RHIZOME DIGEST: 08.25.06

discussion

Posted Aug. 24 2006 20:00

RHIZOME DIGEST: 08.25.06

RHIZOME DIGEST: August 25, 2006 Content: +opportunity+ 1. Marisa Olson: Rhizome seeks Curatorial Fellow 2. digital@junction.co.uk: Artist placement with Adobe: opportunity for UK based artists 3. sharonlintay@yahoo.co.uk: Call for Online New Media/Digital Art: Undisclosed Recipients at FLEFF 2007 +announcement+ 4. marc: Month Of Sundays A/V Performances - Archived 5. Christiane Paul: DANUBE TELE LECTURES on Art, Media and Image Science 6. Brett Stalbaum: ISEA/ZeroOne on Youtube 7. Lauren Cornell: A blogblog proj / JODI +Commissioned by Rhizome.org+ 8. Randall Packer: Where Art Thou Net.Art? On Zero One/ ISEA 2006 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Marisa Olson <marisa@rhizome.org> Date: Aug 23, 2006 Subject: Rhizome seeks Curatorial Fellow Please forward… JOB OPPORTUNITY: Curatorial Fellow (part-time, unpaid) RHIZOME.ORG Rhizome.org is a leading new media arts organization and an affiliate of the New Museum of Contemporary Art. Currently celebrating our tenth anniversary, Rhizome's programs support the creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways. These include online publications and discussion lists, exhibitions (online & offline), performances, screenings, public talks and events, the ArtBase archive, artists' commissions, and other educational programs. For more information about Rhizome, visit: <a rel="nofollow" href="http://rhizome.org/info/">http://rhizome.org/info/</a> Rhizome seeks a Curatorial Fellow to assist with the research, planning, and production of exhibitions and public programs, as well as writing and editing content for Rhizome's website and publications. This position is a unique opportunity for a person interested in pursuing a career in the new media arts field to further their engagement with the community and hone their professional skills. The Curatorial Fellow must be based in New York and must be able to commit to 15 hours of work per week, for an academic year, beginning in September 2006 and ending in the summer of 2007. These hours may include occasional evening and weekend events. This position is unpaid, but academic credit may be arranged. Reporting directly to Rhizome's Editor & Curator, the Curatorial Fellow will work on all phases of the exhibition and editorial processes, including researching new projects, writing copy, and assisting with the implementation of current programs. The Curatorial Fellow will also develop crucial experience in development and communications. The Fellow's primary responsibilities may include: * Becoming a Site Editor and assisting with the management of reBlog content * Writing and editing occasional Rhizome News articles and other texts * Researching editorial ideas and writers * Liaising with artists, public program participants, and venues * Assisting in the promotion of events * Co-coordinating the Rhizome ArtBase, including researching art works * Planning, production, and on-site coordination of public events As the Curatorial Fellow advances, there may be opportunities to curate an exhibition or event, and to write feature articles. In general, the Fellow will play an important role in helping to strategize and execute strong, dynamic programs and editorial content. QUALIFICATIONS: Candidates should have a level of familiarity with new media and its histories and discourses. They should also possess or expect to complete a Master's degree by 2007. At least one year of arts administration experience is required and preference will be given to candidates with prior curatorial and/or editorial experience. At a minimum, the candidate should have very strong writing, editing, and analytical skills, and very high internet literacy. Knowledge of Microsoft Office software is also required and basic Photoshop skills are preferred. TO APPLY: Please email a cover letter, resume or c.v., three references, and three writing samples (url's or attachments) to Marisa Olson at marisa(at)rhizome.org. Review of applications will begin immediately and all materials must be submitted by Wednesday, September 13, for consideration. + + + Marisa Olson Editor & Curator Rhizome.org at the New Museum of Contemporary Art + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: digital@junction.co.uk <digital@junction.co.uk> Date: Aug 25, 2006 Subject: Artist placement with Adobe: opportunity for UK based artists. Arts Council England, Adobe/Macromedia, Montalvo Arts Center in Saratoga California and The Junction are pleased to announce an opportunity for an artist to work with Adobe's San Jose and San Francisco based research labs while in residence at Montalvo's Lucas Artists Program. Adobe/Macromedia are interested in exploring the creative boundaries of their product vision for mobile technology. They wish to collaborate with an artist who has an established practice in visual, narrative, communicative or interactive/social media, and a high level of computer skill. The artist will be expected to collaborate with Adobe staff, potentially including technicians, programmers, designers and product development teams. This placement will explore the boundaries between creative, social and technical practice and could focus on audio/visual, sensory, graphical and video presence within geographic, conceptual or social spaces. The chosen artist will be invited to question notions of performance and audience, and the part that mobile technology can play within dispersed collective social experience. The placement will be managed by the Junction, providing support for the artist and giving opportunities for the presentation of work in progress. For further information and to download an application form please visit www.junction.co.uk/diffraction or contact chris@junction.co.uk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: sharonlintay@yahoo.co.uk <sharonlintay@yahoo.co.uk> Date: Aug 25, 2006 Subject: Call for Online New Media/Digital Art: Undisclosed Recipients at FLEFF 2007 (01/11/2006; 26/0302/04/2007) Radically reconfigured for the 21st century in 2006, the Finger Lakes Environmental Film Festival (FLEFF) is a multimedia festival that explores the theme of sustainability and the environment within a large global conversation that embraces a range of political, economic, social, and aesthetic issues, including labour, war, health, disease, music, intellectual property, fine art, software, remix culture, economics, archives, AIDS, women's rights and human rights. The festival will take place from 26 March to 2 April 2007 in Ithaca (New York), USA, and on the internet. The curators of 'Undisclosed Recipients,' the online digital art exhibition for FLEFF 2007, are looking for submissions of online new media/digital art that explore issues related to the four 'content streams' of this year's festival: maps and memes, metropoli, soundscapes, and panic attacks. (See details below.) We are particularly interested in works that underscore the aesthetics of the political and the politicisation of the aesthetic. Submissions from artists living and working in the global South are of particular interest. Selected works will be exhibited and archived on the festival's official web site. The exhibition aims to deploy potentially progressive aspects of globalization, such as digital technologies and internet communication, as a means to prompt critical dialogues on the often repressive aspects of globalization, including the rapidly accelerating disparity among populations in terms of wealth, power, and access to basic human rights. 'Undisclosed Recipients' aims to bring new media/digital art that is artistically innovative, socially engaged, and politically urgent to a larger audience of 'undisclosed recipients.' 1. MAPS AND MEMES Mapping marks the intersections and exchanges between the real and the virtual, the material and the abstract, the environment and the conceptual, the colonial and the emancipatory, the lost and the locatable, the lived and the imagined. Maps and mapping stage power relations, control and surveillance but they also can create trajectories for resistance, subversion, detours, reorientations. Memes are contagious ideas that travel through social networks and spaces–often without a map. 2. METROPOLI Fostered by the violent enclosure of the commons and the ruthless manipulation of nature, the early modern European city personified capitalist ascendency, imperial ambition, and utopian fantasy. The 21st-century metropolis, however, is a shifting outpost in the global imaginary: sprawling, fractured, unmappable, unsustainable, hypercapitalized, terrorized, transfrontiered, post-suburban, subtopian, ex-urban, new urban, eco-urban, anarcho-urban, cyber-urban, megalopic. 3. PANIC ATTACKS Panic skirts the borders of its own indeterminacy, undermining faith in the legitimate fear of calamity. Panic implies overreaction, irrationality, intense misperception, loss of self, mental and physical suffocation. As a social process, panic polices the territories of morality, propriety, sexuality, racial and gender difference. Oddly, people court panic, at amusement parks and horror flicks, on cliff sides, in gambling casinos, and via the intake of psychotropic substances. Panic, after all, reminds us that we're still alive and still want to be. 4. SOUNDSCAPING The environment often fuses with the empirical: the visible and the measurable. But sound also constitutes its own environment, an endlessly mutating, mobile, and ephemeral experience inscribing our bodies through rhythm, pitch, tonality, dynamics. Soundscaping reconsiders sound as a sensual, interactive process beyond sight. It immerses us in material, natural, and social environments. Soundscaping transforms the aural landscape, reorganizing our relationships to sound.' See <www.ithaca.edu/fleff/content_streams.php>; for expanded descriptions of this year's content streams. The FLEFF web site also includes links to works included in 'EcoPoetics,' the net art exhibition for FLEFF 2006. Please send submissions, with links and a brief bio, to *BOTH* Dale Hudson <dhudson@amherst.edu> *AND* Sharon Lin Tay <s.tay@mdx.ac.uk> no later than 01 November 2006. Only work that can be exhibited online can be considered for this exhibit. Artists working in offline formats, whether analogue or digital, should submit work to FLEFF under other calls. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: marc <marc.garrett@furtherfield.org> Date: Aug 19, 2006 Subject: Month Of Sundays A/V Performances - Archived. Month Of Sundays A/V Performances - Archived. <a rel="nofollow" href="http://www.furthernoise.org/index.php?url=page.php&ID=134&iss=57">http://www.furthernoise.org/index.php?url=page.php&ID=134&iss=57</a> Furthernoise.org hosted a month of Sunday afternoon live audio visual internet performances throughout June 06 in the online file mixing platform Visitors Studio. It featured some of the most innovative international A/V artists mixing remotely in various geographic locations and time zones. Mixes were broadcast to audiences at E:vent, (London) Watershed, (Bristol) & The Point CDC Theatre, (New York). Each featured artist's performance was also followed by contributions to an Open Mix by audienes online as well as in participating venues. We are now proud to present archives of each performance in full colour & glorious stereo…. so turn your sound system up & the lights down and take a journey that will both educate & enthrall. Artists/Performers: John Hopkins, Paul Wilson & James Smith, John Kannenberg & Glenn Bach, Roger Mills & Neil Jenkins, Ruth Catlow & Marc Garrett. To view current edition of FurtherNoise - <a rel="nofollow" href="http://www.furthernoise.org">http://www.furthernoise.org</a> To view or create (in) Visitors Studio - <a rel="nofollow" href="http://www.visitorsstudio.org">http://www.visitorsstudio.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Christiane_Paul@whitney.org <Christiane_Paul@whitney.org> Date: Aug 21, 2006 Subject: DANUBE TELE LECTURES on Art, Media and Image Science :: Inauguration of the DANUBE TELE LECTURES at Danube University Krems :: The Center for Image Science at Danube University Krems starts a new international lecture series in early September with prominent scientists of our time. The lectures will be presented by live online streaming technology. The series is realized in co-operation with the Österreichische Filmgalerie and the ORF Niederösterreich (Austrian Broadcast Corporation), and will be held in the Filmgalerie Cinema at Danube University Krems. For the inaugural Tele Lecture, internationally renowned scholars deal with key topics of Image Science and Media Art: www.donau-uni.ac.at/cis :: Lecture / Debate Topics :: September 5, 2006 19:30-22:00 "DOES THE WEST STILL EXIST? Are There Boundaries of West, East and Far-East in the World of Images Now?" Lectures and debate with Sarat MAHARAJ and Machiko KUSAHARA Hollywood, computer games, net and media art, micromovies, new devices* images are undergoing a new internationalization never known before, and are increasingly being charged as a vehicle of ideologies and worldview. Seemingly bygone clashes between image opponents and image believers are reanimated in contemporary media to include all areas of art, science, politics and economy - now on a global scale. Can we still speak of images of the west today? Do we witness the arousal of a global visual language enriched universally by the various cultures, or are we at the brink of an ?image war?, representing extremes between the old and new economic powers and their visual culture? September 6, 2006 19:30-22:00 ?PYGMALION TENDENCIES: Bioart and Its Precursors? Lectures and debate with Gunalan NADARAJAN and Jens HAUSER Art and the natural sciences are forming a new interconnection that is closer than in past centuries. Recent developments in art such as Bioart, Techno-art, Genetic or Transgenic Art bring artists into the scientific laboratories and carry their visions to the general public. Not only do artists work cross-pollinated, they also create new creatures, frequently revealing spectacular spaces of reflection on new possibilities. International experts discuss these tensions oscillating between body and nature on one hand and artificial life and illusion on the other - none the least, in their historical contexts. :: International Discussion over the Net - Innovative Image Direction :: The DANUBE TELE LECTURES is a continuation and extension of the first international conference on MediaArtHistories Refresh!, which was held under the direction of Oliver Grau in Banff/Canada last fall und will see a remake called re:place in Berlin next year. Two cameras innovatively echo the studio character and seek a virtual intimacy with the lecturers and their audience. Internet viewers from all over the world have the possibility to pose email questions, broadening the international debate character of this event. Videos of the Danube Tele Lectures will be available in an online archive. :: More at <a rel="nofollow" href="http://www.donau-uni.ac.at/cis">http://www.donau-uni.ac.at/cis</a> :: You can join us live in Krems or watch online and participate in the discussion via email. The CENTER FOR IMAGE SCIENCE at Danube University Krems is an institution for inovative research and teaching on the complete range of image forms. The Center is situated in the beautiful Wachau, Austria - a UNESCO world heritage site - in the Goettweig Monastery and is housed in a fourteenth century castle. It is the base of the public documentation platformswww.virtualart.at and www.mediaarthistory.org. The Center's new low residency postgraduate master's programs in MEDIAARTHISTORIES, PHOTOGRAPHY, and IMAGE MANAGEMENT are internationally unique. :: contact for information on :: wendy.coones@donau-uni.ac.at +43 (0)2732 893-2543 directions to Krems - 60km west of Vienna towards Linz - www.donau-uni.ac.at/route shuttle Krems-Vienna offered, reserve your seat at the Filmgalerie Cinema (entrance is free), future Danube Tele-Lecture series + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Brett Stalbaum <stalbaum@ucsd.edu> Date: Aug 24, 2006 Subject: ISEA/ZeroOne on Youtube In my position my primary responsibility is undergraduate education. I did a lot over the course of the past year to convince our undergraduate students that going to festivals like zeroOne and generally looking at a lot of art (and reading rhizome!) are important ways to understand emerging new media art world(s) which are constantly in flux. Not surprisingly, I saw a great many UCSD students in San Jose, but interestingly and probably not surprisingly, I only saw our *graduate* students. I did not see one of our undergrads (that I knew), even after a year of communication with them. (And, indeed, many of our students are from San Jose or the South Bay Area.) This left me wondering how I could use ops like isea/zeroOne (which only rarely come to our relative neighborhood), as teaching opportunities for undergrads. After the conference was over, I started searching around youtube and realized that looking at isea/zeroOne through the lens of youtube is a pretty good way to get some sense of the variety of practices that constitute new media. So I put some selected youtube videos on a page that I will show my large intro lecture classes this year as part of an introduction to new media. (I expect it to change as more is posted…) Much of the documentation is raw, often unedited clips from cell phones, but having been there the various clips do seem to constitute some reasonable sample of what what a very large festival with over 400 artists is like… and indeed youtube also filled me in on some of the events I missed, (like the dj/vj work at the Glo nightclub.) Anyway, for what it is worth: <a rel="nofollow" href="http://dimension.ucsd.edu/~bstalbaum/isea.html">http://dimension.ucsd.edu/~bstalbaum/isea.html</a> Of course, searching for isea or zeroOne on youtube is a better interface for exploring. Brett – Brett Stalbaum, Lecturer, PSOE Coordinator, Interdisciplinary Computing and the Arts Major (ICAM) UNIVERSITY OF CALIFORNIA, SAN DIEGO Department of Visual Arts 9500 GILMAN DR. # 0084 La Jolla CA 92093-0084 <a rel="nofollow" href="http://www.c5corp.com">http://www.c5corp.com</a> <a rel="nofollow" href="http://www.paintersflat.net">http://www.paintersflat.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Lauren Cornell <laurencornell@rhizome.org> Date: Aug 25, 2006 Subject: A blogblog proj / JODI New project by jodi: a blogblog proj ((((((——with a guest appearance of Cory A as" 1234bornintheusa" <a rel="nofollow" href="http://blogroll.jodi.org/index.html">http://blogroll.jodi.org/index.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Randall Packer <rpacker@zakros.com> Date: Aug 25, 2006 Subject: Conference Report: Where Art Thou Net.Art? On Zero One/ ISEA 2006 +Commissioned by Rhizome.org+ Conference Report: Where Art Thou Net.Art? On Zero One/ ISEA 2006 by Randall Packer The long awaited Zero One/ ISEA 2006 took over San Jose, California, two weeks ago in a sprawling, city-wide, mega-festival celebrating art and technology in the heart of Silicon Valley. Much has already been written about it, from daily observations in the local papers to a feature in the New York Times, from the Blogosphere to the listservs. As one who has been immersed in the new media scene since the late 1980s, I would like to contribute a bit of historical context to the discussion: I offer my commentary from a pre-millennial perspective, when the dream emerged in the 1990s, during an era of optimism and promise, the dream of a new art form that would side-step a mainstream art world mired in curators, museums, galleries, objects, and old aesthetic issues. This was the dream of Net.Art, a revolutionary new international movement of artists, techies, and hackers, led in large part by the unassuming, unabashedly ambitious new media curator from the Walker Art Center, Steve Dietz, now director of Zero One. These were heady times indeed. I met Steve in 1997 while I was in residence at the San Jose Museum of Art. His research had brought him to the holy Mecca of new media, Silicon Valley and the community of artists in the Bay Area who had been working with new technologies since the dawn of the personal computer. He wanted to meet Joel Slayton (who would later become director of the 2006 ISEA Symposium), so I escorted him over to San Jose State University where Joel is head of the CADRE Laboratory for New Media. Shortly thereafter, Steve launched two groundbreaking Net.Art exhibitions, Shock of the View, and Beyond Interface, both of which brought together leading Net artists exploding on the scene: Mark Amerika, Natalie Bookchin, Masaki Fujihata, Ken Goldberg, Eduardo Kac, Jodi, Mark Napier, Alexei Shulgin, to name just a few. It was a time of artistic transformation, new paradigms, hypernovels, distributed authorship, and globally extended, real-time, robotic, collective art. It seemed anything was possible. By 1999, David Ross was Director of the San Francisco Museum of Modern Art, Intel was pouring millions into Artmuseum.net, and there seemed no end to the surging tide of experimental new media art. It was at that time that early discussion began of an international festival of art and technology in Silicon Valley. Beau Takahara founded the organization Ground Zero, which would later become Zero One. But with the new millennium the tides would turn: Natalie Bookchin announced the death of Net.Art, the tech boom was a bust, and both David Ross and Steve Dietz were ousted from their museum jobs for harboring visionary aspirations in an economic downturn. So with the announcement that the Zero One Festival and the ISEA Symposium would launch in 2006 in San Jose, with Steve Dietz at the helm, it was something like the Phoenix rising from the ashes. And it rose with a bang! ?Seven Days of Art and Interconnectivity,? with over 200 participating artists, an international symposium, city-wide public installations, exhibitions, concerts, performances, pubic spectacles, performative-live-distributed cinema, wi-fi interventions, container culture, skateboard orchestras, digital dance, sine wave surfing, datamatics, surveillance balloons, a pigeon blog, the squirrel-driven Karaoke Ice Battle on wheels, and to top it off a nostalgic, bombastic blast-from-the-past from Survival Research Laboratories. The 13th International Symposium on Electronic Art Exhibition took over the sprawling South Hall at the Convention Center. Its themes: Interactive City, Pacific Rim, Transvergence, Edgy Products, and on and on? spoke of enough technology to wire a third world nation. And so, with all the buzz, and the sheer largesse of this ambitious festival of new media, I couldn?t help ponder how it was connected to the original Net.Art dream, when a new art form arose from networking every computer on every desktop and engaging a global audience in new, pervasive ways that became possible as technology was increasingly ubiquitous and transparent. The Net.Art dream would call into question our relationship to the new media, as art has always aspired, to critique its impact on our lives, our culture, our communications systems, our relationships, our view of the world, our own changing humanity in a technological world. I couldn?t help but to wonder, what exactly happened to that dream, once driven by a small fringe core of artists, writers, thinkers, and curators, and now practiced by literally thousands of techno-artists emerging from every university and art school across the planet, many of whom converged in San Jose for Zero One / ISEA. The first thing that came to mind was that art and technology no longer exists on the fringe of the artworld, and in fact, the demarcation between art and engineering has blurred considerably. At Zero One you couldn?t tell the artist from the engineer (Billy Klüver must be rolling in his grave). Joseph Beuys?s notions of social sculpture, or Allan Kaprow?s participatory Happenings now inform the new systems of art that have dissolved the distinction between artist and non-artist, between performer and audience. For example, the Interactive City theme, organized by Eric Paulos, sought ?urban-scale projects for which the city is not merely a palimpsest of our desires but an active participant in their formation.? In the installations of Jennifer Steinkamp at the San Jose Museum of Art, I saw suburban moms taking snapshots of their kids in strollers bathed in layers of colored light. In the Listening Post by Mark Hansen and Ben Rubin, also at SJMA, the artists orchestrated chat room discussion, in real-time, from around the globe. Etoy?s mesmerizing Mission Eternity involved a trailer installation parked outside SJMA in the downtown Plaza, which investigated personal data storage for the afterlife (ashes to ashes, bits to bits). There was good art and there was bad art, but everywhere you turned there was art or something like art permeating the physical spaces of downtown San Jose (including the mobile light rail cars and the dome of City Hall), as well as the invisible ether of the airwaves, from bluetooth networks to cellular tours (the latest rage). There was very little time to spend with any particular work. Everyone was engaged in high gear, moving from one venue to the next. In Bill Viola?s keynote address, he made the prescient remark, ?artists are jumping into a train for a high speed ride while they?re still laying the tracks ahead.? The hyper-adrenalin flow resonated in the on-line commentary as well, where, if you read the considerable Blog chatter surrounding Zero One/ ISEA, you would find that the experience became concentrated on sheer movement and the social networking that reigns supreme at all conferences and festivals. And so what about the dream of Net.Art? Those of us who have spent countless hours, in the past decade, bemoaning the loss of the dream could now say that the dream had been realized (for better or for worse). I heard artist friends complain about the democratization of Net.Art, the selling out of Net.Art, the ?mainstreamization? of Net.Art, and other remarks I won?t mention here, and yet, I think that we would all agree that the uber-dream of Net.Art – to dismantle the precious nature of the object, an art that would defy the walls of the museum, that would, as expressed in Roy Ascott?s Museum of A Third Kind, reject the notion of the physical museum space altogether, the dream of Net.Art as a force that would rewire the experience of art, a ?fantasy beyond control? according to Lynn Hershman – had become a living, breathing reality in San Jose for those compressed seven days. And if you turned to the Blogosphere there were plenty of critics: Patrick Lichty wrote, ?There are many topics, like locative media, data mapping, ecologies, and so on that are being explored. On a rhetorical level I have to ask whether these are the right ones and why these are the ones that are compelling to us.? And on the CRUMB list, I found an insightful comment by Molly Hankwitz, who said, ?I think the process of interaction must be done very carefully. The worst thing is the mainstreaming of situationism into a middle class playground.? Finally, I turn to Mark Amerika, one of the original dreamers, for a closing observation: ?Net art is in many ways still the most alive and accessed art movement ever to NOT be absorbed into the commercial art world? and that's fantastic!? Perhaps the success of Zero One / ISEA was in its commitment to concentrate on experimental media art, to emphasize media art?s inclusive, democratic, and participatory nature, and lastly, that contemporary art must embrace the new technologies - shamelessly, fearlessly, defiantly. Net.Art may be dead, but Net Art 2.0 is alive and kicking. Randall Packer is a widely-exhibited artist, composer, educator, and scholar. He is Assistant Professor of Multimedia at American University in Washington, DC, and the author of Multimedia: From Wagner to Virtual Reality. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 32. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +