RHIZOME DIGEST: 11.19.04

discussion

Posted Nov. 18 2004 19:00

RHIZOME DIGEST: 11.19.04

RHIZOME DIGEST: November 19, 2004 Content: +announcement+ 1. Rachel Greene: Fwd: Consciousness and Teleportation / Bewusstsein und Teleportation, Luzern/Lucerne January 22-23, 2005 2. Kevin McGarry: Rhizome Exhibitions! Rhizome Member-curated Exhibits! 3. abroeck@transmediale.de: transmediale.05 - BASICS +opportunity+ 4. Gretchen Skogerson: New Film/Video Faculty position Mass College of Art 5. Kevin McGarry: Rhizome.org seeks web designers 6. Rachel Greene: Fwd: Position Notices (USC) 7. defne ayas: Call for Works from New Museum +work+ 8. rich white: glimpsed 9. Rhizome.org: Just added to the Rhizome ArtBase: The White Room by John Paul Bichard 10. Rhizome.org: Just added to the Rhizome ArtBase: The Concise Model of the Universe by The Paul Annears +exhibits+ 11. Rhizome.org: Just opened: "We don't have to show you no stinking artist statement." curated by Archive Registrar +scene report+ 12. laurie hb: where¹s the art in electronic art?: a perspective on the Dutch Electronic Arts Festival 04. +interview+ 13. ryan griffis: Tandem Surfing the 3rd Wave w/ Matthew Fuller + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 11.15.04 From: Rachel Greene <rachel@rhizome.org> Subject: Fwd: Consciousness and Teleportation / Bewusstsein und Teleportation, Luzern/Lucerne January 22-23, 2005 Begin forwarded message: From: "René Stettler, NGL" <stettler@centralnet.ch> Date: November 15, 2004 11:02:00 AM EST To: "René Stettler, PRIVAT" <stettler@centralnet.ch> Subject: Consciousness and Teleportation / Bewusstsein und Teleportation, Luzern/Lucerne January 22-23, 2005 CONSCIOUSNESS AND TELEPORTATION BEWUSSTSEIN UND TELEPORTATION The 6th Swiss Biennial on Science, Technics + Aesthetics 6. Schweizer Biennale zu Wissenschaft, Technik + Ästhetik Science Technology Art Consciousness Research Wissenschaft Technik Kunst Bewusstseinsforschung January 22 - 23, 2005 / 22. / 23. Januar 2005 Swiss Museum of Transport and Communication, Lucerne, Switzerland Verkehrshaus der Schweiz, Luzern, Schweiz Key-Note Speakers: PROF. DR. DICK J. BIERMAN, Physics and Consciousness Research, Physik und Bewusstseinsforschung, University of Amsterdam and Utrecht University PROF. DR. SAMUEL L. BRAUNSTEIN, Quantencomputation, Quantum Computation, Department of Computer Science, University of York, UK PROF. DR. Emeritus GISELHER GUTTMANN, Psychologie und Neurowissenschaften, Psychology and Neuroscience, Institut für Psychologie, Universität Wien, PROF. STUART HAMEROFF, M.D., Anästhesiologie und Psychologie, Anesthesiology and Psychology, Center for Consciousness Studies, University of Arizona PROF. DR. Emeritus KARL H. PRIBRAM, M.D., Neurophysiologie und Neuropsychologie, Neurophysiology and Neuropsychology, Department of Psychology, Georgetown University, Washington D.C. PROF. JD JOHN D. PETTIGREW, FRS, Biomedizinische Wissenschaften, Biomedical Sciences, Vision, Touch and Hearing Research Centre, School of Biomedical Sciences, University of Queensland, Australia PROF. DR. Emeritus ABNER SHIMONY, Philosophie und Physik, Philosophy and Physics, Boston University, Boston, www.bu.edu/philo/faculty/shimony.html OSWALD WIENER, Schriftsteller, Writer, Walstern 14, Halltal / Österreich / Austria Organized by: New Gallery Lucerne: www.neugalu.ch Veranstalter: Neue Galerie Luzern: www.neugalu.ch Registration: <a rel="nofollow" href="http://www.neugalu.ch/e_bienn_2005.html">http://www.neugalu.ch/e_bienn_2005.html</a> Anmeldung: <a rel="nofollow" href="http://www.neugalu.ch/d_bienn_2005.html">http://www.neugalu.ch/d_bienn_2005.html</a> Keywords: Theorie der Quantenteleportation; Theorie der Informationsübertragung mit Lichtgeschwindigkeit; Quantenteleportation und Wirklichkeit; Bellsches Theorem; Quantentheorie und Messung; Wissenschaft und Teleportation; Kopenhagener Interpretation der Quantenmechanik; Komplementarität; Gödelsches Theorem; Mathematik; Reversibiliät und Irreversibilität von Zeit; nicht-komputierende Physik; (Mikro)-Relativität; (Mikro)-Konstruktivismus; Neurowissenschaften; ?Neuroquantologie³; Quanteninformation und Bewusstsein; Bewusstsein und Beobachtung; Bewusstsein und Teleportation; Quanten-Nichtlokalität und unbewusste Hirnfunktionen; das Konzept eines Ichs; Philosophie des Bewusstseins; Physik und Psychologie. Quantum teleportation theory; superluminal information transfer theory; quantum teleportation and reality; Bell¹s inequalities; quantum theory and measurement; science and teleportation; Copenhagen interpretation of quantum mechanics; complementarity; Gödel¹s theorem; mathematics; time reversability and irreversability; non-computational physics; (micro)-relativity; (micro)-constructivism; neuroscience; ?neuroquantology³; quantum information and consciousness; consciousness and observation; consciousness and teleportation; quantum non-locality and subconcious brain functions; the concept of a "self"; philosophy of consciousness; physics and psychology. Introduction / Einführung: The former Lucerne Symposium has evolved into the Swiss Biennial on Science, Technics + Aesthetics and has reached its 10 year anniversary. The upcoming Symposium relates to the 2001 Symposium «The Enigma of Consciousness» at which the topic of quantum teleportation (also called «remote transmission» or «the first small step to beaming à la Star Trek») was discussed along with questions like What is Information? and What is Reality? Will it soon be possible to copy parts of the human body and transport them over distances? What is the role of «information» in our understanding of the world? Are there connections between brain functions, mental phenomena and quantum physics? What role does consciousness play in the universe (or the universe in consciousness)? Das zur Schweizer Biennale zu Wissenschaft, Technik + Ästhetik mutierte gleichnamige Luzerner Symposion wird 10 Jahre alt. Die neue Ausgabe knüpft an das Symposion von 2001 «Das Rätsel des Bewusstseins» an, wo die Quantenteleportation («Fernübertragung» oder «der erste kleine Schritt zum Beamen à la Star Trek») und Fragen wie Was ist Information? oder Was ist Realität? für kontroverse Diskussionen sorgten. Können schon bald Teile des menschlichen Körpers kopiert und über Entfernungen transportiert werden? Was ist die Rolle von «Information» in unserem Weltverständnis? Gibt es Zusammenhänge zwischen der Funktionsweise des Gehirns und quantenphysikalischen Theorien oder zwischen biologischen Prozessen im Gehirn und geistigen Phänomenen? Was für eine Rolle hat das Gehirn im Universum (oder des Universum im Gehirn)? 6. SCHWEIZER BIENNALE ZU WISSENSCHAFT, TECHNIK + ÄSTHETIK THE 6TH SWISS BIENNIAL ON SCIENCE, TECHNICS + AESTHETICS Bewusstsein und Teleportation Consciousness and Teleportation 22. / 23. Januar 2005 January 22 / 23, 2005 www.neugalu.ch Offizielle Partner: Verkehrshaus der Schweiz und D4 Business Center Luzern. Official Partners: Swiss Museum of Transport and Communication and D4 Business Center Lucerne + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 11.16.04 From: Kevin McGarry <kevin@rhizome.org> Subject: Rhizome Exhibitions! Rhizome Member-curated Exhibits! Hi All – Rhizome launches two new ArtBase programs today! + 1 + "Ya Heard!: Sounds from the ArtBase" is the first in a series of online exhibitions presenting works from the ArtBase selected by invited curators, net artists, and writers. "Ya Heard!" is curated by Mendi and Keith Obadike ( <a rel="nofollow" href="http://rhizome.org/art/exhibition/ya_heard/">http://rhizome.org/art/exhibition/ya_heard/</a> ). As new shows are launched and previous shows are archived, you may Access Rhizome exhibitions here: <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a>. + 2 + Additionally, all Rhizomers are now able to create member-curated exhibits composed of works from the ArtBase. While browsing projects, click to add a work to the curating tool. Next, go to the curating tool – ( <a rel="nofollow" href="http://rhizome.org/preferences/exhibit.rhiz">http://rhizome.org/preferences/exhibit.rhiz</a> ) – and add notes for each work, a curatorial statement, a title and graphic, and open the exhibit for public view. A work's record on the ArtBase will automatically acquire a link to each exhibit including it. Also, each member page will now point visitors to member-curated exhibits, in addition to art and recent texts contributed by members. You may browse member-curated exhibits here: <a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a> Let us know if you have any suggestions or difficulties while exploring these new features. Enjoy! Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 11.19.04 From: abroeck@transmediale.de Subject: transmediale.05 - BASICS transmediale.05 BASICS BASICS is the title of transmediale.05, the 18th edition of the international media art festival in Berlin. The festival explores the relations between art, technology and society on the basis of controversial topics: bio-technological achievements transcend our perception of life, security technologies are developped on the expense of the privacy needs. While technological progress generates a multitude of new opportunities, people experience a confusing inflation of options: What shall I do? What am I responsible for? The transmediale.05 proclaims the "Next Level BASICS", and, as in previous years, resists mere pessimistic approaches. From February 4th to 8th, 2005, the festival showcases examples of artistic practice which are based on the appropriation of an extreme and contradictory contemporary culture, rather than on obsolete value systems. The international media art festival takes place under the patronage of Dr. Christina Weiss, the Federal State Secretary for Culture and Media, who will inaugurate transmediale.05 on February 3rd in Berlin's House of World Cultures. The competition's call for the transmediale Award 2005 has for the first time abandoned specific categories. Nearly 900 artists from 51 countries applied for the prize endowed with 8.000 Euros, which were donated by the company AVM Computersysteme. Last weekend the international jury, composed of Masaki Fujihata (Japan), Amanda McDonald-Crowley (Australia), Gunalan Nadarajan (Singapore), Christiane Paul (USA) and Michael Bielicky (Czech Republic), announced a shortlist of nine works (for short descriptions see reverse side), three of these will recieve the transmediale Award in a ceremony on Februaray 7th. The transmediale was distinguished in December 2003 by the German Federal Cultural Foundation as one out of six cultural beacons which represent the spectrum of Germany's contemporary art production in an exemplary manner. Nominations for the transmediale Award: Emanuel Andel, Christian GÃ¼tzer [5voltcore] (at) - 'Shockbot Corejulio'? The performative installation consists of a computer equipped with a robotic arm; its software is designed to destroy the hardware using the artifical arm. The monitor shows the demolition process through increasingly fragmented images - until the system collapses. Joe Colley (us) - 'Desperate Attempts at Beauty' The sound piece was sampled and composed from organic phenomena and artificial electronic noises. The uneasy coexistence of crackling ice, disintegrating clay and unstable systems of combined electronic devices 'could be seen as a manifestation of the schizophrenia that is crucial to the survival of the modern individual'. Victoria Fang (us) - 'The Living Room' The installation is a narrative puzzle: In an effort to solve a whodunit murder mystery, players take part by moving panels with LCD monitors. Correctly positioning the units triggers filmed scenes that play back across the three separate panels, and these scenes give the player new clues to trigger the next scene. Usman Haque (uk) - 'Sky Ear' The performance stages 1000 balloons in the sky. An integrated ultra-bright LED illuminates them in different colours while they are responding to the electro-magnetic environment. Spectators with mobile phones may call the balloons, creating additional colouring. Thomas KÃ¶ner (de) - 'Suburbs of the Void' The video uses stills from a traffic supervising camera. Cross fadings of single images show always the same, deserted and anonymous intersection in a housing estate, while the musical composition dramatizes the immobile scene. Alice Miceli (br) - '88 from 14.000' The video shows portraits of victims who were imprisoned and murdered during Pol Pot's regime. The images, taken at their detension, are projected on a veil of falling sand, the projection time being proportional to the individuals' suffering in prison. Niklas Roy (de) - 'Pongmechanik' The installation is an electro-mechanical version of the video game classic "Pong". "Pongmechanik" ironically reverses the development of video games towards an increasingly naturalistic impression. At the same time the work is a hommage to the basics and fathers of computer technology. Michelle Teran (ca/nl) - 'Life: A User's Manual' The public performance invites visitors to a walk examining the hidden face of a city. A specially contructed device detects private wireless surveillance camera signals and displays the hidden images. Camille Utterback (us) - 'Untitled 5' The interactive installation draws abstract graphic compositions and pictoral structures based on algorithms. The video projection on a big screen shows these forms and colours caused by the movements of visitors in a marked field. Additionally ten works received honorary mentions: boredomresearch (uk) - 'Ornamental Bug Garden 001'; Thom Kubli (de) - 'Stationsraum fÃ¼r Assimilativen Zahlwitz'; Barbara Lattanzi (us) - 'C-Span Karaoke'; Johann Lurf (at) - 'ohne titel'; NomIg. (ca) - 'pdx_01'; Petri Kola (fi), Minna Nurminen (fi) - 'Sankari'; James Patten (us) - 'Corporate Fallout Detector'; Steven Pickles [pix] (au/de), Julian Oliver [delire] (nz/es) - 'Fijuu'; Marco Scoffier (us), Miwa Koizumi (us/jp) - 'Simplex Complex'; Lina Selander (se) - 'Reconstruction' + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 11.16.04 From: Gretchen Skogerson <gee@massart.edu> Subject: New Film/Video Faculty position at Mass College of Art MPA - Film/Video Search Video Artist POSITION SUMMARY: Mass College of Art is seeking candidates for a Tenure-track position as Asst. Professor in the Film/Video Program of the Media and Performing Arts Department. This is a full-time position, which will begin in the fall semester of the 2005-2006 academic year. Established in 1873, Massachusetts College of Art was the first and remains the only public college of art and design in the US. The college is nationally known for offering a broad access to a quality arts education, accompanied by a strong general education in the liberal arts. A major cultural force in Boston, Mass Art offers public programs of innovative exhibitions, lectures and events. Candidates must be willing and able to teach several time-based media courses within the Film/Video Major, ranging from intro level studio classes to graduate seminars. The candidate must be an artist proficient in digital video and sound with current experience in any combination of the following: digital compositing, DVD authoring, video streaming, interactive video, and video installation. A full-time teaching load at MassArt is twelve (12) credit hours or four courses per semester. The faculty member will be required to participate in curriculum development, committee work and student advising. The position offers the opportunity for the faculty member to help shape the digital time-based media curriculum. REQUIRED SKILLS, KNOWLEDGE AND ABILITIES: - MFA required or equivalent professional activity. - Two years college-level teaching experience or equivalent. - An active record of professional achievement as demonstrated by the following: screenings, exhibitions, professional practice, publications, grants or other scholarship. APPLICATION DEADLINE: December 1st 2004 This position will remain opened until filled. Qualified applicants must send the following: - Letter of intent - Curriculum vitae - Personal statement of educational philosophy No electronic submissions will be accepted. Please do not send any additional materials at this time. The Chair of the Search Committee will contact finalists to submit supporting materials and letters of reference. SALARY: Commensurate with qualifications. This position offers a comprehensive benefits package including medical, dental, life insurance and retirement plans. All inquiries and application materials should be directed to: Massachusetts College of Art Human Resources 621 Huntington Avenue Boston, Ma 02115 Mass Art is an equal opportunity employer and welcomes applications from individuals who will contribute to its diversity. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 11.17.04 From: Kevin McGarry <kevin@rhizome.org> Subject: Rhizome.org seeks web designers Rhizome.org is looking for exciting, fresh web designers to build upcoming online exhibitions. Rhizome Exhibitions is a new program in which invited artists, curators, and writers select and exhibit works from the ArtBase, our archive of indexed new media art. Our first exhibition, "Ya Heard: Sounds from the ArtBase," opened in mid-November. We plan to launch a new exhibition every 6-8 weeks. The next one is slated for late December or early January. Design production will begin and end during the first 4 weeks of December. We are looking for a design that is open and instinctively navigable. Simple, elegant and/or edgy html or css should do the trick. Please, no Flash. You will work closely with the ArtBase Coordinator to conceive, revise, and execute an interface that illustrates the concepts set forth by the curators. Visiting the current exhibition, "Ya Heard" ( <a rel="nofollow" href="http://rhizome.org/art/exhibition/ya_heard/">http://rhizome.org/art/exhibition/ya_heard/</a> ), should give you a good idea of the task at hand. This opportunity is paid. For students, there is the option to perform the design as a for-credit internship. Please send a resume and links to a portfolio or previous websites, both in the body of an email, to artbase@rhizome.org. Please circulate this announcement freely. Kevin McGarry ArtBase Coordinator Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 11.17.04 From: Rachel Greene <rachel@rhizome.org> Subject: Fwd: Position Notices (USC) Begin forwarded message: From: "Edu-News" <info@edu-news.com> Date: November 17, 2004 4:32:22 PM EST To: "rachel@rhizome.org" <rachel@rhizome.org> Subject: Position Notices Reply-To: Edu-News <info@edu-news.com> Position Notices: Two Assistant Professors: Painting/Drawing, & New Genres Position Notices: Two Assistant Professors: Painting/Drawing, & New Genres Two tenure track positions to begin Fall 2005. The School is seeking practicing artists with growing national and international stature; requirements include evidence of excellence in a developing professional exhibition record and a minimum of two years teaching experience. MFA degree preferred. The artists will teach undergraduate courses as well as participate in the MFA graduate program. At the graduate level, responsibilities would include the ability and desire to work with graduate students from all media, teach graduate critique seminar on a rotating basis and participate on the MFA graduate core faculty and to participate in the evolution and growth of the MFA program. Painting/Drawing: Specific undergraduate responsibilities will include teaching existent courses in painting/ drawing, as well as potentially developing new courses that fuse these areas of practice with other forms and media. Applicants must have knowledge of technical, aesthetic and conceptual issues within historical and contemporary painting/ drawing practices. All serious applicants must possess a demonstrated ability to teach undergraduate students technical as well as related critical discourses, and painting theory concurrent with contemporary and historical studio practice. The position offers the opportunity to join the art school and further develop the bond and interaction between drawing and painting within an innovative undergraduate art program, as well as within other areas of the curriculum. New Genres: The position will bridge the school's Sculpture and Intermedia programs and create an area of study that merges sculpture, video, and new genres. Specific undergraduate responsibilities will include teaching existent courses in sculpture and video or hybrids thereof, as well as developing new courses that potentially fuse these areas of practice with other forms and media. Applicants must have knowledge of technical, aesthetic and conceptual issues within historical and contemporary art practices, and possess a demonstrated ability to teach the technologies and related critical discourse and theory surrounding dimensional expression and time-based production. The position offers the opportunity to guide the initiation and development of New Genres offerings within the art school and to further develop both the relation and interaction between the Sculpture and Intermedia areas as well as other areas within the curriculum. Send letter of application, curriculum vita, related sites, SASE, lists of three references, and/or DVD, CD, slides of recent work to the appropriate committee; Painting Search Committee or New Genre Search Committee, University of Southern California, School of Fine Arts, Watt Hall 104, Los Angeles, CA 90089-0292. Deadline January 14, 2005. AA/EOE/WMA. No electronic submission accepted. The University of Southern California School of Fine Arts is positioned within one of the nation's premiere private research universities, and it is centrally located in Los Angeles, an internationally recognized region for contemporary art and culture. The University of Southern California is proudly pluralistic and firmly committed to providing equal opportunity for outstanding men and women of every race, creed and background. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 11.19.04 From: defne ayas <dayas@newmuseum.org> Subject: Call for Works from New Museum Submission deadline: December 17, 2004 Exhibition dates: April 21-June 4, 2005 Location: Media Lounge at the New Museum of Contemporary Art Fresh- is a special showcase opportunity for emerging New York-based artists working in all aspects of the digital medium. This exhibition evolved from the successful Digital Culture Evening Fresh of Fall 2003, which acted as a critical development workshop for selected graduates of interdisciplinary design programs with a focus on new media. Fresh was organized in collaboration with independent curator Michele Thursz and Mark Tribe, Founder of Rhizome.org. We invite submissions from artists producing the most engaging digital work and welcome a wide range of projects from spatial/architectural installations and networked objects to playful games and websites. Cross-disciplinary approaches are encouraged. The exhibition aims to provoke critical discussion about innovation and current movements in the field that blur boundaries, for example, between art/architecture/ new media, or that result in new forms of artistic production. Please consider these following factors for your installations. The projects should: - Take the factor of exhibition into account, as the work should be designed for the Media Lounge. (Please email fresh@newmuseum.org for floor plan or visit the New Museum (Chelsea 556 West 22nd Street) for a closer look. - Provide detailed instructions regarding the installation and operation of the work. - Depending on the nature of the submissions, the exhibition will either take the form of a group show or two to three separate installations between April-June. What the New Museum will provide: - Necessary PC based systems, audio and video equipment and the cabling for the installation Please refer to the current technical capabilities (please contact fresh@newmuseum.org for up to date information) - Various computers Pentium III 750Mhz, 256MB Ram, 32 MB screen card, sound card, dvd player, windows 98 or 2000 Pentium 4 1.2 GHz, 256MB Ram, 32 MB screen card, sound card, dvd player, windows 98, 2000 or XP - 1000lumens AND 2300lumens projectors that are all 800x600 native resolution - 5 42-plasma screens 16x9 ratio, 2 60" plasma screen 16x9 ratio, and 6-7 15-plasma monitors - Sound systems: JBL shelf speakers, Bose shelf speakers, 1 dolby surround amp, and many stereo amps. - Internet connection of Business DSL 1,5Mbps Application Please read the requirements above before you complete this form. If you have any questions about the application process, then please email us at fresh@newmuseum.org. Once completed, please send your form along with materials to: fresh@newmuseum.org or Fresh/ Education and New Media Programs/ New Museum 210 11th Avenue 2nd Floor NYC 10001 Name of artist(s) Contact email / cell phone # Biographical information Artist Statement Samples of most current and related work (This can include: images + media samples on-line) Proposed project (This should include: Concept/Context/Use of Technology)- Requirements/ Instructions on the Installation and Operation of the Work Exhibition New Museum of Contemporary Art will exhibit the projects both physically and on-line. Timeline Deadline for submissions: December 17, 2004 Review of projects: January 7, 2005 Announcement of successful proposals by: January 12, 2005 Launch: April 21, 2005 About the New Museum of Contemporary Art The New Museum of Contemporary Art, founded in 1977 and located in the heart of Soho, is the premier destination for contemporary art in New York City. With an annual schedule of dynamic exhibitions, the Museum presents the most innovative and experimental work from around the world. Debate and discussion about contemporary culture are encouraged through a broad range of educational programs, publications, performances, and new media initiatives. The New Museum will begin construction on a new 60,000 square foot facility at 235 Bowery in 2005. Visit www.newmuseum.org for more about the New Museum. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 11.16.04 From: rich white <counterwork@blueyonder.co.uk> Subject: glimpsed <a rel="nofollow" href="http://www.counterwork.pwp.blueyonder.co.uk/art/glimpsed.htm">http://www.counterwork.pwp.blueyonder.co.uk/art/glimpsed.htm</a> the bits of buildings that appear above trees, isolated. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 11.14.04 From: "Rhizome.org" <artbase@rhizome.org> Subject: Just added to the Rhizome ArtBase: The White Room by John Paul Bichard Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?29170">http://rhizome.org/object.rhiz?29170</a> + The White Room + + John Paul Bichard + The White Room is a set of photographic prints resulting from an in-game photo shoot that documents a series of constructed disasters. These interiors were set up by the artist using the videogame Max Payne 2, a 'Film Noir' thriller that tells a tale of lost love, deception and betrayal. The shoot took place within the game's developer mode using the GOD and GETALLWEAPONS cheats and BenDMan'S 'bloody mod 1.2'. By transforming the game environment into a ready-made urban studio space, the objects and interiors were altered using the in-game weapons with the gore from dead enemies being used to 'paint' the sets before being unceremoniously blasted out of view and the scene captured. The events implied never happened in the game, they are not representations of 'real-life' crimes nor are they illustrations of fictional crime stories. These are silent witnesses, containers demanding context, they are waiting places. + + + Biography John Paul Bichard is an artist who has worked with digital media, games, photography and installation since the early nineties. He curated and produced On a Clear Day in 1996, a ground breaking digital game art project that took place around the UK. As Mute magazineâ??s games editor (<a rel="nofollow" href="http://www.metamute.com">http://www.metamute.com</a>) from 1995 to 2001, Bichard explored and wrote on the cultural significance of the then emerging video game scene and was invited to show work at the Virtual Architecture exhibition at the ICA in 1998. For the past two years he has been head of interaction with the public authoring digital research project Urban Tapestries (<a rel="nofollow" href="http://www.urbantapestries.org">http://www.urbantapestries.org</a>) a joint venture with France Telecom, HP, Orange and the DTI. Bichard has shown work in Europe, NY and London. Recent shows include an installation at the International Digital Games Research Symposium 'Level Up' in Utrecht, an online residency with Variablemedia (<a rel="nofollow" href="http://www.vriablemedia.info">http://www.vriablemedia.info</a>) and a first person video game on the ISEA 2004 ferry in the Baltic Sea as part of the ICOLS arms fair (<a rel="nofollow" href="http://www.icols.org">http://www.icols.org</a>). Bichard currently has a one-person show at Quadrum Gallery in Lisbon (<a rel="nofollow" href="http://www.galeriaquadrum.com">http://www.galeriaquadrum.com</a>). The exhibition, Evidencia is the second show in a series that explores the relationship between environment, narrative and [game]play through digital games, installation and photography. Bichard's work picks at the boundary between the 'protected real place' such as the police evidence space or the 'safe European home' and the 'digital made real', where the games space is [re]constructed as a 'real environment. Through the use of online digital games, their tropes and assets, these works, subvert the player/viewers expectations and assumptions of the space they are engaging with inviting the viewer to re-construct the narrative and re-interpret the place. His photo works and multiples include collaged photo narratives, artist's books and multiple artworks that further explore relationships between physical and fabricated space, narrative and notions of authenticity. Bichard has produced three online digital games: Lone Wolf (2002) an 80s cold war thriller demo, Staying in to Play (2003) a de-game and Condition Red(2004) a suicide speed boat game for ISEA 2004. He has also published eight artists books and multiples and has work in several publications including 'It's Wrong to Wish on Space Hardware' a 2002 Gordon Macdonald/Photoworks publication. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 11.15.04 From: "Rhizome.org" <artbase@rhizome.org> Subject: Just added to the Rhizome ArtBase: The Concise Model of the Universe by The Paul Annears Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?29175">http://rhizome.org/object.rhiz?29175</a> + The Concise Model of the Universe + + The Paul Annears + XXOS Group is the umbrella organisation that finances the various projects of The Paul Annears. Online activities include the virtual gallery that goes by the name of OXPEN GALXE. 'Art For Squares' caters for a niche market: art collectors with serious money and a sense of humour. These enterprises are part of The Concise Model of the Universe which in turn supports the non-profit Flat Universe Society and promotes the sentience awareness initiatives Zebra Reality and Al Qaka: the Voice of the Desert Penguin. + + + Biography The Paul Annears are a shadowy coterie… + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 11.17.04 From: "Rhizome.org" <webmaster@rhizome.org> Subject: Just opened: "We don't have to show you no stinking artist statement." curated by Archive Registrar Just opened … <a rel="nofollow" href="http://rhizome.org/exhibit.rhiz?11">http://rhizome.org/exhibit.rhiz?11</a> + We don't have to show you no stinking artist statement. + + Curated by Archive Registrar + Artists! Try to forget the very notion of 'art.' Forget those silly fetishes – artefacts that are imposed [on] you by suppressive system you were obliged to refer your creative activity to. Theorists! Stop pretending that you are not artists. Your will to obtain power [over] people [by] seducing them with intellectual speculations is very obvious (though understandable). But [a] realm of pure and genuine communication is much more appealing and is becoming very possible nowadays. Media artists! Stop manipulat[ing] people with your fake 'interactive media installations' and 'intelligent interfaces!' You are very close to the idea of communication, closer than artists and theorists! Just get rid of your ambitions and don't regard people as idiots, [unfit] for creative communication. Today you can find those that can affiliate [with] you on [an] equal level. If you want of course. - Alexei Shulgin (1996) + + + Rhizome ArtBase curation allows any Rhizome member to curate an exhibit from works in the ArtBase. Go to <a rel="nofollow" href="http://rhizome.org/all_exhibits.rhiz">http://rhizome.org/all_exhibits.rhiz</a> to see a list of all open exhibits. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. Date: 11.15.04 From: laurie hb <lhb@movinginplace.net> Subject: where¹s the art in electronic art?: a perspective on the Dutch Electronic Arts Festival 04. <a rel="nofollow" href="http://www.deafo4.nl">http://www.deafo4.nl</a> November 9-November 21. Last year¹s DEAF03 was debated in the Dutch media community as being too ?old-school¹. At first glance, this year¹s exhibition felt similar to last year; it seemed as though the exploration of interactivity has not moved forward beyond ?push button, step on platform etc. to make something vaguely pointless happen¹. The exhibition felt like a high-end science fair, and as one member of the Dutch media community said: ³?a lot seems to be very much oriented on what can be done with technology – but I do not always get the ?why¹ of it?² While there were some effective pieces such as ?M.U.S.H¹ by Eleonore Hellio and Joachim Montessuis [FR] which created a connection between two individuals in two locations via telepresence equipment and ?Perpetual Self Dis-Infecting Machine¹ by 0100101110101101.org which created a [harmless] virus to make visible the mechanisms that viruses activate in public space, most of the works did not invite interaction: either because of the technology or the aesthetics or because they required you to ?perform¹ in public. One piece titled 'run, motherfucker, run' by Marnix de Nijs [NL] dealt with the affect of speed on the body: a treadmill that accelerated or de-accelerated the projected image before you [of moving through the streets of Rotterdam] based on how fast you ran on a treadmill. This particular work seemed to reflect my questions about the exhibition, including ?is it art that uses technology or technology that is framed within an art context?should there be a difference or a value of one over the other?¹ DEAF04 had a number of speculative, engaged symposiums that included panelists who mentioned interactive work in their lectures. [note: 1/4 of the panelists had science backgrounds]. In the ?The Art of Immersive Spaces¹ symposium, theoretician/writer Annette Smelik asked ³Why do we have this desire to be immersed in reality through technology, when we¹re already immersed in reality?² and artist Maurice Benayoun had these responses: ³?to be ourselves in a designed environment?to create a world led by the brain: to think it and becomes real, ?since the world is becoming a fiction, to be able move inside a fictional experience.² And to able to control, [re] create reality? The main symposium over 2 days; ?feelings are always local¹ [which included an astute lecture by Alex Galloway] focused on how ³networks manifest themselves at a local level in everyday life². During his lecture, theoretician/writer Arjen Mulder said making interactive art can be difficult and gave this example of a non-electronic art work that was interactive: ?Untitled (Portrait of Ross in L.A.)¹, 1991by Felix Gonzales-Torres. The piece is a pile of candies that are available for the public to take. Originally, the candies taken were to be constantly replaced by whoever owned the piece so that the pile remained the weight of Torres¹ lover as he was dying of AIDS, and then to remain at his weight when he died. Mulder described interactivity as two sub-systems connecting: art as a system and the audience as a system to equal the meaning as a process of creation. If the artist presents an Open System then the audience will form a network to then ?create¹ the piece. In the Gonzales-Torres piece: the work is distributed to a large audience of individuals that when taking a piece of candy, become part of a network and this network ?creates¹ the work by symbolically taking the ?body¹ into their body; becoming implicit in both the relationship between Gonzales-Torres and his lover, and the process of his dying. This interaction becomes emotionally charged, and changes the audience. Another event in the festival that continued the idea of eating as an inherent form of interactivity were the Open Brunch seminars. Each of these events included lunch by a food artist. In the first one ?To Go¹, there was a discussion about pushing the boundaries of physical interactivity with public space, which included Permanent Breakfast, a collective based in Austria that turns breakfast into a public and political event. Technology was used as a way to create communities: a global network of others interested in these activities. The second: ?Sensing Location¹ was focused on locative media as a way to use technology to [re] define our relationship to physical space. While the exhibition is high-tech but less than accessible, the seminars seemed to be concerned with counter-balancing this by emphasizing the inherently accessible. One seminar that was particularly inspiring was a presentation of projects for fused space [fusedspace.org]; an international competition for new technology in/as public space. Shu Lea Chang presented some of her projects in connection with this seminar, and she mentioned how the ³the virtual can be lonely, the local is becoming more important². Maybe it¹s a question of language; while the term ?new media¹ continues to be debated [see CRUMB archives: www.newmedia.sunderland.ac.uk/crumb/], maybe the term ?electronic art¹ has now created the perception of a separation between technology and art? An inter-relationship between art and science can only be valuable and DEAF04 reflected some amazing accomplishments in terms of how technology can affect society. I look forward to DEAF05 to see how technology can affect art. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. Date: 11.16.04 From: ryan griffis <grifray@yahoo.com> Subject: Tandem Surfing the 3rd Wave w/ Matthew Fuller Tandem Surfing the Third Wave with Matthew Fuller Ryan Griffis Matthew Fuller is an author (_ATM_, _Behind the Blip_), software artist and educator. Together with Simon Pope and Colin Green, he produced software projects such as the Web Stalker under the name I/O/D. He has also collaborated with Mongrel on works like "Natural Selection" that critically engages the often presumed neutrality of data technologies like search engines. He is currently the Course Director for the Piet Zwart Institute's MA Media Design program in Rotterdam, and directs, with Femke Snelting, the Institute's Media Design Research program. The following conversation took place during the Fall of 2004 via email. Ryan Griffis: I'd like to start by discussing the Media Design Research Program at the Piet Zwart Institute. Looking over the program and list of past and upcoming research fellows (including Brian Holmes, The Bureau of Inverse Technology, and Florian Cramer), while knowing something of your own creative work, it seems that there is an interesting overlap - which makes perfect sense, of course. But, how did the program come about? Were you asked to create the curriculum from the bottom up, essentially? Matthew Fuller: The programme Media Design Research and the MA Media Design was initiated by the Willem de Kooning Academy, the art school in Rotterdam of which PZI forms the postgraduate arm. The Research Fellows programme that you mention is basically run as standard with this form of academic position. People are invited to make a proposal which is then evaluated by a board. We've been lucky with the Fellows so far, who have also included Alexei Shulgin and Lawrence Liang. If people are interested in what they've done at PZI they can check out material on the site. The work from Lawrence - two major texts, one on the implications of Free software and another a user's guide to open content licenses and issues - will be up soon after peer-review. I'd urge people to read them when they're ready Like the Research programme, the Master of Arts programme (equivalent to a US MFA) also came about on the initiative of the Academy, and Femke Snelting and I, along with others soon after, were there to start the thing rolling and design the course. In June we just had the first round of students from the two-year course graduating so the course has been thoroughly road tested and also has some great projects under its belt. If people want to check out the exhibition guide to the students' work, it's online as a pdf. <a rel="nofollow" href="http://pzwart.wdka.hro.nl/mdma/programme/gradshow04">http://pzwart.wdka.hro.nl/mdma/programme/gradshow04</a> RG: Having taught technology-based arts myself, I'm curious about how you handle (along with your colleagues) the different learning curves (for cultural awareness and techie know-how) involved in such processes. While there are such splits in many disciplines, the divide seems especially wide in "New Media," as some recent discussions in forums like Discordia and Nettime indicate. These discussions also brought up questions of the role of education in creating further dependency on commercialized technology. MF: Yes, there are many differences to be encountered, amongst them between different kinds of knowledge and skill. For me this is one of the reasons that I find digital media interesting - the way that the absolutely reductive and binary can be at once infinitely rich and stirring. We see media design as a problematic, an area that needs inventing, a set of permutational fields to get stuck into rather than as a discipline to conform to. That certainly means headaches for staff and students but it also means there's more that we can learn from each other. And seeing as there's only six or so students per year, for a two year course, there's enough time to make those introductions to each other's fields and peculiar domains. This recognition of the area as being made up by many different dynamics also brings us into contact with students who want just that and who also come from practice in many different contexts. Regarding the use of commercialised technology, for us I don't want to set up a moral position, especially in education in which the commercial is bad just for being connected to trade. Rather it's important to understand the question politically: what gives students the most power, as insights, as skills that are viable for work and for themselves. This is our role as educators, to create a context in which one of the processes occurring is that students take power, not simply within the confines of the school, but that they generate the terms for doing so outside. RG: There seem to be a couple of trends in media arts that have surfaced in the last couple of years. For example, an intense interest in "locative media" and the ability to tag the experience of space with meta data, present in both Europe and the US. Another development is in gaming, though I'm more aware of it in the US. There have, of course, even been mergers of the two happening (Noderunner, Pac-Manhattan, various projects by Blast Theory). Some say that these developments come from the mere availability of affordable and accessible technology (mobile phone cams, moblogs, GPS devices, etc), and the pull of a consumer market that is taking over the entertainment industry. What are your thoughts on these trends, if you even see them as trends? MF: Trends are significant, and certainly not something that is inherently negative. They can be seen as many people, working in parallel to sort something out, whether it's the heavily parametered variation on ways of wearing a certain piece of clothing that occurs in fashion or whether its possibly more considered work in media culture, they tend to produce a condition in which many people can interact with a set of conditions - such as a new technology - and work out some of its possibilities. Needless to say, with some technologies, these waves of attention are as revealing as a wave of First World War infantry going over the top into a curtain of machine gun fire as a flesh feelergauge for the generals. There is a tendency in some material that is circulated via media art festivals, but which I don't see as art per se, more as what the Dutch call e-culture, to work with creative prototyping. I don't see this work as necessarily needing to work with reference to art, as it tends to put unnecessary pressures on it. Things can just be fun, a nice piece of work, a sharp use of a technology in an appropriate or telling context. Art requires a more rigorous attention to perception, to its function as a reflexive process. The work of Blast Theory clearly works in relation to art, and one of their achievements is to maintain collaboration with partners such as the Mixed Reality Lab in Nottingham, serious technologists, where both parties, from what I can tell, seem to have genuinely developed the capacities of the other. The two other specific projects you mention, I don't know enough about to comment. Conversely, that work does not involve itself in the kinds of self-questioning that characterises art practice may in fact mean it has other things to offer. But it does mean that it also possibly sets itself up for the danger of mobwalking right into the machine gun fire of consumer-grade boredom. I like the phrase used by Jonah Brucker-Cohen and others recently, 'Design for Hackability'. This seems to be a good minimum demand to make on any media technology. By these standards, mobile phones and other locked technologies are decreasingly interesting. By the same measure though, the relatively open practices of W3C and others in establishing Meta-data standards mean that there are real possibilities here. And indeed, the question of how to couple either of these currents of technology with an aesthetics that is productive and disturbing is still wide open. RG: I'm interested in the notion of "software culture" explored in your _Behind the Blip_ and the type of work, criticism and pedagogy that you are involved in though the MA Media Design Program and your own work. Is there a desire to reshape the dominant culture(s) (that some may refer to as a technocracy) to be more self-aware, inclusive and reflexive? Or is it more interesting to create divergent, purposefully specialized and oppositional cultures? Perhaps this question is about working "inside" versus "outside" to effect difference. MF: I think that it's relatively inevitable that, in shortly given terms, when people, whether students or not participate in a context in which they have space, time, good resources, and involvement with other people with skills and ideas, that something will come out that is not moulded by what might be called a dominant culture. Whether that domination might come from a teacher wanting to produce a homogeneous approach to software culture, one perhaps that is compulsorily speculative, or come from the macro-to-micro scale formations that attempt to subordinate or harness all thought, technology and aesthetics to a mediocrely conceived capitalism, the principle is the same. People, the compositional dynamics that they compose and that course through them, are usually idiosyncratic enough, deviant enough to foil or surpass anyone's expectations. Perhaps the question is also, if we can understand art schools, other such institutions, organisations and groups as - at their best - what Guattari described as laboratories of subjectivation, places and moments when technologies, ideas, aesthetics, people and practices interact to produce something which is in excess of its 'list of ingredients.' How can we make an account of such processes which allows others to recognise and experiment with some of what comes out? Perhaps we need our own earnest researcher to carry out a version of 'laboratory life'? (The title of a ground-breaking work of anthropology/science studies in which the daily working life of scientists is followed and recorded) The question you pose is one which has a long history. The twentieth century saw it disastrously posed as an opposition between reformism and revolution, leading to sad revolutionaries and timid, if not slavish, reformists. Perhaps as greater and more supple thought to the ethics and aesthetics of organisation and relationality is made in the area of art, and areas such as organisation studies become increasingly open to multiple currents of experience (despite being a least potentially constricted to the perpetual redesign of control), or, in political terms, self-organising currents, such as those who, in the London European Social Forum, become increasingly self-aware in such terms and define themselves as 'horizontals', and in many other contexts, we can begin (always again) to work through some of these possibilities. Perhaps including a 'grammar' as Paulo Virno has called it, in the areas of both education and media design? RG: The anthropological research of science/technology, and by proxy, all authority, that you mention is probably one of the most interesting and important projects, in my opinion, at the moment for 'cultural workers.' Your (non)classification of 'not-just-art,' (from "A Means of Mutation") i think, provides some room for this kind of work to operate on many levels. I've been especially interested in the work of 'not-just-artists' that move through the art world when it provides convenient mechanisms for exposure and research facilities. Where do you see the most engaging forms of 'not-just-art' coming from/going at the moment? MF: Perhaps alongside the recognition of, or the search for, 'authority' in scientific practices it is also useful to recognise in it, something more positive, a thread which continues from the enlightenment onwards which is the search for a more useful, accurate or suggestive understanding of the world. I'd question any discipline that attempts to unmask 'authority' without also working on itself. Whether this is a po-faced anthropologist, reality-policing scientist or self-righteous artist claiming access to the truth by simple virtue of their being produced by a discipline with greater access to the verities. Disciplines as such - and art, even as the arch 'anti-discipline,' is amongst them - are only ever a transitional stage, providing a certain perspectival rigour or training. They provide a motor for seeing and moving beyond themselves. One obvious case right now is that of the Critical Art Ensemble. Their mobilisation of amateurism, the headlong and extremely artful plunge into biotechnology, molecular engineering and the integration of life at the sub-organismic level with regimes of property and militarisation is absolutely timely. It is also a kind of work that works with art methodologies, but outside of their normalised context. To use the term, 'not-just-art', this is work that deals with arguments about representation and materiality, about the location and visualisation of certain kinds of objects, with procedures of naming, positioning and knowing, with the making of certain hitherto popularly 'ineffable' knowledges (those accorded the status of the military industrial sublime) palpable and usable. The work also works reflexively on notions of truth, how it is arrived at, assigned value, made available to different kinds of people, organisations and instruments. CAE's work operates fully in relation to these questions, which are aesthetic, to do with the construction and experience of perception but also locates these aesthetics in terms of their striation by political forces. Crucially, (and this is where perhaps it becomes 'not-just-art' in the sense you mention) the points where such cutting up, such marking by power, occurs are not simply taken as a boundary point - the place where the slug of art meets the salt of reality - the place to turn back and to put up pictures, but as a crucial knot, a nodal point that can be mobilised by the reality forming principles of direct action. Clearly CAE are not alone in attempting such work. In a more sensorial mode, Lygia Clark's work merging materials aesthetics with 'therapeutic' or phenomenal practices is extremely interesting. Equally, you can look at projects such as the txtmob that spring out of a bastardisation of art, engineering, and again, the idea of direct action, that of acting without representation now in the world in a reality-forming way. (I was convinced about Clark's work, for instance the 'relational objects', when I saw some documentation in the exhibition 'Phases of the Kinetic at the Hayward Gallery in London in 2000. See Suely Rolink: 'For a State of Art, the actuality of Lygia Clark' at <a rel="nofollow" href="http://caosmose.net/suelyrolnik/pdf/for_a_state_of_art_Bienal.pdf/">http://caosmose.net/suelyrolnik/pdf/for_a_state_of_art_Bienal.pdf/</a> ) Recognising art methodologies as reservoirs of reflexive, critical and perceptual dynamics that can be put into play in, that ripple into, many contexts, not simply those of art systems per se, is in a sense, a next step. If not-just-art allows for things to be recognisable as working with art systems, but also outside of such a skin, we can also see art methodologies moving outside of art systems, not reporting back to the mother-ship but infecting and mobilising other parts of life, realising other compositional dynamics. (Tracking and developing such art methodologies in the realm of software is something that I'm currently working on for a project 'Softness' with Huddersfield Media Centre.) Partly perhaps this is to do with the massification of art education, art as a partly commodified cultural force, partly also because of a more general intellectuality which occurs in perverse, non-disciplinary, but still reflexive, self-aware and self-experimental, dynamics. Perhaps in the way that cellular automata sometimes produce 'gliders' that move across and out from their generative matrix in a dynamic manner, art methodologies are also launched by art systems which are themselves unable to pre-determine their patternings and behaviours. How can we best learn to set in play the creation of such sensorial and subjectival gliders, self-generating and relational patternings that spread knots, tingles and explosions of other becomings in contexts from which they are supposedly excluded? RG: The development of meta-data standards is something that seems very promising to me, as it relates to a kind of 'opening-up' of information and processes that allows for comparison and relational research. But, at the same time, it's hard for me to not read these developments against Virilio's conception of speed and my negative (luddite?) reactions to the utopian fantasies of a singularity, as a primary motivation for meta-data seems to be the 'speeding-up' and universalization of the archive. I'm curious about your thoughts on the desire for a comprehensive archive, a universe of 'tagged' experiences. How do we formulate a dialectical approach that avoids the utopia/dystopia trap, yet remains politically and structurally engaged? MF: Well this is a key question! I dare say that simply raising such questions, stubbornly insisting on the political and existential dimensions of these technologies is essential in itself to forming something of an answer. And it seems that many people working in the area of metadata are aware of this. The richness, the uncontrollability of life is what drives them on, that makes them hungry to find an expressive way of coupling it with the inherently reductive, but also manifoldly explosive powers of computational and networked digital media. At the same time, this is a current recursion of an old media/anti-media problem. Does Plato call for poets to be imprisoned for betraying the lived immediacy of language or for being a vector by means of which the wrong things, tricky ideas, serious pleasures might be remembered and made mobilisable? The notion of 'The Singularity', however, that significant computational intelligence will be developed, be networked and suddenly cross a threshold of richness into a new level of synergetic post-human intelligence used to express a totalisation, is a phantasm - control's dry dream of Daddy transmuted into God, but with the twist that God is, like Eve, 'simply' the result of man's parts, the multiplication of his tools. Needless to say, the fear is that, instead of the reverse transit into Eden, it is man himself who becomes the appendage and the tag becomes a tourniquet. Given such a scenario, what more is there to do but to sit back and laugh? + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 46. 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +