<br />RHIZOME DIGEST: July 16, 2004<br /><br />Content:<br /><br />+announcement+<br />1. Mark Tribe: "I will be on the ferry" - Lev Manovich re. ISEA2004<br />2. Rachel Greene: Fwd: Ars Electronica 2004 - Ars 25 Specials<br />3. ryan griffis: NewGenics<br />4. Jo-Anne Green: Networked Performance Blog and Conference<br /> <br />+opportunity+<br />5. Kevin McGarry: Budget Gallery<br />6. Dominique Fontaine: Grant program for Researchers in Residence<br /><br />+work+<br />7. Curt Cloninger: pop quilt completed<br />8. jimpunk: LOADING FUNERAL : <a rel="nofollow" href="http://544x378.free.fr/">http://544x378.free.fr/</a>(WebTV)/ : THE PARTY<br />9. mark cooley: NEW - Space Hijackers - project RAAAAAA<br /><br />+feature+<br />10. Mark River: Defunct in Ohio<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />Date: 7.10.04<br />From: Mark Tribe <mt2187@columbia.edu><br />Subject: "'I will be on the ferry" - Lev Manovich re. ISEA2004<br /><br />'I will be on the ferry because when I attended the ISEA94 in Helsinki, as a<br />part of the conference we also had a 3 day ferry trip to St. Petersburg.<br />It was the best conference experience I had in my life!'<br />-Lev Manovich, Associate Professor, Visual Arts Department, UCLA<br /><br />ISEA2004 CONFERENCE OUTLINES ANNOUNCED<br /><br />ISEA2004 conferences in Helsinki and Tallinn, and on a luxurious cruiser<br />ferry connecting them, are key elements of the 12th International Symposium<br />on Electronic Arts (August 14th-22nd). ISEA2004 starts with the electrified<br />Interfacing Sound cruise from Helsinki to Stockholm, after which the<br />Networked Experience cruise from Stockholm to Tallinn via Mariehamn inspires<br />a range of panels, poster sessions and workshops. Networking sessions will<br />also, for example, be hosted by the French Ministry of Foreign Affairs and<br />the Asia Europe Foundation..<br /><br />After two dazzling nights on the ferry, ISEA2004 participants convene in<br />Tallinn to cover the themes of Wearable Experience, Geopolitics of Media and<br />Critical Interdisciplines: research/science, art and collaboration.<br />Wearable technologies are explored through project presentations of<br />state-of-the art ubiquitous computing in fashion and cultural practices.<br />Issues of technology and embodiment provide a critical context to this<br />discussion. Geopolitics of media looks at the ways in which new media<br />practices reflect diverse media geographies and their relation to real life<br />locations, globalization and activism. Part of the agenda of ISEA2004 is to<br />assess where new media culture and arts are at the moment. To this end the<br />Critical Interdisciplines theme digs deep into the questions of<br />relationships of computer engineering, design, media studies, anthropology<br />and new theories emanating from natural sciences in relation to networked<br />and other new media practices. Tallinn keynote speakers include Arturo<br />Escobar (Colombia/USA) and Sarah Kember (UK).<br /><br />After Tallinn sessions, ISEA2004 culminates in Helsinki, exactly ten years<br />after ISEA94, when the net was still an emergent field. This time Wireless<br />Experience, Histories of the New, Open Source and Software as Culture and<br />Critical Interaction Design will be explored.<br /><br />Wireless experience maps current emerging cultural and social practices of<br />mobile and other wireless media such as radio and WiFi networks. A key theme<br />is how wireless experience is enabling new ways to approach urban cultures<br />and turn public spaces into "writable and participatory media".<br />Histories of the new is a key theme to unravel not only the recent ten years<br />of change within the Networked experience, but to look at diverse local<br />histories of creative "new" media use since the 1960s. The theme also<br />explores the very logic of how new technologies become integrated into the<br />social and the cultural "sediments" of everyday life experience.<br /><br />Critical interaction design seeks to foreground critical discourse and work<br />around sensitive, contextual, critical work on interactivity. It is also a<br />platform for dialogue bringing together interface designers, computer<br />scientists, media and cultural theorists as well as media artists (who are<br />often hybrids of these). Open source software as culture addresses politics,<br />economical or legal logic, and various cultural and social politics<br />regarding open source, and software at large. The theme positions software<br />as a cultural and a political object and as a subject for debate.<br />Helsinki keynotes include Erkki Huhtamo (Finland/USA), Wendy Hui Kyong Chun<br />(USA), Shuddhabrata Sengupta (India) and Matthew Fuller (UK).<br /><br />***To download the conference programme by sessions, visit our website:<br /><a rel="nofollow" href="http://www.isea2004.net/programme.html***">http://www.isea2004.net/programme.html***</a><br /><br />HOW TO JOIN ISEA2004 AT THE MOST AFFORDABLE PRICE?<br /><br />By combining the conference with the cruise, you will not only experience<br />the full journey but save money on tickets. Our FULL EXPERIENCE offer to you<br />is:<br /><br />- ISEA2004 conferences in Tallinn and Helsinki: 100,00 euros<br /><br />- ISEA2004 cruise: 2 nights, 2 buffet dinners, 2 breakfasts on the ferry:<br />204,00 euros<br /><br />- Fast ferry from Tallinn to Helsinki: 20,00 euros<br /><br />— !!! Your entire ISEA2004 package, a full week of business and<br />pleasure;-) 324,00 EUROS PER PERSON !!! —<br /><br />HOW DO I GET THESE BENEFITS?<br /><br />Book on-line before FRIDAY MAY 28 at <a rel="nofollow" href="http://www.isea2004.net/tickets">http://www.isea2004.net/tickets</a>.<br />Please note that there is a limited availability in this cabin category. On<br />the website, you will find more information on pricing, including different<br />cabin categories and accommodation possibilities in Tallinn and Helsinki.<br /><br />TRAVELLING IN A GROUP?<br /><br />If you wish to make a group reservation for several cabins, contact me at<br />mika@isea2004.net or by telephone +358 40 719 2280. I am happy to save your<br />time and take care of your booking arrangements.<br /><br />Warm regards,<br />Mika Minetti + ISEA2004 crew<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering organizational subscriptions, memberships<br />purchased at the institutional level. These subscriptions allow<br />participants of an institution to access Rhizome's services without<br />having to purchase individual memberships. (Rhizome is also offering<br />subsidized memberships to qualifying institutions in poor or excluded<br />communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more<br />information or contact Rachel Greene at Rachel@Rhizome.org.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />Date: 7.12.04<br />From: Rachel Greene <rachel@rhizome.org><br />Subject: Fwd: Ars Electronica 2004 - Ars 25 Specials<br /> <br />Begin forwarded message:<br /><br />From: Ars Electronica Center <announce@evil.aec.at><br />Date: July 8, 2004 9:48:28 AM EDT<br />Subject: Ars Electronica 2004 - Ars 25 Specials<br />Reply-To: announcement@aec.at<br /><br />Timeshift - The World in Twenty-Five Years<br />Ars Electronica 2004<br />Linz, Do 2. - Di 7. September<br />www.aec.at/timeshift<br />1st Announcement: Ars 25 - Specials<br /> <br />You are reading the first issue of the Ars Electronica 2004 newsletter,<br />providing information about the program of this year's festival, TIMESHIFT -<br />The World in 25 years.<br />TIMESHIFT <br /> <br />"I'll throw the damned rearview mirror out of the damned window because I<br />don't want to know where I've come from, but where I'm going," Frank Lloyd<br />Wright, the American architect, is reputed to have said once in the '30s of<br />the 20th century, and indeed he did actually break off the car's rearview<br />mirror and throw it out of the window. A brilliant anecdote. But that was<br />before the Holocaust, Hiroshima and Vietnam, before the first flight to the<br />moon, before Chernobyl, before 9/11 and the Iraq War, before the discovery<br />of the DNA double helix, Dolly the cloned sheep, and the deciphering and<br />patenting of the entire genome, before the development of the transistor,<br />the age of digital simulations, the development of the Internet and the<br />triumphal advance of cell phones and computer games… That's quite a lot of<br />future reflecting in our rearview mirror. But what lies ahead of us?<br /><br />Gerfried Stocker and Christine Schoepf, Directors Ars Electronica<br />Ars 25 Specials <br /> <br />Ars Electronica is 25, and to celebrate the occasion, several events and<br />theme presentations are being added to the Festival lineup. Even before Ars<br />Electronica 2004 opens, the "Language of Networks" conference will be<br />offering a glimpse of the state of the art in network theory and<br />visualization. The Media Art Forum is the lead-in to another Festival<br />highlight: the "Digital Avant-Garde / Prix Selection" exhibition at the<br />Lentos showcases milestones of interactive art from the historyof the Prix<br />Ars Electronica. <br />Ars 25 - Special: Digital Avant-Garde / Prix Selection ><br />Ars Electronica's 25th anniversary is a suitable occasion for a<br />retrospective of media art. "Digital Avant-Garde / Prix Selection" showcases<br />an array of works from past Ars Electronica prize competitions. This<br />exhibition will run in New York from May to July and in Linz during the<br />Festival. <br /><br />Ars 25 - Special: Media Art Forum - Digital Avant-Garde ><br />The artists represented in the "Digital Avant-Garde / Prix Selection"<br />exhibition present their works and discuss concepts of working with<br />interactive media. <br /><br />Ars 25 - Special: Language of Networks ><br />An interdisciplinary conference focusing on social networks and information<br />visualization. A symposium and workshops featuring international experts<br />elaborating on theory, techniques, methods and applications of network<br />analysis. <br /><br />Ars 25 - Special: Ars Electronica - Network of Media Art ><br />Gerhard Dirmoser (A) has been systematically observing and analyzing Ars<br />Electronica for 25 years. The results: a detailed and comprehensive study<br />and highly expressive visualizations that he will present on three evenings.<br /><br />Ars 25 - Special: Itsuo Sakane - Lecture ><br />Prof. Itsuo Sakane, a contemporary eyewitness to the history of media art<br />since its earliest days, delivers his second major address at Ars<br />Electronica-this time documenting the '50s and '60s on the basis of his<br />incomparable collection of material.<br /><br />Ars 25 - Special: Re-inventing Radio ><br />Live: on air - on line - on site<br />80 years of radio in Austria, 25 years of Ars Electronica and 15 years of<br />the Long Night of Radio Art. An international network of artists refers live<br />to radio-art reaching beyond Ars Acustica and the traditional broadcast<br />medium. <br /><br />Detailed Festival Program online<br /> <br />The detailed Ars Electronica 2004 festival program is online now.<br />The website www.aec.at/timeshift is providing regular and detailed updates<br />on the festival theme, program details, news and background features as well<br />as information about artists, speakers and performances until the festival<br />in September. <br />Overview Announcements<br /><br />1st Announcement (July 2004): Ars 25 Specials<br />2nd Announcement (July 2004): Conferences I<br />3rd Announcement (July 2004): Conferences II,<br />4th Announcement (July 2004): Conferences III<br />5th Announcement (August 2004): Exhibitions I<br />6th Announcement (August 2004): Exhibitions II<br />7th Announcement (August 2004): Events I<br />8th Announcement (August 2004): Events II<br />9th Announcement (September 2004): Electrolobby<br /><br />Sponsors of Ars Electronica 2003:<br /><br />Stadt Linz, Land Oberösterreich, Bundeskanzleramt/Kunstsektion<br /><br />SAP AG, Telekom Austria, voestalpine, Gericom, Mitsubishi Electric, Siemens<br />AG, FESTO, Ö1, Microsoft, Mercedes Benz, Sony DADC, Casino Linz.<br /><br />Additional Support: 3com, Cancom, Frank&Partner, Lexmark,<br />Pöstlingbergschlößl, VS Fickenscher, BMWA, BMBWK, Innovatives Österreich,<br />M-AUDIO, Jindrak, Kulturkontakt Austria.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />Date: 7.14.04<br />From: ryan griffis <grifray@yahoo.com><br />Subject: NewGenics<br /><br />News updates from social world of genetics, genomics and biotechnology.<br />syndicate: <a rel="nofollow" href="http://yougenics.net/atom.xml">http://yougenics.net/atom.xml</a><br /><br />Wednesday, July 14, 2004<br /> <br />Bioinformatics and Comparative Genomics<br /> From the O'Reilly MacDev Center<br /><a rel="nofollow" href="http://www.macdevcenter.com/pub/a/mac/2004/06/29/bioinformatics.html">http://www.macdevcenter.com/pub/a/mac/2004/06/29/bioinformatics.html</a><br /><br />FBI HARASSMENT CONTINUES–ARTIST FACES 20-YEAR CHARGES<br />The defendants were charged not with bioterrorism, as listed on the<br />Joint Terrorism Task Force's original search warrant and subpoenas, but<br />with a glorified version of "petty larceny," in the words of Kurtz<br />attorney Paul Cambria. The laws under which the indictments were<br />obtained are normally used against those defrauding others of money or<br />property, as in telemarketing schemes.<br /><a rel="nofollow" href="http://www.caedefensefund.org/overview.html#070804">http://www.caedefensefund.org/overview.html#070804</a><br /><br />EU projects develops GM plant vaccines<br />The European Commission is providing 12 million euro under the Sixth<br />Framework Programme (FP6) for a new project aimed at using genetically<br />modified (GM) plants to grow vaccines against rabies, tuberculosis,<br />diabetes and HIV.<br /><a rel="nofollow" href="http://dbs.cordis.lu/cgi-bin/srchidadb">http://dbs.cordis.lu/cgi-bin/srchidadb</a>?<br />CALLER=NHP_EN_NEWS&ACTION=D&SESSION=&RCN=EN_RCN_ID:22327<br /><br />Genomics Momentum 2004 Conference<br />An international conference on genomics, entitled 'Genomics Momentum<br />2004 - genomics for our world', will take place in Rotterdam, the<br />Netherlands, from 30 August to 1 September.<br /><a rel="nofollow" href="http://dbs.cordis.lu/cgi-bin/srchidadb">http://dbs.cordis.lu/cgi-bin/srchidadb</a>?<br />CALLER=NHP_EN_NEWS&ACTION=D&SESSION=&RCN=EN_RCN_ID:22329<br /><br />Monsanto Co. wins OK in Argentina to sell biotech corn that survives<br />Roundup The St. Louis-based agricultural biotechnology company said the<br />South American country's government on Tuesday authorized the use of<br />Monsanto's NK603 corn.<br /><a rel="nofollow" href="http://www.canada.com/news/agriculture/story.html?id=7b27c2dc-cd07">http://www.canada.com/news/agriculture/story.html?id=7b27c2dc-cd07</a><br />-4377-a24d-b664a19cc607<br /><br />'DNA Fingerprinting' Trend Threatens Genetic Privacy, Due Process<br />Genetics and crime fighting are becoming as intertwined as the DNA<br />double helix. But that quickly evolving collaboration has taken a<br />dangerous new twist.<br /><a rel="nofollow" href="http://news.pacificnews.org/news/view_article.html">http://news.pacificnews.org/news/view_article.html</a>?<br />article_id=a82d75a5846357315237f8c49625dec6<br /><br />Twin Girls Share Gene Pool, Different Birth Mothers<br /><a rel="nofollow" href="http://abcnews.go.com/sections/GMA/Living/Twins_Surrogate_IVF_040714">http://abcnews.go.com/sections/GMA/Living/Twins_Surrogate_IVF_040714</a><br />-1.html<br /><br />U.S. pushing ahead with stem cell bank plan<br />The U.S. government plans to open a "national bank" to better grow the<br />only embryonic stem cells eligible for government-funded research,<br />holding firm against critics who want Bush administration restrictions<br />on the controversial cells lifted.<br /><a rel="nofollow" href="http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/1089812403336_29/">http://www.ctv.ca/servlet/ArticleNews/story/CTVNews/1089812403336_29/</a>?<br />hub=Health<br /><br />For fun: Play the Furturefarmer's Porchinga Pinga<br /><a rel="nofollow" href="http://www.futurefarmers.com/pinga/pinga.html">http://www.futurefarmers.com/pinga/pinga.html</a><br /><br />YOUgenics: art interrogating genetic technologies<br /><a rel="nofollow" href="http://www.yougenics.net">http://www.yougenics.net</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />Date: 7.16.04<br />From: Jo-Anne Green <jo@turbulence.org><br />Subject: Networked Peformance Blog and Conference<br /><br />July 16, 2004<br />Networked_Peformance Blog and Conference<br /><a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a><br /><br />Hello,<br /><br />We're planning a networked performance conference for Spring/Summer 2006<br />and invite you to play a role in its development.<br /><br />We've set up a blog on the Turbulence web site<br />(<a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a>) where you can describe your performance<br />activities, and give us your perspective on what the important issues<br />and challenges are in networked performance today. We hope to obtain a<br />wide range of perspectives and uncover points of mutual relevance that<br />will help build the content of the conference.<br /><br />The conference will bring together practitioners and scholars from all<br />forms of networked performance–distributed Internet performance<br />(including dance-, theater-, and music-driven works), avatar theater,<br />online performance art, multi-user gaming performance, mixed reality<br />performance, and other hybrid forms.<br /><br />Multiple institutions and organizations will play a role: New Radio and<br />Performing Arts, Inc. (NRPA), a not-for-profit media organization and<br />parent of Turbulence.org; Emerson College, Boston; and California State<br />University at Monterey Bay (CSUMB). We plan to work with additional<br />organizations that will commission and/or host performances during the<br />conference.<br /><br />So visit the blog. Tell us who you are. Give us your URL(s) to post in<br />our links section and the dates of any upcoming networked performances.<br />And please tell anyone you think might be interested to join us.<br /><br />Looking forward to an exciting discussion and conference,<br /><br />Helen Thorington, Jo-Anne Green (New Radio and Performing Arts, Inc.)<br />Michelle Riel (California State University at Monterey Bay)<br />John (Craig) Freeman, Brooke Knight (Emerson College)<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering organizational subscriptions, memberships<br />purchased at the institutional level. These subscriptions allow<br />participants of an institution to access Rhizome's services without<br />having to purchase individual memberships. (Rhizome is also offering<br />subsidized memberships to qualifying institutions in poor or excluded<br />communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more<br />information or contact Rachel Greene at Rachel@Rhizome.org.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />Date: 7.12.04<br />From: Kevin McGarry <kevin@rhizome.org><br />Subject: Budget Gallery<br /><br /><a rel="nofollow" href="http://www.budgetgallery.org/bg/exhibts/main.html">http://www.budgetgallery.org/bg/exhibts/main.html</a><br /><br />————-<br />Introduction:<br />————-<br /><br />The Budget Gallery organizes gallery style art shows in the unused public<br />spaces found in urban areas. From empty walls to empty buildings, the Budget<br />Gallery uses any space that is available and highly visible during the day.<br />Space is often prepared with white paint and signage so work will be as<br />professionally presented as possible. Pieces will be labeled with the<br />artists name, materials used, and asking price for the work. We host opening<br />receptions that are attended by hundreds of people forming a sort-of block<br />party garage sale style art show right on the sidewalk.<br /><br />All pieces not sold by the end of the the opening reception stay up for the<br />course of the week with a price and contact phone number for interested<br />buyers. The gallery is in co-opted public space with no security. Any work<br />not sold at the reception can be sold, stolen, or vandalized during the rest<br />of the show. Artists submit work with these inevitabilities in mind. Most<br />work sells at the opening, but some is always left. The Budget Gallery<br />considers vandalism a form of artistic collaboration, and theft is the<br />highest honor of the Budget Gallery.<br /><br />—————–<br />Call for entries:<br />—————–<br /><br />All work that meets guidelines will be accepted for the show - in line with<br />the Budget Gallery's belief that any art is better than the commercial<br />advertising which typically dominates public spaces. Work will either be<br />purchased, stolen, or vandalized. Artists are encouraged to make pieces for<br />this show with these inevitabilities in mind. Ideal pieces should catch the<br />eye, capture the imagination, and invite extended viewing from passing<br />crowds. Art that addresses the issues of public space are especially<br />encouraged, but again, all work will be accepted.<br /><br />Artists are encouraged to use the Budget Gallery as an opportunity to show<br />work they may not normally present in other venues. Masterpieces are not<br />required. Work in media other than the artists primary media is encouraged,<br />along with older pieces, works in progress, studies, and so on.<br /><br />Work should be priced to sell to the general public. All pieces not sold at<br />the opening will be left on the wall for 1 week, after which they will be<br />placed elsewhere. Those interested in your piece will be instructed to<br />remove it, take it home, and contact the gallery regarding payment.<br />Commission is arbitrary, optional, and decided by the artist. Work will not<br />be returned.<br /><br />———–<br />The Theme:<br />———–<br /><br />Use the theme if it inspires you. If it doesn't, find something that<br />inspires you and use that.<br /><br />The theme is "Success!" What does success mean to you? Personal success.<br />Financial success. Spiritual success. Physical success. What is success<br />in times of war? What is success in November? What is success in your art?<br />What is success in your family or career? How do your ideas of success<br />compare with others? To what they were 5 years ago? 25 years ago?<br /><br />———–<br />Guidelines:<br />———–<br /><br />1. All work must have our entry form attached.<br />2. Work must be able to be hung on a wall or fence.<br /><br />- It must be mounted on something hard - clipped to a piece of cardboard<br />is ok, just no loose paper.<br /><br />3. Please avoid pieces larger than 40 inches by 40 inches or any piece<br />heavier than 25 pounds. If your piece exceeds these dimensions, contact the<br />Budget Gallery before submitting your work.<br />4. Please deliver art with your preferred mounting hardware supplied. If no<br />mounting hardware is supplied, work will be hung in the most convenient way<br />possible (Starting with wood screws, then staples, twine, or tape).<br />5. Please submit a slide or digital photo of work (if possible) for our<br />website.<br />6. Work must be received by July 24th , 2004<br /><br />———–<br />Submission:<br />———–<br /><br />Please email where@budgetgallery.org for submission address.<br /><br />Download form, fill out, and attach to piece. Go to<br /><a rel="nofollow" href="http://budgetgallery.org/pdfs/">http://budgetgallery.org/pdfs/</a><br /><br />email us with any questions huh@budgetgallery.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />For $65 annually, Rhizome members can put their sites on a Linux<br />server, with a whopping 350MB disk storage space, 1GB data transfer per<br />month, catch-all email forwarding, daily web traffic stats, 1 FTP<br />account, and the capability to host your own domain name (or use<br /><a rel="nofollow" href="http://rhizome.net/your_account_name">http://rhizome.net/your_account_name</a>). Details at:<br /><a rel="nofollow" href="http://rhizome.org/services/1.php">http://rhizome.org/services/1.php</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />Date: 7.16.04<br />From: Dominique Fontaine <dfontaine@fondation-langlois.org><br />Subject: Grant program for Researchers in Residence<br /><br />***ENGLISH FOLLOWS***<br /><br />Programme de bourses pour chercheur resident : Date limite le 31 ao=FBt 2=<br />004<br /><br />Veuillez noter que dans le cadre de son concours international ouvert aux<br />historiens, aux conservateurs, aux critiques, aux chercheurs ind=E9pendants,<br />aux artistes et aux scientifiques, la fondation Daniel Langlois offre la<br />possibilit=E9 =E0 deux chercheurs de travailler au Centre de recherche et de<br />documentation (CR+D) Montreal, mame ses fonds documentaires et =<br />ses fonds d'archives. Les projets de recherche doivent porter sur un des<br />fonds d'archives de la fondation ou sur des projets soutenus par la<br />fondation.<br /><br />Vous pouvez consulter le profil des collections de la fondation l'adres=<br />Se suivante :<br /><br /><<a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D147">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D147</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D147">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D147</a><br /><br />Vous pouvez consulter les recherches soutenues par la fondation l'adres se<br />suivante :<br /> <<a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D148">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D148</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D148">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D148</a><br /><br />Pour lire les lignes directrices du Programme de bourses pour chercheur<br />resident :<br /> <br /><<a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D121">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D121</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D121">http://www.fondation-langlois.org/flash/f/index.php?NumPage=3D121</a><br /><br />*****************************<br /><br />Grant program for Researchers in Residence: August 31 2004 deadline<br /><br />Please note that as part of its international competition open to<br />historians, curators, critics, independent scholars, artists and scientists,<br />the Daniel Langlois Foundation is offering the chance for two researchers to<br />work at the Centre for Research and Documentation (CR+D) in Montreal,<br />specifically in its documentary and archival collections. Research projects<br />must be directly related to one of the Foundation's archival collections or<br />research projects supported by the foundation.<br /><br />A description of the collections is available at:<br /> <<a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D147">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D147</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D147">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D147</a><br /><br />Descriptions of the research projects supported by the foundation is<br />available at:<br /> <<a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D148">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D148</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D148">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D148</a><br /><br />Guidelines for the Grant Program for Researchers in Residence:<br /> <<a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D121">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D121</a>><br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D121">http://www.fondation-langlois.org/flash/e/index.php?NumPage=3D121</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />Date: 7/10/04<br />From: Curt Cloninger <curt@lab404.com><br />Subject: pop quilt completed<br /><br />After almost a year, the pop quilt is completed and viewable at:<br /><a rel="nofollow" href="http://www.playdamage.org/pop/">http://www.playdamage.org/pop/</a><br /><br />Now accepting submissions for the community quilt:<br /><a rel="nofollow" href="http://www.playdamage.org/quilt/invite.html">http://www.playdamage.org/quilt/invite.html</a><br /><br />View all the quilts here:<br /><a rel="nofollow" href="http://www.playdamage.org/quilt/">http://www.playdamage.org/quilt/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />Date: 7.10.04<br />From: jimpunk <www@jimpunk.com><br />Subject: LOADING FUNERAL : <a rel="nofollow" href="http://544x378.free.fr/">http://544x378.free.fr/</a>(WebTV)/ : THE PARTY<br /><br />YOU'RE INVITED TO TAKE PART TO THE FINAL ROUND<br /> <br />THE 544x378(WebTV) WILL BE CLOSED ON TUESDAY JULY 13 IN THE MORNING AFTER<br />THE PARTY*<br /><br />FOR THOSE WHO ARE NOT '(WEBTV) REPORTERS' BUT WOULD LIKE TO TAKE PART TO THE<br />PARTY, PLEASE GO TO <a rel="nofollow" href="http://www.blogger.com">http://www.blogger.com</a> <<a rel="nofollow" href="http://www.blogger.com">http://www.blogger.com</a>><br /><br />LOGIN : samerror<br />PASSWORD : billie<br /><br />AND EXPRESS YOURSELF<br /> <br />BEST REGARDS<br /><br />JIMPUNK<br /><a rel="nofollow" href="http://544x378.free.fr/">http://544x378.free.fr/</a>(WebTV)/ <<a rel="nofollow" href="http://544x378.free.fr/">http://544x378.free.fr/</a>(WebTV)/><br /> <br />TO SEE YOUR POST /<br /> <br /><a rel="nofollow" href="http://544x378.free.fr/">http://544x378.free.fr/</a>(WebTV)/FFFFFF.htm<br /> <br />*some explanations to post in blogger.com ;<br /> <br />to upload directly imgs :<br /> <br />upload path : just add : img/ after (WebTV)/<br /> <br />or you can link directly to a website img like :<br /> <br /><img src="<a rel="nofollow" href="http://www.website.net/blabla_img.gif"">http://www.website.net/blabla_img.gif";</a>;><br /> <br />if you want to change the background image<br /> <br />just upload an img named :<br />WebTV.gif , but this time directly in upload path : (WebTV)/<br /> <br />-<br /> <br />do exactly what you want, texts , img, link, sound etc.<br /> <br />*THE PARTY IS BEGINNING RIGHT NOW<br /> <br />permanent (WebTV) reporters :<br />Eduardo Navas<br />Rico da Halvarez<br />doron golan<br />c p la.cocina<br />bituur esztreym<br />annie abrahams<br />jp halgand<br />car( )oline<br />various-euro<br />clement Thomas <br />m river<br />april may<br />skysan hayashi<br />abe linkoln<br />chris bruno<br />lewis lacook<br />brandon barr<br />un lotus <br />):mµn<<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />Date: 7.13.04<br />From: mark cooley <mgc868f@smsu.edu><br />Subject: NEW - space hijackers - project RAAAAAA<br /><br />"London is a remarkably un-mountainous area, with the area around the Kings<br />road remarkably flat in comparison to other slightly more hilly areas of the<br />city. However it seems that the residents of Kensington & Chelsea have had<br />something funny put in their water, where we see designer shops and<br />residents parking areas, they see jungle terrain and mountains. This can be<br />the only explanation for the ridiculous number of expensive 4x4 vehicles<br />driving around in the area.<br /><br />We decided that the only way of shocking them out of their petrol guzzling,<br />pollution pumping, lethal weapons on wheels, was to show them what a real<br />safari looks like."<br /><br /><a rel="nofollow" href="http://www.spacehijackers.co.uk/html/projects/raaaa/raaaa.html">http://www.spacehijackers.co.uk/html/projects/raaaa/raaaa.html</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />Date: 7.17.04<br />From: Mark River <mriver102@yahoo.com><br />Subject: Defunct in Ohio<br /><br />Defunct in Ohio<br /><br />2003, by M.River of MTAA, orginally published in the<br />SMAC! zine <br /><br />Prologue <br /><br />SMAC! co-founder/editor-in-chief Marisa S. Olson<br />emails me from the warm future-perfect paradise that<br />is California. She asks me to write an essay on<br />obsolescence, the defunct, and, in general, the<br />Technology of What Was. A thousand words by New<br />Year?s. <br /><br />Of course… Umm… sure. I know all about the obsolete.<br /><br />In a few days I will travel, as I do each year, from<br />New York City to Ohio, for Christmas with my family.<br />In Ohio, in Christmas, I will find the What Once Was.<br /><br />1. <br />On the tarmac outside LGA?s USAIR, Gate #7 window sits<br />a small twin-prop plane. My heart jumps. Like the<br />Wright Brothers before me, propellers are my choice<br />for flight. Getting a prop plane over some fat, fast,<br />and ?safe? jet is always a chance when booking a<br />flight to Ohio. This time, I lucked out. I know<br />propellers are not 'obsolete.' But they enchant me, as<br />they are no longer the future.<br />Walking across the open-air tarmac, up the small steps<br />to the plane, I turn and give the suckers in the<br />passengers lounge a big two-handed Nixon victory wave.<br />To the terrorists I shout, 'Attention you<br />missile-toting-orange-alert fucks: My plane is way too<br />old and small for you to care about. Go take a pot<br />shot at some blimp-of-a-747.'<br />When my brother in Ohio finds out that I rode home on<br />a prop plane again, he will, as always, mumble under<br />his breath, 'Death trap.'<br /><br />2. <br />Apparently, pitched roofs are out. As my plane<br />descends, all I see are big flat-box buildings with<br />loading docks and ample parking. Set clock back to<br />1984 and queue Pretender and fellow Ohioan ex-pat,<br />Chrissie Hines: <br />'I WENT BACK TO OHIO BUT MY PRETTY COUNTRYSIDE HAD<br />BEEN PAVED DOWN THE MIDDLE BY A GOVERNMENT THAT HAD NO<br />PRIDE THE FARMS OF OHIO HAD BEEN REPLACED BY SHOPPING<br />MALLS AND MUZAK FILLED THE AIR FROM SENECA TO CUYAHOGA<br />FALLS SAID, A, O, OH WAY TO GO OHIO'<br /><br />3. <br />Attention holiday shoppers: Restoration Hardware now<br />sells faux rotary-dial phones. What emotion recalls<br />such has-beens from the dustbin? Nostalgia? Remorse?<br />Why do I still need to go to The Salvation Army in<br />Columbus for vintage button-down shirts? What<br />separates Restoration Hardware from the Salvation<br />Army? It?s the difference between Zombies and<br />Vampires. <br /><br />4. <br />What the hell happened to all the cars? It?s<br />wall-to-wall SUVs out here on Interstate 71 North.<br />Bring back station wagons, damnit!<br /><br />5. <br />The Ohio EPA is saddened this week by a federal<br />appeals court's temporary block of Bush's new<br />'relaxed' emission guidelines. This means hundreds of<br />aging Ohio power plants, when upgrading their<br />facilities, will still need to install modern<br />pollution controls. Why does the Ohio EPA weep at this<br />good-neighbor policy? Simple, Ohio's favorite power<br />producer is coal. Yes, that (*cough*) clean burning,<br />low-sulfur, easy to dig up in your backyard, darling<br />of the industrial age: coal.<br /><br />6. <br />Mid-vacation call between the MTAA art collaborative<br />(M.River in Ohio - that's me - and T.Whid, somewhere<br />in the Mexican Caribbean).<br />T. Whid: 'yeah dude, thanks, Merry Christmas to you<br />too. So, how's the writing going?'<br />M. River: 'Ummm okay. I'm a bit stuck right now.'<br />TW: 'Hey, why don't you just write about how art is<br />defunct?' <br />MR: 'Well I don?t know if I believe that. I mean, art<br />is more adaptable than most ideas. It kinda… well… it<br />kinda moves around the endpoints. Art becomes other<br />Things… like this article… It's art-like.'<br />TW: 'Sorry. No, it's not art.'<br />MR: 'It's not?' <br />TW: 'No and don't go tellin? anyone that shit.'<br /><br />7. <br />As homage to fellow Smac! essayist Bruce Sterling's<br />'The Dead Media Manifesto,' I'm trying to think of a<br />good Dead Media indigenous to Columbus, Ohio. The<br />closest I've found is the Ohio State Marching<br />Band - words written on a football field via marching<br />musicians. The locals, however, will never consider<br />'Script Ohio' dead. The band still advances in elegant<br />cursive and the crowd still goes wild. But I believe<br />human musical text-messaging cannot possibly evolve<br />beyond its current state.<br /><br />8. <br />Google's search engine's top listing under the query<br />'Defunct' results in defunctparks.com; a site<br />dedicated to Amusement Parks that have ceased to<br />amuse. Among the 50 parks listed as defunct in Ohio, I<br />find Chippewa Lake Park (opened 1878, closed 1978).<br />Current photographs reveal abandoned rides reclaimed<br />by entropy. Rust, fire and vegetation overtake steel<br />spokes and rails. One twilight image captures a Ferris<br />wheel, full-grown tree sprouting though its belly.<br />Contemporary Art. Tatlin's Monument to the Third<br />International, Smithson's Spiral Jetty and Warhol's<br />Elvis smashed into one. Rotary phones return to the<br />living in push-button reproduction. This Ferris wheel<br />is resurrected by subtler means.<br /><br />9. <br />As this is a new-media publication, I should probably<br />say something about the Internet. The Internet. Born<br />in my lifetime; I wonder which of us will go first.<br />Don't laugh. I've already outlived HTML. Wonder why am<br />I writing about Ferris wheels in a new media zine?<br />Replace website with amusement park. Replace<br />rotary-dial with TCP/IP.<br /><br />10. <br />Christmas vacation is over. I wake and look out my<br />plane window. A perfectly clear December sunset. There<br />is my city, New York. My adopted home. I hold no<br />shame. I love my city, like the good groom of 10 years<br />that I am. <br />Defunct. New York has been pronounced dead so many<br />Times-the Depression, fires, riots, Robert Moses,<br />white flight, drugs, blackouts, bankruptcy, terrorist<br />ripping the city apart before our eyes. Even when the<br />idea of ?city? was replaced by a bright suburban<br />future, New York rose again. Like the Ferris wheel<br />with a tree though its heart, the city evolves within<br />its downfall. <br /><br />Epilogue <br />Back home at my old desk. I'm typing away on my first<br />generation iMac. (I love you as well my RAM-packed<br />Bondi Blue. I'm sticking with you till you shoot<br />yellow sparks out your hard drive or they put you in a<br />Dead Tech museum.) Dear little iMac, how shall we end<br />this essay? I think it will be best to write something<br />vague and call it a night.<br />Machines and systems come into this world. They thrive<br />and then grow old. Technology gets updated, replaced<br />or just fades off on its own. Sometimes, because we<br />miss them, we dig up graves and let the dead walk the<br />earth. We love seeing undead lurch around, bloody<br />limbs and all. New media is growing old. We are<br />already writing the eulogies. While some prepare for<br />last rights, others will contact voodoo priests and<br />sharpen their spades. Me? I'm ironing my plaid thrift<br />store shirt, excited for the funeral.<br /><br />Thanks for traveling with me. See you in the future.<br /><br />=====<br /><a rel="nofollow" href="http://mteww.com">http://mteww.com</a><br /><a rel="nofollow" href="http://tinjail.com">http://tinjail.com</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of<br />the 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<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Kevin McGarry (kevin@rhizome.org). ISSN:<br />1525-9110. Volume 9, number 29. 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 />Please invite your friends to visit Rhizome.org on Fridays, when the<br />site is open to members and non-members alike.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />
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