RHIZOME DIGEST: 9.24.04

discussion

Posted Sept. 23 2004 20:00

RHIZOME DIGEST: 9.24.04

RHIZOME DIGEST: September 24, 2004 Content: +note+ 1. Francis Hwang: (RSS) Feed me, Seymour +announcement+ 2. Rachel Greene: Fwd: [2-13] society for cutting up mpgz 3. ryan griffis: FWD: Autonomedia/Ocularis film event 4. ryan griffis: FWD: inSite_05 website launch 5. Kevin McGarry: FW: [no-org.net] Opening of new net.art exhibition 6. Kevin McGarry: Hot Enough? Art, Activism and Wireless Technology During the Republican National Convention 7. ryan griffis: Colloquium on Art & Biotech (Montreal) +opportunity+ 8. Nanette Wylde: cfp net.art exhibition 9. Kanarinka: CALL FOR ARTISTS: 100(11) Instruction Works 10. Ivan Pope: First BETA showcase: Call for Submissions +work+ 11. Rhizome.org: Just added to the Rhizome ArtBase: Looptracks by Conor O'Boyle +scene report+ 12. Jonah Brucker-Cohen: Report from Ars Electronica 2004 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 9.23.04 From: Francis Hwang <francis@rhizome.org> Subject: (RSS) Feed me, Seymour Hey all, I'm happy to announce a few more RSS channels for y'all to slurp down. The Net Art News RSS feed has been running for some time now, and is now joined by an artwork.rss feed, which announces new artworks as they're made live in the ArtBase, and a rare.rss feed, which mirrors the Rhizome Rare email list. You can read more about this here: <a rel="nofollow" href="http://rhizome.org/syndicate/">http://rhizome.org/syndicate/</a> Feel free to do with these feeds whatever you'd do with any other feeds: aggregate 'em, blog 'em, etc. And if you have any other ideas for feeds you'd like to see please let me know. Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 9.19.04 From: Rachel Greene <rachel@rhizome.org> Subject: Fwd: [2-13] society for cutting up mpgz Begin forwarded message: From: rheingold <gold@netzwissenschaft.org> Date: September 19, 2004 6:20:08 PM EDT To: thuja@geraeuschwelten.de Subject: [2-13] society for cutting up mpgz <a rel="nofollow" href="http://subjektivation.de/2-13.mov">http://subjektivation.de/2-13.mov</a> even though the use of mobile phones for still photography is gaining more widespread acceptance, more and more cell phones, pda's and handheld devices are being equipped with video capabilities. what then, are the potentials of the handheld device as a cinematic tool for expression & activism? to paraphrase aim, what are the distinctive qualities of cell phone video, and how do the stories and images from this technological set differ from its predecessors? does the intimacy and mobility of the video-enabled cell phone create a change in perspective? does it represent a culture of universal surveillance where there is a universal intimacy but a complete lack of private space? how does the mobile perspective shift our perception in the way the mediated image of the cellular/network individual is represented? does its low-resolution somehow challenge the aesthetics, 'truthfulness', or technofetishism of the increasingly filmic nature of video? these are some of the questions that normative bebilderung hopes to address. we, artists, performers, tribes from the normative bebilderung, we have been undergoing police repressions, abusive laws, the pressures of cultural industries and capitalist economy for a long time. to denounce these intolerable pressures, we declare the internet television will be, so that everybody will demonstrate his know-how and creativity in the dark, an international underground! let 10.000 clips joyfully illuminate and fertilize the cultural aridity! the idea of internet television is metaphoric: even if celebrate, create, have amateur cultural practices, emerge among indifference, market, and daily repression are a fight, we demand a pacific action! internet television is a pacific action, but it remains a fight! internet televisionists are working towards another end. this other end is militant: it is a question of producing an utopia. u-topia = lack of proper place. for us in a prospect of action, it means being everywhere at the same time. it also means: being numerous but no masses! Iit further means cultural diversity! meeting the others! refusing identity withdraws of all kinds, as people can have lots of piercings and be really set in their ways, egoist, monomaniac or limited. here is the fight: not a fight for sound, free, punk, classic or else! but for all that in once and to keep the possibility of doing that. for the emergence of diversity! for diversity against compact masses! for the right to create, to meet freely each others, to imagine our future off the pre-formatted frames proposed by the market, the security ideologies and the ready-to-think of some activists. to prove that we are organized, thoughtful, responsible and that we are fully aware of our acts as well during our cultural events as every day. to demonstrate that we represent an important part of the population, that we can be your neighbours, your friends, your family. which way to go? [2-13] beta 13.09.2004, 2m14s <a rel="nofollow" href="http://subjektivation.de/">http://subjektivation.de/</a> archiv fuer kontemplative bewegtbilddokumentation frankfurt am main programm vom 14.09.2004 alle filme duerfen kopiert und verwendet werden zum betrachten benoetigen sie quicktime archiv: [buchmesse] wayneflaschner 03.09.2004, 0m35s [langer mopsfilm] 02.09.2004, 3m00s [startbahn west] 02.09.2004, 1m33s [totenschiff] 02.09.2004, 1m44s [6peg] draschan/friedrichs 02.09.2004, 2m07s [schafhausen] 24.08.2004, 0m37s [the resurrection of e. ehlers] 15.08.2004, 1m00s [trudi.sozial] 14.08.2004, 0m52s [the ominous k.b. movie] 13.08.2004, 5m04s [italian art fair] 08.08.2004, 1m00s [gummi] 04.08.2004, 0m32s [elche] 23.02.2004, 1m46s [dingo] 04.08.2004, 1m39s [macht] 25.07.2004, 1m38s [beton] 25.07.2004, 1m50s [kunst] 25.07.2004, 1m03s [minutenspiel] 22.07.2004, 1m12s [lerchesberg] 14.07.2004, 0m49s [subjektivation] 11.07.2004, 1m02s [brsmas zeh] 11.07.2004, 0m09s [helium] 11.07.2004, 0m24s [phall] 11.07.2004, 0m35s [dws] 11.07.2004, 0m50s [playtime] 27.06.2004, 0m37s [goethehaus] 27.06.2004, 0m52s [sexpfeife] 27.06.2004, 0m29s [der ominoese kb] 27.06.2004, 0m20s [es kommt zum kampf] 20.06.2004, 2m15s [das grosse foto] 19.06.2004, 2m15s [goto lang] 19.06.2004, 3m31s [brand und investigation] 19.06.2004, 0m28s [haschdemo] 19.06.2004, 0m31s [stefan beck] 17.06.2004, 0m05s [viewpoint] 08.06.2004, 0m01s [the show must go on] 06.05.2004, 2m58s [hier kommt die maus] 02.05.2004, 0m38s [no ufos] 02.05.2004, 1m50s [nordendfenster] 02.05.2004, 0m29s [neuer klub] 29.04.2004, 0m36s [brauweiler] 22.04.2004, 0m18s [koenigswinter] 22.04.2004, 1m23s [loevenich] 22.04.2004, 0m08s [gelbfuss 2] 22.04.2004, 0m21s [the green house revisited] 18.04.2004, 6m19s [konsumverhalten] 18.04.2004, 1m20s [the sequel starts here] 17.04.2004, 0m32s [shopping] 17.04.2004, 0m40s [gelbfuss] 14.04.2004, 0m23s [kopfgewimmel] 14.04.2004, 0m19s :: Serverfestival2004 <a rel="nofollow" href="http://serverfestival.net/">http://serverfestival.net/</a> :: + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: 9.20.04 From: ryan griffis <grifray@yahoo.com> Subject: FWD: Autonomedia/Ocularis film event greetings – Autonomedia is helping produce a fundraising event at the Ocularis film night at Galapagos, an art-bar in Williamsburg, Brooklyn. Nato Thompson and Greg Sholette are both scheduled to speak (along with Keith Sanborn and one of the Insitute for Applied Autonomy people), and films shown will include a late-70s Manuel DeLanda documentary piece on his graffiti practice from that period! I'm attaching our press release below, so please feel free to pass this information around to friends or colleagues in NYC who would come out to support this. Also, I emailed some of this info to <<organize@caedefensefund.org>>, but didn't hear back or see any changes on the site calendar, so if there's a way to update that information, please let me know. bests, Ben Meyers Autonomedia FOR IMMEDIATE RELEASE: FILM SCREENING, TALK & BENEFIT FOR THE CRITICAL ART ENSEMBLE: organized by Autonomedia and Marianne Shaneen Sunday October 3, 2004 at 7pm Price: $6 Ocularis at: Galapagos Art & Performance Space 70 North 6th Street (between Wythe and Kent) Williamsburg Brooklyn, NY 11211 nearest subway: Bedford Ave L Train venue tel/fax: 718-388-8713 <a rel="nofollow" href="http://www.ocularis.org/">http://www.ocularis.org/</a> Press contact: Ben Meyers, ben@autonomedia.org, tel 646-496-2353 * * * * * FILMS BY: Manual DeLanda, the Critical Art Ensemble, Keith Sanborn, Peggy Ahwesh, Eli Elliott, Dara Greenwald, Eric Henry, Rachel Mayeri, and the United States Dept of Defense WITH COMMENTARY BY: Nato Thompson, Greg Sholette, Keith Sanborn, and John Henry * * * * * For nearly 20 years, the Critical Art Ensemble has produced art, performance, and texts critically examining the relationships between science, politics, social life and the State. Since May 2004, some of this work has triggered a Federal investigation and criminal lawsuit, with a founding member facing numerous indictments, possible prison time and excessive fines (details below). In the face of huge legal defense bills in this case, many fundraising events are being organized internationally and online. On October 3rd, 2004, Ocularis will present an evening of film and video work with a focus on science and political critique, with commentary by some primary figures in the Critical Art Ensemble's case. Filmworks range from animations about bioengineered "Frankencorn" and documentary work around the Human Genome Project to a video "cut-up" of a Department of Defense training video and an archival DoD propaganda film on how to deal with biological warfare. Speakers include the curator of the MASS MoCA show on interventionist art where subpoenas were delivered to the CAE, and a member of the Institute for Applied Autonomy, developers of the "TXTMOB" phone-messaging technology widely used during the Republican Convention protests. Books by the Critical Art Ensemble will be available, and all proceeds will go to the Steve Kurtz Defense Fund. * * * * * FILMS INCLUDE * * * * * Critical Art Ensemble: Four short films From 1986-1993 Critical Art Ensemble made numerous low-tech films and videos. In 1993, the launch of the visual digital revolution through the use of graphic user interfaces and the WWW signaled an end, for CAE, of the cause for legitimating low-tech production in mass media, and CAE abandoned video production at this time to explore on-line and digital graphic possibilities. Manuel DeLanda: Ism-Ism. This rarely-seen film documents Manuel DeLanda's graffiti activities between 1977 and 1979. Instead of tags and other more familiar forms of art interventions on the street, DeLanda attacked commercial billboards, morphing the faces of people in ads into bizarre looking monsters. Keith Sanborn: "Operation Double Trouble", a detourned US government propaganda film. Peggy Ahwesh: She-Puppet Re-editing footage collected from months of playing Tomb Raider, Ahwesh transforms the video game into a reflection on identity and mortality, acknowledging the intimate relationship between Lara Croft and her player. Moving beyond her implicit feminist critique of the problematic female identity, she enlarges the dilemma of Croft's entrapment to that of the individual in an increasingly artificial world. Eli Elliott:"ASSCroft" A hilarious 4 min. PixelVision piece touching on the Patriot Act. Dara Greenwald: "Strategic Cyber Defense" 4 mins. of jaw-dropping paranoid pathology from the Dept of Defense, a warped 'in-house' training video chopped up into the perfect mix of shredded clueless hysteria. Eric Henry: Bear Witness III and Pirates & Emperors (or, Size Does Matter) Bear Witness III, a music video for Dan the Automator, is a four-part study in hubris. Each section explores a different ego trip-military, cosmetic, scientific, and engineering/industrial-and takes it to its logical conclusion. Pirates & Emperors (or, Size Does Matter) is a wry political cartoon about bullies big and small. It is set to original music and animated in a style reminiscent of the popular "Schoolhouse Rock" educational video series. It illustrates the notion that if you are a successful enough bully, you can pretty much write your own ticket and go by the name "emperor" or "president" instead. Rachel Mayeri: Stories from the Genome Part cloning experiment, part documentary, Stories from the Genome follows an unnamed CEO-geneticist whose company sequenced the Human Genome in 2003-a genome that secretly was his own. Not satisfied with this feat, the scientist self-replicates, producing a colony of clone-scientists to save himself from Alzheimer's. Mayeri's video comments on the dangers of short-sighted, self-interest in contemporary biotechnology and its appropriation for profit of human genetic information. The US Federal Civil Defense Administration: What You Should Know About Biological Warfare (1952) How can we protect ourselves against the threats of germs and toxins? This Cold War-era government film teaches viewers how to fend off threats from unconventional bioweapons. Speakers for this event will include: -Nato Thompson, MASS MoCA curator of May 2004 show "The Interventionists: Art in the Social Sphere - a brief survey of interventionist political art practices of the 90s" which was to include work by the CAE, but instead saw the issuing of subpoenas to those CAE members present at the opening. -Greg Sholette, artist, writer and activist. He was a founding member of the REPOhistory artist's collective and of Political Art Documentation and Distribution, and has collaborated with the Critical Art Ensemble. -Keith Sanborn, artist, theorist and curator, has been working in film, photography, digital media and video since the late 1970s. He has also translated several of the films of Guy Debord into English. -John Henry of the Institute for Applied Autonomy, an art and engineering collective that develops technologies for political dissent. Projects include the development of robots that can leaflet or draw graffiti, and the text messaging "TXTmob" tool used by protestors at the Republican National Convention. Background on the case: Since May 2004, Steve Kurtz, founding member of the acclaimed Critical Art Ensemble and professor in the Art Department at SUNY Buffalo, has been under Federal investigation on Grand Jury charges relating to bio-terrorism under the PATRIOT Act. The investigation stems from Steve's possession of biological equipment and bacteria seized by the FBI from Kurtz's home, materials which can be found in any high school science lab, but was used to create art critical of the unrestrained use of biotechnology and the history of US involvement in germ warfare experiments (including the Bush administration's earmarking of hundreds of millions of dollars to erect high-security laboratories around the country). In July, Steve and his collaborator, Robert Ferrell, Professor of Genetics at the University of Pittsburgh, were formally charged with four counts of mail and wire fraud, each carrying a maximum sentence of 20 years in prison and a $250,000 fine. The Federal charges have been met with a huge outcry from artists, scientists, researchers, and professors. Clearly the absurd and disturbing charges are an attempt to use the Patriot Act to target and intimidate artists and researchers who are critical or controversial, and to curtail artistic and intellectual freedom. For more info on Steve's case, please visit www.caedefensefund.org and www.critical-art.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 9.21.04 From: ryan griffis <grifray@yahoo.com> Subject: FWD: inSite_05 website launch inSite announces the launch of its website, and outlines its program for 2005. Structured as a matrix based on the four components of inSite_05Interventions, Scenarios, Conversations, and Museum Exhibition <a rel="nofollow" href="http://www.inSite05.org/">http://www.inSite05.org/</a> was conceived with the aim of making evident the processual nature of inSite_05. Created by fdt design, <a rel="nofollow" href="http://www.inSite05.org/">http://www.inSite05.org/</a> will incorporate additional web-based projects, including Tijuana Calling, a commissioned program of online work, and Insight_Transborder Archive, an open archive linking individuals and institutions across the San Diego-Tijuana border. inSite anuncia el lanzamiento de la página web de inSite_05 y presenta su programa para la edición del 2005. Con una estructura basada en los cuatro componentes del proyecto: Intervenciones, Escenarios, Conversaciones y Exposición, este website ha sido concebido para develar la naturaleza procesual e interconectiva de inSite_05. Creado por fdt design, <a rel="nofollow" href="http://www.inSite05.org/">http://www.inSite05.org/</a> se expande hacia otros proyectos en red que son parte de inSite_05, como Tijuana Calling, un proyecto comisionado para trabajos en línea e Insight_Archivo transfronterizo, un archivo abierto interconectando individuos e instituciones en el área de Tijuana-San Diego. Projects and exhibitions open to the public: August 26, through November 13, 2005. Proyectos y exposiciones abiertos al público: 26 de agosto y hasta el 13 de noviembre del 2005. inSite is a network of contemporary art programs and commissioned projects that maps the dynamics of permeability and blockage that characterize the liminal border zone of San Diego-Tijuana. Over the course of twelve years, since its inception in 1992, inSite has focused on the specificity of this urban corridor as a mutant context of unexpected political and cultural rearticulations. inSite es una red de programas de arte contemporáneo y de proyectos comisionados que mapean las dinámicas de permeabilidad y bloqueo en la zona fronteriza de Tijuana-San Diego. A lo largo de 12 años, desde sus inicios en 1992, inSite se ha enfocado en la especificidad de este corredor urbano, como un contexto mutante de rearticulaciones políticas y culturales sorpresivas. Executive Directors> Directores ejecutivos: Michael Krichman ? Carmen Cuenca Artistic Director> Director artístico: Osvaldo Sánchez Curators> Curadores: Ute Meta Bauer ? Hans Fjellestad ? Adriano Pedrosa ? Osvaldo Sánchez ? Mark Tribe ? Sally Yard Associate Curators> Curadores asociados: Donna Conwell ? Marcela Quiroz Luna ? Tania Ragasol For more information> Para más información: Public Relations> Relaciones Públicas: Papus von Saenger Tel. 619.230.0005 Email: papus@insite05.org /inSite 710 13th Street, Suite #305, San Diego, CA 92101 T 619.230.0005 F 619.230.0035 E info@insite05.org Collaborating Institutions> Instituciones colaboradoras: Atheneaum Music and Arts Library ? Centro Cultural de la Raza ? Centro Cultural Tijuana (CECUT) ? Colegio de la Frontera Norte (COLEF) ? Consejo Nacional para la Cultura y las Artes (CONACULTA) ? Fondo Nacional para la Cultura y las Artes (FONCA) ? Goethe Institut Inter Nationes, Mexico City ? Instituto de Cultura de Baja California ? Instituto Nacional de Bellas Artes (INBA) ? Universidad Nacional Autónoma de México (UNAM) ? San Diego Museum of Art ? University of California, San Diego, The Stuart Collection ? University of California, San Diego, Department of Visual Arts Major Sponsors> Principales patrocinadores: The Andy Warhol Foundation for the Visual Arts ? The Burnham Foundation ? Centro Cultural Tijuana ? City of San Diego Commission for Arts and Culture ? Consejo Nacional para la Cultura y las Artes ? Fondo Nacional para la Cultura y las Artes ? Fundación BBVA Bancomer ? Fundación Cuervo ? Eloisa and Chris Haudenschild ? Hotel Habita ? Instituto Nacional de Bellas Artes ? The James Irvine Foundation ? Fundación Jumex ? The Lucille and Ronald Neeley Foundation ? National Endowment for the Arts ? Panta Rhea Foundation ? Fundación Televisa ? Universidad Nacional Autónoma de México ? Tides Canada Foundation inSITE2000-01 Catalogue> Catálogo/ ISBN: 0-9642554-4-8/ Available for> Disponible por: $29.95/ info@insite05.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 9.23.04 From: Kevin McGarry <Kevin@rhizome.org> Subject: FW: [no-org.net] Opening of new net.art exhibition [1] Opening of data/reference/art exhibition [2] CAll for entries for the next project [1] data/reference/art - The third net-art exhibition of no-org.net, is launched, you are welcome to visit it: <a rel="nofollow" href="http://www.no-org.net/data/reference/art">http://www.no-org.net/data/reference/art</a> <<a rel="nofollow" href="http://www.no-org.net/data/reference/art">http://www.no-org.net/data/reference/art</a>> Participant artists: Tamar Schori, Myron Turner, Simon Biggs, Doron Golan, Reynald Druhin, Jerome Rigaud, Don Sinclair, Joy Garnett, Brad Brace. Curators: sala-manca group & vagrearg. >From the curatorial text: Databases, encyclopedias, indexes, dictionaries, and directories are not merely devices of data organizing, but also mediums for building hierarchical systems. Not only they convey topic specific information but also propagate political and aesthetic ideologies, reflecting background and interests of their producers. "The correct", "the necessary", "the important" or "the secondary" for a user to know, to study, to invest - all those messages embedded into systems of knowledge and sorted according to hierarchy established by their editors. Methods of distribution, managing of contents, the structure, lay a distinct track to control and design of common knowledge, shaping thinking patterns. The global network, providing a new space for distribution of traditional data-collections, also grants a possibility of their deconstruction, challenging their authority by making use of inherent practices of the Net: decentralization and release of information, casting doubt upon hierarchies through the new form of data-organization, popularizing of canonical and non-canonical materials, formalizing, aestheticizing and so on. Current exhibition compiled of nine art projects, each presenting an original approach to the theme, placing in doubt, rethinking the signification, the function and the objectives of data collections on the Net. ……. Current no-org.net exhibition raised the self-reflecting question of our authority as curators and distributors/producers of knowledge. In attempt to answer this question we chose to give up our ultimate right to show/hide the artworks submitted to the projects exhibited on our website. Therefore, we decided to present all the works we have received in response to our calls for all the previous as well as for the current project. It is important to note, that by doing so we are not canceling our curatorial role, nor devaluating our responsibility for the choices made. Indeed, we run the curated show that unite projects located closer to the concept at hand and achieved higher artistic values (in our opinion). It seems to us that opening the archives may allow for new interpretations of the chosen for the exhibitions topics, and for observation of the relative value of curatorial choices. We believe that this step may open a deeper debate about the process of exhibition of art on the Net, at least in relation to our activities. The opening of our archives <<a rel="nofollow" href="http://www.no-org.net/openarchives/">http://www.no-org.net/openarchives/</a>> would allow for examination of this process and relation to it, creating new channels of dialog between the artists, critics, the visitors and us*. ———————————————————————— [2] Art Keywords - Collaborative dictionary of the 21st century art. Call for entries <<a rel="nofollow" href="http://www.no-org.net/texts.php">http://www.no-org.net/texts.php</a>> The aim of the project is to start a self-growing, collaborative encyclopedic dictionary that would approach central concepts, keywords, terms, and definitions related to 21st century art. The project attempts to create a place for the data and definition exchange where the combination of theoretical, mediative and artistic (poetic) definitions comes from the need to establish different approaches to art definition. We ask for artists, curators, critics and cultural mediators to send us terms and concepts relevant to their own approach to art, defined textually (definitions, articles, references, etc.) or through a media item (image, video, sound etc.) The project will operate on ongoing basis, with an initial version launched by January 2005. ———————————————————————— www.no-org.net <<a rel="nofollow" href="http://www.no-org.net">http://www.no-org.net</a>> <<a rel="nofollow" href="http://www.no-org.net/video/net/art/reports.php">http://www.no-org.net/video/net/art/reports.php</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: 9.24.04 From: Kevin McGarry <Kevin@rhizome.org> Subject: Hot Enough? Art, Activism and Wireless Technology During the Republican National Convention Hot Enough? Art, Activism and Wireless Technology During the Republican National Convention Mon., Sept. 27, 7:00 p.m. $8 The Republican National Convention in late August will give rise to a wave of artistic projects employing wireless technology to make specific political statements. Unexpectedly, the RNC thus provides a common focus and purpose to diverse and divergent initiatives and, in hindsight, enables us to assess their efficiency. Wireless technology is one of the most exciting new developments for political activism. Relatively inexpensive, accessible, and packing tremendous punch with at times just one individual at its origin, it can be used as a tool of protest or opinion-making–the flip side of the near-pervasive electronic surveillance under which we now live. This panel examines how artists employ wireless technology to reach unprecedented masses, to recast the concept of "collaboration," to redefine and politicize the urban environment, and to achieve unparalleled levels of immediacy. Participants include: Yury Gitman (The Magic Bike ); Natalie Jeremijenko, The Bureau of Inverse Technology, and onetrees.org ( clean air?, antiterror line, sparrow line ); Joshua Kinberg (Bikes Against Bush ); neuroTransmitter and others to be announced. Organized by the Vera List Center for Art and Politics, on occasion of Spectropolis: Mobile Media, Art, and the City, a wireless event organized by NYCwireless, Downtown Alliance, and the Lower Manhattan Cultural Council. Co-sponsored by the Design and Technology Department, Parsons School of Design, and the Department of Communication, The New School. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 9.24.04 From: ryan griffis <grifray@yahoo.com> Subject: Colloquium on Art & Biotech (Montreal) Biotechnologies announce the emergence of major breakthroughs and fresh insights into various fields of knowledge in the near future: new medical treatments, improvements in agriculture, the mapping of the genomes of various species, the customized reconfiguration of bodies. Such potent promises are both fascinating and disquieting, raising many uncertainties and posing questions difficult to resolve. During this colloquium, international theorists and artists will explore these issues by presenting research and artworks situated at the intersection of art, science and artificial systems. <a rel="nofollow" href="http://www.colloquebioart.org/english.html">http://www.colloquebioart.org/english.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 9.19.04 From: Nanette Wylde <nanl@preneo.com> Subject: cfp net.art exhibition chico.art.net Annual Exhibition of Net.Art call for participation The electronic arts program at California State University Chico will hold its annual virtual exhibition of net.art in December 2004. We are looking for recent interesting and excellent time-based and interactive art projects created for the Internet arena. Submission Deadline: October 19, 2004. Email project URL, artist statement, browser/technical requirements to: chicoartnet@yahoo.com Launch date: December 1, 2004 www.csuchico.edu/art/net Selected projects will be expected to maintain their accessibility & location through March 1, 2005 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 9.20.04 From: Kanarinka <kanarinka@ikatun.com> Subject: CALL FOR ARTISTS: 100(11) Instruction Works iKatun is temporarily moving to Toronto and we need your help! We have been invited by the 7a*11d International Performance Art Festival [ <a rel="nofollow" href="http://www.7a-11d.ca/">http://www.7a-11d.ca/</a> ] to collect instruction works from artists around the world and perform one instruction piece a day in Toronto during the festival – October 20th - 31st. Please contribute an instruction work to our database at: <a rel="nofollow" href="http://www.ikatun.com/100-11/">http://www.ikatun.com/100-11/</a> During 7a*11d, the performances will be videotaped and then streamed online in collaboration with the Interaccess electronic media Arts Center [ <a rel="nofollow" href="http://www.interaccess.org">http://www.interaccess.org</a> ] in Toronto. Merci beaucoup! ———————————— IN OTHER NEWS: ———————————— + THE INSTITUTE @ FORT POINT: October 16/17, Fort Point, Boston, MA: The Institute for Infinitely Small Things will be temporarily installed at Fort Point Open Studios. Thanks to funding from the Fort Point Cultural Coalition, iKatun will be able to conduct interviews, create guidebooks and run expeditions that explore the Fort Point neighborhood as a site for creative action and community for the next 100 years. + CALL FOR FORT POINT ARTISTS: We would like to interview you for the above project. Please email us at info@ikatun.com. + NEW JOB: kanarinka has left software engineering to become the Associate Director of Art Interactive in Cambridge, MA. Art Interactive's mission is to provide a public forum that fosters self-expression and human interaction through the development and exhibition of art that is contemporary, experimental, and participatory. Check out the current show - "Sonalumina-13" by Jeff Talman, a site-specific sound and light installation. For more info visit <a rel="nofollow" href="http://www.artinteractive.org">http://www.artinteractive.org</a> or email catherine@artinteractive.org. + NEW PROJECT: Sifting the Inner Belt: <a rel="nofollow" href="http://communitygarden.typepad.com/">http://communitygarden.typepad.com/</a> is a year-long social research and performance project conceived by Hiroko Kikuchi in collaboration with artists, activists and community residents: Jeremy Chu, Catherine D'gnazio, William Ho, Jeremy Liu, Natalie Loveless, and Kim Szeto. The final presentation is scheduled for the summer 2005 at BCA. During the South End Open Studios last weekend, we set up a participatory booth at the Boston Center for the Arts. This was one of the series of performance interventions and projects which will observe the culture of the South End neighborhood with an emphasis on creating a bridge between the Boston Center for the Arts and the Berkeley Street Community Garden. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 9.22.04 From: Ivan Pope <ivan@ivanpope.com> Subject: First BETA showcase: Call for Submissions First BETA showcase: Call for Submissions (Please forward this call Far & Wide) AlphaBETA Technology as a Slave to Art 30th & 31st October 2004 Brighton, East Sussex, UK The first BETA open showcase, bringing a diversity of technology based artworks to the public in a new and unique manner. BETA calls for the submission of work for a two day exhibition at Brighton Fringe Gallery. Our aim is to show self-selected art with technology work for a day and a night of interaction, demonstration, networking, gaming, sonic art, projection, music and beer. We are looking for work that can fit within the space and be installed for two days only. We are attempting to expand ways of showing work and the audience that sees them. We would welcome submissions of anything that can fit within a gallery space and has a self-defined technology component. We are hoping for a range of standalone screen based, network, interactive, installed, sound, light, experimental works where the creators bring along their own kit and install the piece on site. We will also be scheduling projected work and sound and performance works for the evening. We are now calling for work in the following categories. * Screen and pc based work (artists to bring their own machine along and install for event) * Floor based work (could be anything from a pc on a stand to a standalone sculpture, artist to bring work and install) * Works for projection (work can be submitted in specified formats, work will be projected during event) * Small installations (there are several specific spaces within the space that would take small site specific installations, artists to bring and install work, see website for more details of spaces) * Sound and performance works for evening live event Note that this is a BYO (Bring Your Own) event and all participants will have to be present to set up their own work. There will be a setup day on the Friday. Please send submissions of max 500 words by email with a max of 1mb attachments or a link to web information. Deadline for submissions midnight Friday Oct 8th submissions@betagroup.org <a rel="nofollow" href="http://www.betagroup.org">http://www.betagroup.org</a> <<a rel="nofollow" href="http://www.betagroup.org/">http://www.betagroup.org/</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 9.21.04 From: Rhizome.org <artbase@rhizome.org> Subject: Just added to the Rhizome ArtBase: Looptracks by Conor O'Boyle Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?27872">http://rhizome.org/object.rhiz?27872</a> + Looptracks + + Conor O'Boyle + Looptracks is an exploration of digital media which makes use of the computer's ability to layer, trigger and interrupt sound and animation in real time. Playing with Looptracks is in some ways reminiscent of playing a musical instrument, or using a DJ's turntables. However, the experience is as much about visuals as it is about sound. Fast moving visuals slide across the screen with a feeling speed and flow. A sense is created of being able to reach into this flow and control it, interrupt it or change its direction. The more the user plays with the media available the more sound and animation is unlocked. In this way the process of editing is combined with the process of navigation. The purpose is to blur the boundary between the performance and passive reception of digital media. The user must perform the piece in order to navigate through it, a process which is designed to be enjoyable. + + + Biography I am a graphic designer who is also works with sound, music, animation and video. I live and work in Dublin Ireland. I first developed an interest in computer technology as a student at the National College of Art and Design in Dublin. During this time I became particularly interested in the creative possiblities of the Internet. After completing my degree Visual Communications in 1994 I worked for a while as a print designer but gradually became more and more interested in digital media. In 1997 I completed a Masters of Science degree in Multimedia Systems at Trinity College Dublin. Since then I have worked as an interactive designer and have created designs for a variety of media including, video, print, CD-Rom, websites and interactive museum installations. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. Date: 9.24.04 From: Jonah Brucker-Cohen <jonah@coin-operated.com> Subject: Report from Ars Electronica 2004 Report from Ars Electronica 2004 Linz, Austria Sept 2-7, 2004 By Jonah Brucker-Cohen (jonah (at) coin-operated.com) This year¹s Ars Electronica festival was a reflection on the history and progression of media arts throughout the last 25 years of the festival¹s existence. The theme was ³TIMESHIFT: The World in 25 Years², a homage to the importance and prominence that digital art practice has had not only within the creative spectrum but also its dissemination through multiple disciplines and cultures. Over six days, the festival attempted to provide a structural coherence to the performances, exhibitions, conferences, and special events that comprised its program. This was evident in the diverse range of speakers and exhibitors including a large show of student work from Japan¹s IAMAS and Ravensbourne College in the UK, and a diverse mixture of symposium speakers. The festival began with the ³Language of Networks² exhibition and conference examining the proliferation of networks, maps, and social software. Brian Holmes spoke about his research on the geography of information flow and urban cartography. Josh On extrapolated on this by placing the importance on the people enveloped in a network as an approach of studying networks. A pivotal moment was when he exclaimed, ³Saying we live in a networked society is meaningless, it¹s like saying we live in a social society.² The TIMESHIFT symposium was curated by Michael Naimark and based around the four themes of Progress, Disruption, Spirit, and Topia. Each topic featured a younger revisitor of the Ars archive and four ³senior² experts in the field who give larger thematic talks and predictions about what might transpire over the next 25 years. Beginning with ³Progress², Roger Molina, editor of Leonardo, spoke on knowledge and how future directions in science are based on socially derived imperatives. He presented an ³ontological challenge² that attempts to make us question how our universe is constructed and interpreted. Peter Weibel, director of the ZKM, asked how we can predict progress in the arts as the industrial revolution provided an impetus for creative expression by allowing people to see the world differently, such as viewing flowers as flowing dots out the window of speeding trains. However, he believes that humans have the final say and that computers cannot improve our own inherent intelligence. Ester Dyson¹s talk compounded the belief that we might be entering information overload. She said that progress rests on finding, managing, and disseminating information we already have access to on a global scale. Looking like a Technicolor enigma on a broken video conference was Ismail Serageldin of the Library of Alexandria who reminded the audience that progress occurs locally. I moderated the ³Disruption² section, and attempted to give an overview of projects from the Ars archive that illustrated this theme through topics ranging from collective action to critical geographies. Celebrity blogger, Joi Ito spoke on how media is disseminated through the blog-o-sphere as information that is somewhat relevant to a mass audience but then gets pushed to the forefront of the public eye. He showed some humorous anti-bush and file sharing advertisements as examples of how people are taking media into their own hands through humorous remixes. Artist Krzysztof Wodiczko then spoke on his installations that function as armaments to immigrants while David Turnbull injected a debate on how indigenous communities map their histories. Science fiction writer Bruce Sterling provided the comedy and rants on the panel speaking on the wastefulness of ³blobjects² (consumer goods designed on workstations) and ³spimes² (gadgets with infinite functions). He pointed to his Palm TREO, calling it a gizmo or the defining artifact of our time that has ³crazy² amounts of functionality, but little inherent value. The other two groups of speakers in the ³Spirit² and ³Topia² panels attempted to challenge traditional notions of how communities use technology and future predictions of how sustainable technological developments might have an impact on our survival. Geetha Narayanan of Srishti School of Art, Design, and Technology in Bangalore, India gave an impressive presentation on how lived experience has to be an integral part of any discussion on human well being by giving examples of communities in rural India that exemplified this ethic in practice. Sherry Turkle of MIT, followed this by rejecting the notion that technology is merely a tool, positioning it as objects that make us reflect ourselves. Her focus on projecting ³self² onto ³technology² (other) was illustrated in ³the power of the transitional object² which pits objects, devices, and code as extensions and integral parts of the human body and experience. These debates asked the question of how culture and experience are integrated into what it means to be an individual and act autonomously. Between the hectic schedules of talks and events, I managed to sneak in some fast food, and wander over to the various venues. Some highlights included the retro-fitted O.K. center¹s installation of Ben Rubin and Mark Hansen¹s, ³Listening Post², which consisted of hundreds of LCD panels displaying live chat room text. Also of note was Feng Meng Bo¹s ³Q4U² which features the artist inside a Quake mod and allows members of the public to ³play² him. Across town, the Time¹s Up ³Sensory Circus² was a metal-clad amusement park of physical gaming meets gothic theme park. My favorite ride was ³Sonic Pong² a projected pong game you played by leaning your body left and right on hydraulic panels. The signature performance of the event, ³Apparition² featured a disappointing interactive graphics performance with dancers and real-time projections mapped onto their bodies. Despite the promise of live performance and interplay between sensing movements and producing on-screen feedback, the performance seemed to get lost in the awe of technology and forget why it was being used. This was upstaged by Julien Maire¹s ³DEMI-PAS², a brilliant mechanized slide show that uses low-tech gears. motors, and water drops to create vivid projected animations. As this year¹s festival came to a close, it seemed less self-congratulatory than it has in the past. Since many of the invited speakers had never met before or were first-timers to the festival, the discussions and interactions seemed to avoid their previous cliquish nature. It seemed as if the themes this year brought out the need to experiment with re-appropriation of existing methods and technology to redefine their intended use. This was excellently illustrated when interactive video pioneer Myrun Kreuger explained how he created the world¹s first computer projection in the 1970s by aiming a camera at the computer screen. From hacking Google News with Marcus Weskamp¹s ³NewsMap² to reinventing copyright with Creative Commons, TIMESHIFT presented a clear need to experiment with the now to discover how the next 25 years might evolve. In the end, it seemed obvious that Ars itself might lose relevance in the next century if it fails to continually question its own existence. 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 9, number 39. 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>. 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