RHIZOME DIGEST: 7.24.05

discussion

Posted July 23 2005 20:00

RHIZOME DIGEST: 7.24.05

RHIZOME DIGEST: July 24, 2005 Content: +note+ 1. Lauren Cornell: Front page 2. Francis Hwang: Announcing: Rhizome Location +opportunity+ 3. hroffice@bennington.edu: Bennington College: Digital Arts Technician 4. Jessica Ivins: Eyebeam's "Circuit" - A new program for emerging artists +comment+ 5. Alexander Galloway and Eugene Thacker: Notes for a Liberated Computer Language +work+ 6. abe linkoln: magnum i.p. +commissioned for Rhizome.org+ 7. Jonah Brucker-Cohen: Report from Artbots 2005 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 7.18.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: Front page Hi everyone: Our new publishing system a modified version of the reBlog (www.eyebeam.org/reblog) - is now live on the front page. Many thanks to Francis Hwang for making this happen, and also to our Superusers for adapting to this new system. Best, Lauren – Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell@rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 7.22.05 From: Francis Hwang <francis@rhizome.org> Subject: Announcing: Rhizome Location Hey kids, I just rolled out the next Member feature here at Rhizome.org: Location. Go here to see what I'm talking about: <a rel="nofollow" href="http://rhizome.org/location.rhiz">http://rhizome.org/location.rhiz</a> Location gives Members the option to be searchable by their country of residence. Right now we imagine this will be most useful for those Members who live in countries where the new media arts scene has a ways to grow. For example, right now we've got two Rhizome Members who live in Finland: <a rel="nofollow" href="http://rhizome.org/location.rhiz?location=fi">http://rhizome.org/location.rhiz?location=fi</a> Each specific location also has an RSS feed, so you can be notified of new Members coming on in your country. (RSS for everything! Yay!) For example, Finland's RSS feed is: <a rel="nofollow" href="http://rhizome.org/syndicate/location/fi.rss">http://rhizome.org/syndicate/location/fi.rss</a> Not everyone will want to publish this information, of course. So if you want to opt-out, you can do so by following these steps: 1. Log in to the Rhizome web site. 2. Go to your preferences page at <a rel="nofollow" href="http://rhizome.org/preferences/">http://rhizome.org/preferences/</a> . 3. Click on the "Hidden" checkbox by the Country field, and then click "Submit" at the bottom of the page. ( I already sent out this info to every Member last week, but you never know. Sometimes people don't read their email. ) And, of course, if you think this is cool and you're not yet a Rhizome Member, you can make a member contribution here: <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a> Best, Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 7.18.05 From: <hroffice@bennington.edu> Subject: Bennington College: Digital Arts Technician Digital Arts Technician Office of the Provost/Dean of the College Bennington College seeks a Digital Arts Technician to work closely with faculty, IT staff and students. The Technician is responsible for supervising, maintaining and scheduling computing facilities, providing technical assistance in support of the Digital Arts curriculum and managing student monitors of the facility. Facilities include a lab with 13 Macintosh Computers, Epson 7600 and 3000 printers, an adjunct workspace with 2 PC computers and a small equipment bank. The position also involves troubleshooting student problems, responding to faculty requests, and providing basic instruction in equipment use. Working knowledge of Macromedia Dreamweaver, Flash and Adobe Photoshop is a must as well as Macintosh hardware/software troubleshooting skills. Experience with microcontrollers and prototyping a plus. A Bachelorâ??s degree and expert interpersonal skills are also required. This is a full-time position during the academic terms (8 months per year), with benefits. Interested applicants should send a cover letter and resume to: Human Resources Bennington College One College Drive Bennington, Vermont 05201 802-440-4423 802-440-4424 (fax) hroffice@bennington.edu EOE + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 7.20.05 From: Jessica Ivins <jessica@rhizome.org> Subject: Eyebeam's "Circuit" - A new program for emerging artists <a rel="nofollow" href="http://www.eyebeam.org/learning/learning.php?page=circuit">http://www.eyebeam.org/learning/learning.php?page=circuit</a> Circuit Eyebeam has developed Circuit in response to the need for emerging artists, particularly those exiting graduate-level programs (ie artists who have not shown their work in a professional setting or outside of university) to exhibit work and receive professional critique and exposure to networks within the art and technology community. This three-day intensive program offers a particular group of artists working and experimenting with new tools and practices, the opportunity to: - meet fellow artists working with similar media; - have the experience of exhibiting work at an art and technology center in New York City - receive critique from peers and professional curators, gallerists, artists, academics, writers, theorists, etc. - publicly present work during a public event at Eyebeam to gain feedback from peers, professionals and the public The program will run three times per year, with a maximum of 6 artist participants per Circuit program. Please see the information below regarding the selection process and application timeline. Selected artists will exhibit their work in Eyebeam?s exhibition space for three days, during which time they will take part in a critique organized by Eyebeam?s Education and Curatorial staff, and present and/or perform their projects during a public event at Eyebeam at the end of the three days. Artists interested in applying to take part in Circuit should view this program as a way to publicly prototype work under development (ie thesis projects that are ready for the next level of presentation), and take part in a rare structured critical discourse outside of the academic setting. Eyebeam is interested in projects ranging from moving image, sound and physical computing works, to software, websites, technical prototypes, performances, workshops and other forms of public interventions. Structure - Circuit will run three times per year. - Circuits will be curated to the extent that similarly themed work (in terms of content and/or medium) will be grouped together to allow for a more focused critique and informed discussions about the work. - Selected artists will gather on Thursday morning over coffee and breakfast before installation begins. - Set up/install will take place Thursday (all works will be installed by 8pm Thursday) and the artists will have two full days of exhibition on Friday and Saturday. - Works will be on-view Friday and Saturday to the public (12-6pm). - Friday evening at 4:00pm artists will take part in a closed professional critique with select Eyebeam staff and invited guest critics. - 6:30 PM on Saturday evening will be a public event designed to give the participating students an opportunity to present and/or perform their work, and discuss their projects for 10-15 minutes to an audience in Eyebeam?s space. Selection Process Submissions are rolling. A Selection Committee will meet three times in a year and curate three to four Circuit programs per year based on recurring themes, content and media amongst the applicants. Online Application Go to: <a rel="nofollow" href="http://www.eyebeam.org/production/onlineapp/index.php">http://www.eyebeam.org/production/onlineapp/index.php</a> Schedule for the coming year: Circuit 1: September 8-10, 2005 Call for participants/Letter to schools: June 17, 2005 Deadline: August 22, 2005 Circuit 2: February 9-11, 2006 Call for participants/Letter to schools: November 15, 2005 Deadline: January 16, 2006 Circuit 3: June 8-10, 2006 Call for participants/Letter to schools: March 21, 2006 Deadline: May 19, 2006 Program Contact: Liz Slagus Director of Education 212.937.6580 ext. 230 liz@eyebeam.org *there is currently no travel budget, although we would like to consider non-New York residents. Grad students should check with their respective programs for available funds. Jessica Ivins ema. jessica@rhizome.org Jessica Ivins Intern, Rhizome.org New Museum of Contemporary Art 210 11th Avenue 2nd Floor NYC, NY 10001 tel. 212.219.1288 X 208 fax. 212.431.5328 ema. jessica@rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 7.20.05 From: Alexander Galloway and Eugene Thacker <galloway@nyu.edu> Subject: Notes for a Liberated Computer Language backdoor TARGET. Installs a backdoor in the machine specified in TARGET. If no target is provided, the backdoor is installed in the local machine. bandwidth AMOUNT. Enlarges or reduces bandwidth by AMOUNT. bitflip DATA, NUMBER. Randomly flips a specified number of bits in the data source named by DATA. bug APPLICATION, NUMBER. Introduce specified NUMBER of bugs into the code of the specified application. crash TIME. Crashes the machine after the number of seconds provided by TIME by interfering with the operating system kernel. If TIME is not provided, the crash will occur immediately. degrade HARDWARE, TIME. Introduces wear and tear, specified by number of months given in TIME, into specified HARDWARE. destroy TARGET. A quick and effective function for the complete destruction of anything specified in TARGET. disidentify TARGET. Removes all unique IDs, profile data, and other quantitative identifiers for the object specified in TARGET. emp TIME. After the number of seconds provided by TIME, this function sends an electromagnetic pulse, neutralizing self and all machines within range. envision. A subjective function that helps the user articulate unknown future realities. Often used in conjunction with rebuild. fail FUNCTION. Introduces logical fallacies into any other language method specified by FUNCTION. frees TIME. Frees the computer from operating by freezing it for the number of seconds specified in TIME. jam NETWORK. Sends jamming signal to the specified NETWORK. lose DEVICE. Unlink a random file on the storage medium specified by DEVICE. mutate SEQUENCE. Introduces a mutation into the given informatic SEQUENCE. netbust TARGET. Exposes a network specified in TARGET to extremely high voltages, thereby fatally damaging any network hardware attached to the network. TARGET can also be "self" to affect only the local interface. noise PROTOCOL, AMOUNT. Scatters a specific AMOUNT of random noise packets into the default network interface using the specified PROTOCOL. obfuscate SEQUENCE. Render any given SEQUENCE (gene, character string, etc.) completely illegible to all parsing technologies. obsolete HARDWARE. Renders any given piece of HARDWARE obsolete. Opposite of reclaim. overclock MULTIPLIER. Increase the clock frequency of the central processing unit according to the value of MULTIPLIER. A negative value will decrease the clock frequency. processKiller. Selects a process at random and kills it. processScrambler. Randomly renumbers all currently running process IDs. rebuild TARGET. Begins the process of rebuilding the object or scenario specified in TARGET. Often used to remedy the effects of destroy. reclaim HARDWARE. Rescues any given piece of HARDWARE from obsolescence. Opposite of obsolete. reject. A subjective function that heightens the user's desire to rebuff the current state of affairs. Often used as a precursor to destroy. reverseEngineer TARGET. If object specified in TARGET is an application, this function decompiles the application and returns commented source code. If the object specified in TARGET is a protocol, this function returns an RFC-like document describing the protocol. rewrite APPLICATION. Develop an entire new version upgrade for the piece of software designated in APPLICATION. The upgrade would be optimized for only the most startling and utopian developments. scramble DEVICE. Randomly shuffle all filenames on the storage medium specified by DEVICE. selfDestruct. Imposes fatal physical damage on self. Equivalent to destroy SELF. struggle. A subjective function that assists the user in agitation and opposition to existing exploitation and control. zapMemory. Clears all RAM on local machine. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 7.23.05 From: abe linkoln <abe@linkoln.net> Subject: magnum i.p. the 24hr online performance/happening/blog 'magnum i.p.' has now concluded please visit it in it's archived form at <a rel="nofollow" href="http://magnum-i.p.screenfull.net/">http://magnum-i.p.screenfull.net/</a> linkoln + jimpunk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 7.24.05 From: Jonah Brucker-Cohen <jonah@coin-operated.com> Subject: Report from Artbots 2005 Report from Artbots 2005 July 15-17, 2005 Saints Michael and John Church Dublin, Ireland By Jonah Brucker-Cohen (jonah (at) coin-operated.com) For the first time outside of the US, the 4th annual ³Artbots: The Robot Talent Show² took place in Saints Michael and John church in Dublin, Ireland. During an unusually warm summer in Dublin, the yearly event showcased over 20 projects from 10 countries ranging from kinetic art-producing robots to solar robot building and scrapyard workshops. Organized by Douglas Irving Repetto and curated this year with Michael John Gorman and Marie Redmond, the event featured an even more international group of artists than from previous years coming from as far as South America, Europe, US, and the Middle East. The show was held in conjunction with the larger, summer-long ³Save The Robots² festival about the culture and history of robots organized by The Ark, a cultural center for children located in the heart of Dublin¹s Temple Bar district. Upon entering the venue, visitors were greeted by Venezuelan artist Elias Crespin's ³Malla Electrocinetica #1³, a mesh of 64 nodes hanging from the ceiling that subtly moved in a wave above the entrance stairwell. This piece¹s subtle movements were as intricate as they were beautiful and precise. On the first level and down the hall was Will Tremblay and Rob Gonsalves¹ ³Wave Puppet², a physical simulation of waves across the ocean¹s surface. Following a similar aesthetic to Crespin¹s work, the project was built from a combination of servomotors, acrylic walls, and a rubber surface that bent forward and backwards like a steady moving wave. As the entrance hallway extended, there were two workshops that allowed visitors to the show to build their own robots or musical instruments. Ralf Schreiber and Tina Tonagel¹s ³60 minutes bot² workshop integrated simple electronic components including wires, electric motors and solar panels to create simple bots that exhibited varied movements based on their exposure to light in a small exhibit space. The second workshop, which I ran with Katherine Moriwaki, was called ³MIDI Scrapyard Challenge² and allowed visitors to create musical controllers out of cast off or discarded materials found in local junk shops and in the refuse bin of local computer labs. Both workshops engaged participants from varied age groups to get involved in the creation of robots and electronic instruments with little or no previous knowledge of electronics. Further down the hallway along the walls was ³Sketch of a field of grass (dunes, Pacific Coast, 2005)² by Ryan Wolfe. The project consisted of a row of mechanically controlled blades of grass that responded to each other¹s movements mimicking a breeze blowing through a field. The simplicity of this array of grass was a nice reminder of how natural movements can be emulated through simple motorized controllers. Across the walkway was Amanda Parkes and Jessica Banks¹s ³Curiously Strong², an array of 250 mechanically controlled Altoid¹s tins that opened and closed as a large kinetic sculpture. Moving into the main exhibition space, robots exhibited ranged from those that created art as a byproduct of their movements to those that questioned the very definition of mechanical or autonomous art. Bruce Shapiro¹s ³Ribbon Dancer² was two long metal arms mounted on a banister that moved wildly around the space with ribbons attached to the ends. Their actions resulted in a lively and fluid stream of animated fabric high in the air. Further along the far wall was Sabrina Raaf¹s ³Translator II: Grower², a mechanical robot that measured carbon dioxide levels in the room and drew green blades of grass of varying heights along the walls. This type of immediate analysis of the immediate environment was a nice constant reminder of our own physical output manifested by the machine. Further across the room was local Dublin artist Peter O¹Kennedy¹s ³Escape² a collection of 15 small mouse-shaped robots all attempting to move towards a single passageway that was only big enough for one of them. This simple concept proved addictive to watch as the small bots scurried towards an awkward freedom. Though not a competition, Artbots awards two prizes each year: one to the artist¹s choice and one for the audience choice. This year¹s audience favorite was Garnet Hertz¹s ³Cockroach-controlled Mobile Robot #2². The robot consisted of a large Madagascan Hissing Cockroach perched atop a modified trackball that controlled a three-wheeled robot. As the cockroach tried to move forward, its feet caught on the trackball, pushing the robot forward. Thus the roach ³drove² the robot around depending on its activity. This bot got a lot of stares from pedestrians as Hertz took it out to a local square to give it more space to ³drive². The artist¹s favorite prize was awarded to Elias Crespin?s kinetic mobile described earlier. Also located in the main exhibition space was the masochistic ³Shockbot Corejulio², a computer-based device that affected its own behavior by placing a piece of metal over its exposed circuit board. With each touch from the metal, the bot consequently ³shocked² itself causing the graphics output of the screen to change, The resulting output resembled a Mondrian painting which became more and more abstract the further the bot was shocked. Moving down into the basement of the church, ³Nervous², by Bjoern Schuelke, consisted of small, bright orange, furry objects that coated the walls of the space. As you got closer and touched them, they began to shake and emit nervous sounds. This project was a nice simulation of the ³human side² to artificial life and a reminder of the ³fragility² of automated creatures. As the show came to a close, it was evident that automated or mechanized art is not dependent on the creation itself. Most of the work in the show came to life with audience involvement and through the individual perception each participant and author brought to the works. Throughout its four year existence, Artbots has presented a sample of work that re-defines what ³robotic art² is or how it could be perceived (see the website for a list of all works included). Each of the works in this year¹s show were unique reminders that technological art can produce the same visceral reaction usually associated with traditional art forms. The kinetic nature of the works adds a relational aspect for the viewer who can project their own experience on the piece. This remarkable quality to the work and high standard of curation from a yearly open call, has turned Artbots into one of the most unique electronic art festivals worldwide. ? By Jonah Brucker-Cohen (jonah (at) coin-operated.com) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 10, number 30. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +