the environment for survival; and researching the details of the history of the land and the surrounding area (its previous deforestation, its logging, its near use for an auto salvage yard, its use as farmland and grazing ground one hundred years ago, the precolonial possession by Native Americans for centuries before that). Cary says: The North American concepts of wilderness are informed by nationalist ideologies and concepts of freedom as a wild, un-checked frontier of possibility. I don't believe there is any such thing as wilderness as we Americans are inclined to see it. How could one know or understand that which is truly wild much less employ it toward nation-building? Also, I find a certain intellectual humor in the offering of performances that purport to be both practical and wild. <a rel="nofollow" href="http://www.restlessculture.net/practicalperformance">http://www.restlessculture.net/practicalperformance</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Marisa Olson <marisa@rhizome.org> Date: May 9, 2006 Subject: Fwd: HALLIBURTON SOLVES GLOBAL WARMING The Yes Men…. ———- Forwarded message ———- From: Halliburton Emergency Products Development Unit <epdu@halliburtoncontracts.com> Date: May 9, 2006 9:50 PM Subject: HALLIBURTON SOLVES GLOBAL WARMING To: "mo-marisaolson.com" <mo@marisaolson.com> May 9, 2006 FOR IMMEDIATE RELEASE Contact: <a rel="nofollow" href="mailto:EPDU@halliburtoncontracts.com">mailto:EPDU@halliburtoncontracts.com</a> Photos: <a rel="nofollow" href="http://www.halliburtoncontracts.com/EPDU/">http://www.halliburtoncontracts.com/EPDU/</a> HALLIBURTON SOLVES GLOBAL WARMING SurvivaBalls save managers from abrupt climate change An advanced new technology will keep corporate managers safe even when climate change makes life as we know it impossible. "The SurvivaBall is designed to protect the corporate manager no matter what Mother Nature throws his or her way," said Fred Wolf, a Halliburton representative who spoke today at the Catastrophic Loss conference held at the Ritz-Carlton hotel in Amelia Island, Florida. "This technology is the only rational response to abrupt climate change," he said to an attentive and appreciative audience. Most scientists believe global warming is certain to cause an accelerating onslaught of hurricanes, floods, droughts, tornadoes, etc. and that a world-destroying disaster is increasingly possible. For example, Arctic melt has slowed the Gulf Stream by 30% in just the last decade; if the Gulf Stream stops, Europe will suddenly become just as cold as Alaska. Global heat and flooding events are also increasingly possible. In order to head off such catastrophic scenarios, scientists agree we must reduce our carbon emissions by 70% within the next few years. Doing that would seriously undermine corporate profits, however, and so a more forward-thinking solution is needed. At today's conference, Wolf and a colleague demonstrated three SurvivaBall mockups, and described how the units will sustainably protect managers from natural or cultural disturbances of any intensity or duration. The devices - looking like huge inflatable orbs - will include sophisticated communications systems, nutrient gathering capacities, onboard medical facilities, and a daunting defense infrastructure to ensure that the corporate mission will not go unfulfilled even when most human life is rendered impossible by catastrophes or the consequent epidemics and armed conflicts. "It's essentially a gated community for one," said Wolf. Dr. Northrop Goody, the head of Halliburton's Emergency Products Development Unit, showed diagrams and videos describing the SurvivaBall's many features. "Much as amoebas link up into slime molds when threatened, SurvivaBalls also fulfill a community function. After all, people need people," noted Goody as he showed an artist's rendition of numerous SurvivaBalls linking up to form a managerial aggregate with functional differentiation, metaphorically dancing through the streets of Houston, Texas. The conference attendees peppered the duo with questions. One asked how the device would fare against terrorism, another whether the array of embedded technologies might make the unit too cumbersome; a third brought up the issue of the unit's cost feasibility. Wolf and Goody assured the audience that these problems and others were being addressed. "The SurvivaBall builds on Halliburton's reputation as a disaster and conflict industry innovator," said Wolf. "Just as the Black Plague led to the Renaissance and the Great Deluge gave Noah a monopoly of the animals, so tomorrow's catastrophes could well lead to good - and industry must be ready to seize that good." Goody also noted that Jean-Michel Cousteau's Ocean Futures Society was set to employ the SurvivaBall as part of its Corporate Sustenance (R) program. Another of Cousteau's CSR programs involves accepting a generous sponsorship from the Dow Chemical Corporation, whose general shareholder meeting is May 11. Please visit <a rel="nofollow" href="http://www.halliburtoncontracts.com/EPDU/">http://www.halliburtoncontracts.com/EPDU/</a> for photos, video, and text of today's presentation. # 30 # + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Pauline Jennings <dv@double-vision.biz> Date: May 9, 2006 Subject: Evolutionary Patterns and the Lonely Owl (Mutation #2) Evolutionary Patterns and the Lonely Owl (Mutation #2) When: May 26-27 [Fri-Sat] 8:30-11:00pm [Ongoing] Where: CELLspace, 2050 Bryant Street, San Francisco Cost: $12 [$8 with ArtSFest Arts Action Pass] Info/Tix: <a rel="nofollow" href="http://www.double-vision.biz">http://www.double-vision.biz</a> - BUY TIX ONLINE NOW! Intermedia performance group DOUBLE VISION will be presenting a large-scale event including simultaneous acts of dance, music, video, art and technology as part of the ArtSFest 2006. The event, entitled Evolutionary Patterns and the Lonely Owl, is part of a series during which the audience roams freely, exploring inflatable projections, mirrored matrices, pulsating pods, and radioactive sonic-works. Throughout the night, curious onlookers may dine with a family of PAlien sculptures who transmit telepathic communications throughout the venue. The fearful may look above to spot a teleo-operated spy blimp or gaze at an inflatable orchestra of hypnotic video automata. The adventurous can get personal with dancers wielding magic lassos, human-hybrid mud totems, or Pierre's cries for help. DOUBLE VISION, led by Sean Clute and Pauline Jennings, is group of performers, musicians, dancers and video-artists. By experimenting with different methods of collaboration through the adaptation of social systems, transvergence of scientific models, and mapping of algorithmic structures, DOUBLE VISION unifies multifaceted art forms and ideas. DOUBLE VISION's artists strike a balance between unity, complexity, chaos and ritual. The collective ingenuity includes constructions by Steven Baudonnet, Matt Bell, Liz Bootz, Sean Clute, Amanda Crawford, Brian Enright, Simran Gleason, Jammin' Ammon, Ron Goldin, Jessica Gomula, Dave Holton, Pauline Jennings, Jason B. Jones, Elisabeth Kohnke, Chris Kruzic, Amy Leonards, Michelle K. Lynch, Wendy Marinacchio, Amy Nielson, Cecelia Peterson, Tim Thompson, Bill Wolter, Nicole Zvarik. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Andrea Ackerman <mullaneyandackerman@earthlink.net> Date: May 11, 2006 Subject: ANDREA ACKERMAN 3D COMPUTER ANIMATION SHOWING <a rel="nofollow" href="http://chelseaartmuseum.org/events/2006/greenbaum/">http://chelseaartmuseum.org/events/2006/greenbaum/</a> APPROXIMATE MAN: MUSIC OF MATTHEW GREENBAUM at the Chelsea Art Museum Tuesday, May 23rd, 8PM Re'ut Ben-Ze'ev, soprano, Stephanie Griffin, viola, Blair McMillen, piano, The Cygnus Ensemble, Electro-acoustic, chamber and text pieces And FEATURING: "WOMAN WAKING_PAPER DISSOLVE" a PROJECTED 3D COMPUTER ANIMATION by ANDREA ACKERMAN – computer sound composition by Matthew Greenbaum Program notes on "Woman Waking": Andrea Ackerman created "Woman Waking", a 3D computer animation using Maya, a software program used in the film and special effects industry. Ackerman is specifically interested in creating a new kind of 3D character, one with a sense of an emotionally complex inner life, and thus creating a meaningful sense of seamless continuity - digital to human. The virtual monochrome gray woman is at once mysteriously natural yet obviously artificial. She undergoes a series of ambiguously expressive transformations, related to the transformations evoked in the music, and in the process blurs the boundaries between inner worlds and outer worlds, between the senses, visual, auditory, and kinesthetic, and between the natural world and the synthetic one. Andrea Ackerman is a digital artist living in New York. In her previous 3D computer animation, "Rose Breathing", a synthetic rose is imbued with such human qualities as respiration and locomotion. "Rose Breathing" has been shown internationally, including in a recent show at the San Jose Museum of Art, "Brides of Frankenstein", curated by Marcia Tanner and at the Wood Street Galleries, in "Allure Ellectronica", curated by Murray Horne. Ackerman's just published catalog essay for the show "Can We Fall in Love with a Machine?" curated by artist Claudia Hart also at Wood Street Galleries, is a cultural analysis of the role of artists as mediators in our growing relationship to artificial and virtual life. Currently, Ackerman and Hart are working on "Diaphonous", a project to promote women artists working in computer animation, interactivity and robotics. Tuesday 5/23 at 8pm $20/$10 students, seniors 556 West 22nd Street, New York, NY 10011 tel 212.255.0719 e-mail contact@chelseaartmuseum.org open Tuesday through Saturday Noon to 6 pm Thursday Noon to 8 pm - $3 after 6 pm closed Sunday and Monday $6 adults, $3 students and seniors, free for members and visitors 18 and under + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Erik Loyer <erik@marrowmonkey.com> Date: May 12, 2006 Subject: Vectors Ephemera issue now live! Vectors Journal of Culture and Technology in a Dynamic Vernacular is pleased to announce the launch of its Spring 2006 issue devoted to the theme of Ephemera: <a rel="nofollow" href="http://www.vectorsjournal.net">http://www.vectorsjournal.net</a> This issue of Vectors features a range of projects related to the theme of ephemera, from the perspectives of history, anthropology, cultural geography, film, media studies, video games, tourism, politics, art and literature. Contributors include Rick Prelinger, Judith Jackson Fossett, Amelie Hastie, Melanie Swalwell, Jeffrey Schnapp, Kim Christen, Chris Cooney, the Center for History and New Media and the Transcriptions Project at UC Santa Barbara. Vectors is an international peer-reviewed electronic journal dedicated to expanding the potentials of academic publication via emergent and transitional media. Publishing two issues a year, Vectors proposes a thorough rethinking of the dynamic relationship of form to content in academic research, focusing on the ways technology shapes, transforms and reconfigures social and cultural relations. Vectors is edited by Tara McPherson and Steve Anderson with creative direction by Erik Loyer and Raegan Kelly. Please share this announcement widely. We also invite you to explore past issues devoted to the themes of Evidence and Mobility in the Vectors Archive and contribute to an ongoing dialogue with project creators and readers via the Vectors Forums. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. From: laurencornell@rhizome.org <laurencornell@rhizome.org> Date: May 8, 2006 Subject: Re: Metadata Hi Rick, and all I agree with your proposed approach below: controlled vocabularies as well as a social tagging/ folksonomy element. To your point of "shared standards", I do think its important to emphasize similarities between systems of metadata, as there are so many, and the controlled vocabularies are an area we can do this. We would like to expand our current controlled vocabularies, and suggestions of terms people would like to see added or sources from which to draw from would be helpful. It does go back to "who is the ArtBase for." To answer that partially now, I'd say the artists, and also "professionals" as you say. Rhizome membership is constituted significantly by academic communities, also curators, researchers and writers go to the Artbase to learn more about particular artists or genres or uses of different kinds of technologies. So, yes "professionals" , but also importantly, the ArtBase is also the first place people go to learn about about digital and new media art. So, there is a wide audience to speak to.. L On 5/3/06, Richard Rinehart <rinehart@berkeley.edu> wrote: > Hi everyone, > > The tagging sounds very interesting indeed. Would this be the same as > the folksonomy or parallel to it (same system)? I could see the two > types of terms living in the ArtBase easily: controlled vocabularies > and the folksonomic terms. On the former, controlled vocabularies, > Lauren's question is important: who is it for? I have found that > controlled vocabularies are mainly for "professionals" in the field > as they are more precise terms (ie. the AAT prefers 'serigraph' > instead of 'silkscreen'), but the main benefit of controlled vocabs > are manifold. First, they can, if done well (AAT does this, and > Rhizome's hybrid model could too) provide a mapping between the > "popular" and "professional" versions of a term (the thesaurus > model), they provide a consistency that allows for consistent results > during machine manipulation of the data (ie searching), and perhaps > more importantly they provide a standard so that the any particular > data-set that uses them can be shared and transported between systems. > > In the cultural heritage field there's been increasing emphasis on > broad sharing of data; we all know that our data needs to live on our > own websites, yes, and we can provide great functionality with that, > but we need to be able to share the data-source in such a way that it > can be incorporated into other systems too. For instance, I can > easily see in the future, that Rhizome might want to export the > entire ArtBase and allow the records to be used inside another > portal/system such as one of the following: Univ. of California > Digital Library (<a rel="nofollow" href="http://www.oac.cdlib.org/">http://www.oac.cdlib.org/</a>),Univ. of Michigan OAIster > (<a rel="nofollow" href="http://oaister.umdl.umich.edu/o/oaister/">http://oaister.umdl.umich.edu/o/oaister/</a>), or the Library of > Congress' American Memory (<a rel="nofollow" href="http://memory.loc.gov/ammem/index.html">http://memory.loc.gov/ammem/index.html</a>). > Additionally, some might want to incorporate the ArtBase terms > (rather than the records/data) in software tools like the Variable > Media Questionnaire (<a rel="nofollow" href="http://variablemedia.net">http://variablemedia.net</a>). To achieve any of > these, there has to be some structure to the ArtBase that others will > understand (ie. shared standards). The benefits of this sharing > include: new functionality, new data-contexts, new audiences and > uses. Some of this sharing can be achieved via dynamic linking/API's > while other forms require static record export/import. This does not > prohibit local practices or folksonomies, but it argues for a hybrid > system. > > Terms for the ArtBase could come from two streams. First is the > folksonomies/tagging aggregated by the ArtBase from us. The second > could be existing controlled vocabularies (such as the AAT) that are > mined for appropriate terms and incorporated into a list for the > ArtBase (Rhizome members could suggest sources). Submitters of new > works to the ArtBase could be encouraged to both choose a > "controlled" term or two, some previously "tagged" terms, or a new > term. > > Whew…what do you all think? > > > > Richard Rinehart > ————— > Director of Digital Media > Berkeley Art Museum/Pacific Film Archive > bampfa.berkeley.edu > ————— > University of California, Berkeley > ————— > 2625 Durant Ave. > Berkeley, CA, 94720-2250 > ph.510.642.5240 > fx.510.642.5269 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 18. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +