RHIZOME DIGEST: 3.7.07

discussion

Posted March 6 2007 19:00

RHIZOME DIGEST: 3.7.07

RHIZOME DIGEST: March 07, 2007 Content: +note+ 1. Lauren Cornell: Rhizome Benefit Concert on April 16 +opportunity+ 2. rhizome@mail.slab.org: cfp: Loss Livecode festival, Sheffield 20-22 July 2007 3. levente kozma: Call for Video Submissions - SIMULTAN03 | video and new media art festival 4. emwod33@hotmail.com: Call for Submissions - Dislocate07 - Tokyo 5. ana otero: CALL FOR PAPERS - Virtual Reality & Museums 6. Aaron Miller: The Experimental Television Center International Summer Workshop 7. kdermody@sfai.edu: Visiting Faculty - Film, Photography, Design + Technology +announcement+ 8. ana otero: NOW. Meetings in the Present Continuous 9. joy.garnett@gmail.com: Cultural Politics: March issue 10. Marisa Olson: Fwd: Video Vortex: Responses to YouTube (event & discussion list) 11. Franco Mattes: Eva and Franco Mattes reenacting Joseph Beuys' "7000 Oaks" 12. Turbulence: Turbulence Commission: "DISCO-NNECT: An Experimental Video Podcast" by Abe Linkoln, with guest remixers Jimpunk and Subculture + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Lauren Cornell <laurencornell@rhizome.org> Date: Mar 15, 2007 Subject: Rhizome Benefit Concert on April 16 Dear all, On behalf of Rhizome, I'd like to invite you to our Benefit Concert on April 16, 2007. The concert will feature three innovative bands: Gang Gang Dance, Professor Murder and YACHT, all of whom blend a wide range of musical influences and instruments to create original sounds. The Benefit will take place at the Hiro Ballroom in the Maritime Hotel, 371 West 16th Street. If you are in or near New York, we hope you can attend! Tickets are $75 - higher-level supporter or vip/ $35 - general public/ $25 - Rhizome Member and groups. Rhizome Members can bring up to ten guests at the discounted member rate. Details and ticket purchase <a rel="nofollow" href="http://www.rhizome.org/benefit">http://www.rhizome.org/benefit</a> Thanks, Lauren – Lauren Cornell Executive Director Rhizome at the New Museum + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Organizational memberships with Rhizome Sign your library, university or organization up for a Rhizome organizational membership! Give your community access to the largest online archives of digital art and new media art-related writing, the opportunity to organize member-curated exhibitions, participate in critical discussion, community boards, and learn about residency, educational and professional possibilities. Rhizome also offers subsidized memberships for qualifying institutions with limited access to the Internet. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Ceci Moss at ceci@rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: rhizome@mail.slab.org <rhizome@mail.slab.org> Date: Mar 14, 2007 Subject: cfp: Loss Livecode festival, Sheffield 20-22 July 2007 Call for proposals for a Livecoding festival/conference in Sheffield, UK this Summer… ====================================================================== _ ___ ____ ____ _ _ ____ _ | | / _ \/ ___/ ___| | | (_)_ _____ / ___|___ __| | ___ | | | | | \___ \___ \ | | | \ \ / / _ \ | / _ \ / _` |/ _ \ | |__| |_| |___) |__) | | |___| |\ V / __/ |__| (_) | (_| | __/ |_____\___/|____/____/ |_____|_| \_/ \___|\____\___/ \__,_|\___| ———————> LOSS Livecode Festival <———————– Sheffield, UK – 20-22 July 2007 <a rel="nofollow" href="http://livecode.access-space.org/">http://livecode.access-space.org/</a> In association with Access Space, TOPLAP and lurk When we improvise music, we are creating music while it is being performed. "Live Coding" is the creation of software while it is being executed; the software in turn generating music or video. Thanks to dynamic programming languages, the live coder is able to modify and extend their program without restarts, their music and/or visual growing with the code that describes it. This way of working allows instant results for every sourcecode edit. Programming becomes a fast, creative process - expressive enough that a whole audio/visual performance may be created as software. Live Coding began during the 1980s, primarily with FORTH and Lisp. In recent years new live coding environments and languages such as Chuck, Fluxus, Impromptu and SuperCollider 3 have appeared, with enthusiastic communities growing around them. Live Coding performances have also used Smalltalk, PureData, Scheme, Perl, Haskell, Ruby, Python… In early 2004 the "Temporary Organisation for the Promotion of Live Algorithm Programming" (TOPLAP) was formed to support open dialog between all live coders. Since its early beginnings in a smoky bar in Hamburg, TOPLAP has reached 178 members worldwide, gaining coverage in mass media and collaboratively organising several international meetings. In 2005 Access Space initiated the L.O.S.S. project (<a rel="nofollow" href="http://loss.access-space.org">http://loss.access-space.org</a>) to support free music creativity and distribution. It featured a series of commissions leading to a Creative Commons licensed audio CD and repository website produced entirely with open source tools. Continuing their series of LOSS commissions and events, Access Space have teamed up with TOPLAP and lurk to create a three day international festival, bringing live coding musicians and video artists together to explore and showcase new approaches in live performing and participatory arts. —> CALL FOR PARTICIPATION <—————————————– Your performance and/or presentation proposal is called for. For the latest version of this call, please refer to <a rel="nofollow" href="http://livecode.access-space.org/">http://livecode.access-space.org/</a> Commissions are available to help realise ambitious projects and performances. Presenters and performers will gain free entry throughout the festival, and those without institutional support may apply for a small bursary. —> IMPORTANT DATES <— * 14th March - Call for participation * 14th April - Deadline for proposals * 1st May - Notification of acceptance * 16th June - Copy deadline for proceedings (to be confirmed) * 20th-22nd July - Conference - schedule TBA —> PRESENTATIONS <— Short (up to 20 minute) presentations during a day long symposium. The remit is broad, but possible subjects may include * A demo of a novel live coding language/environment * Historical context of live coding * Live coding without computers * Critique of live coding practice * Live patching * Reflections on live coding experiences * Adapting general purpose languages to live coding * Analysis of live coding performances * Live algorithms that live code * Life coding * Portable live coding devices * Reflective/self-modifying code * Live visualisation of sourcecode * Collaborative networked live coding * … Proposals do not have to be long - however much or little you need to explain your ideas is fine. If you are unsure if you can make it, submit your idea anyway - we may be able to accommodate a small number of remotely streamed presentations for those unable to attend in person. There will also be time for a brief (around three hours) introductory workshop. Please indicate if you would like to be involved. —> PERFORMANCES <— There will be at least two evenings of performances, ranging from 10 to 40 minutes. Please outline what you would like to perform, including technical requirements. We plan to have at least three data projectors, many pairs of small speakers for participatory improvisations, enough headphone amps for 100 pairs of headphones, and a big stereo sound-system for 'traditional' performances. Please state your preference, and feel free to be creative (see commissions below). We are also thinking about a pre-event in London, UK some days before the festival, let us know if you would like to take part. —> PROCEEDINGS <— If your proposal is accepted you will be encouraged to submit short texts and images for publication in the proceedings. All speakers and performers will receive a free copy at the beginning of the conference. —> COMMISSIONS <— If you would like time or resources to develop a new way of performing, some new language or software feature, or something else interesting then please include a short estimated budget in your brief, which may include an artist fee. Note that due to funding constraints the project should have a strong audio component. The maximum commission will be of £1000 (about 1470 euro). —> BURSARY <— A small bursary is available to contribute towards travel and accommodation. Please include an estimated budget for your attendance and we will apportion this money based on need. Money is however very short, if you are a member of an academic institution we are keen to help you apply for local funding. —> PROPOSAL SUBMISSION <— Preferably in plaintext, but all common formats are accepted. Supporting material including web links to previous work, audio and video files are welcome but not mandatory. Proposals should arrive before midnight, 14th April 2007. Proposals are accepted by email (preferred): livecode@access-space.org Or by post: LOSS Livecode c/o Alex McLean Access Space 1 Sidney Street Sheffield S1 4RG Royaume Uni If sending via email please do not include large attachments - either include URLs or contact us in advance. If sending via post include an email address so that we may confirm receipt. —> MAILING LIST <— As members of the "keep avant garde internet tidy" campaign, we keep our cross posts to a minimum. To continue receiving news of the conference, please sign up to our mailing list: <a rel="nofollow" href="http://lists.lurk.org/mailman/listinfo/lc/">http://lists.lurk.org/mailman/listinfo/lc/</a> —> ABOUT ACCESS SPACE <— Based in Sheffield, Access Space is the UK's first "Free Media Lab" - a community space equipped with locally recycled computers running free, open source software. It provides a framework, resources and support for self-directed learning, arts and creativity. Taking part is totally free, and anyone can walk in and contribute: <a rel="nofollow" href="http://access-space.org">http://access-space.org</a> —> FOR MORE INFORMATION <— Don't hesitate to email with questions to the submission address above. The conference website is not yet ready, but more information about live coding may be found at the official TOPLAP wiki: <a rel="nofollow" href="http://toplap.org/">http://toplap.org/</a> Hope to see you in July! LOSS Livecode is funded by Arts Council England, Yorkshire and The PRS Foundation. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: levente kozma <mr_k@simultan.org> Date: Mar 16, 2007 Subject: Call for Video Submissions - SIMULTAN03 | video and new media art festival Call for Video Submissions - SIMULTAN03 | video and new media art festival SIMULTAN is an annual festival for video and new media art, which takes place in May, in Timisoara , Romania. Simultan03 exploits the idea of audio-visual and socio-cultural Interference, the way in which technology and society give rise to new forms of artistic expression by using the new media. SIMULTAN03 is open for submissions of innovative works which use technology in a creative, ingenious way or are based on a peculiar, unusual story. Works can be narratives, documentaries, animations, vj-ing movies and experimental motion graphics. Maximum of 2 video works/artist or group, each no longer than 5 minutes. TECHNICAL DETAILS, APPLICATION FORM AND SUBMISSION PROCEDURE please find on: <a rel="nofollow" href="http://www.simultan.org/en/2007/callforentry.htm">http://www.simultan.org/en/2007/callforentry.htm</a> The deadline for the submission of works and applications is April 10th, 2007 (postmark). Entries are juried. After the event, a DVD/catalogue will be published. Each of the admitted participants will receive a DVD/catalogue by the end of 2007. No entry fee! For additional information please contact: Levente Kozma, email: simultan(at)simultan.org, www.simultan.org ======================= Simultan Association Str. Dimitrie Cantemir 1/B/4, 300001 Timisoara, Romania www.simultan.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: emwod33@hotmail.com <emwod33@hotmail.com> Date: Mar 16, 2007 Subject: Call for Submissions - Dislocate07 - Tokyo Dislocate 07 - Exhibition and Symposium - Tokyo 23rd July – 5th August Ginza Art Laboratory www.dis-locate.net info@dis-locate.net Deadline for proposals 7th May A mesh of infinite connections engulfs the very point at which we stand, longitude and latitude weave in and out, an entanglement in which our coordinates constantly shift and each footstep is one of endless displacement. Fibres of technology cocoon us in indeterminate spaces, layer our realities and transport us to elsewhere. Enveloped in our personal technologies, we are able to escape the limitations of our surroundings, but when we emerge from our enclosure do we know where we are? 2006 saw the launch of Dislocate a project exploring the relationship between art, technology and our locality. This year the events will focus on our ability to reconnect with our location, seeking to explore, question and debate how can technology be used to heighten our engagement with our surroundings instead of isolating us from our immediate space. When numerous places converge in one site, how do we navigate such space? How does our interaction within a given space formulate identity and how can this be communicated effectively to elsewhere? Dislocate aims to explore the potential new media has to increase our awareness of our environment, enhance participation in our locality and community and transform our perceptions of the space we inhabit. Does new media enable us to plug into our locality, or is disconnection inevitable? As mobile and wireless technologies increasingly enable us to transcend space, our electrical roots are dug up, but are the roots which bind us with a place also cut? Dislocate will call into question the necessity of an intermediary to our immediate surroundings, asking if mediation is a means of connecting or distancing, an expansion or an obstruction? Dislocate offers the space to investigate the creative and social potential of new media to engage us with our direct locality and to ask what is the importance of where we are now? Exhibition Ginza Art Laboratory 7-3-6 Ginza Chuo-ku　Tokyo 104 0061　 Koiwa Project Space 7-2-7 Minami-Koiwa Edogawa-ku Tokyo 133-0056 Taking place over two sites, of contrasting locality, this exhibition aims to present a particular relationship to its surroundings, revealing new perspectives of our immediate space, engaging with and investigating this site while also fusing with spaces beyond. Works will include: Installation, image, video, audio, performance, locative, mobile, interactive and web-based media and more Dislocate is particularly interested in presenting works which extend beyond the gallery space. Symposium Dislocate presents an international symposium with confirmed delegates from UK, Germany, Republic of Korea, Indonesia and Japan further contributing to the discourse surrounding the interplay of art, technology and location. Artists and researchers will have the opportunity to present their recent projects but will be encouraged to relate this to a wider context and engage in a critical debate, relating their own perspectives on these issues. Discussion and dialogue between all participants, both speakers and audience is key to this event. This symposium aims to explore what is meant by ‘locality’, how does new media impact upon our notion of space, our interaction with our surroundings, and how this can be used to transform communities, both virtual and physical. The conflicts and integrations which emerge as separate spaces collide in one site will be examined raising concerns of homogenization and de-contextualisation alongside the awareness of local identity and culture. This will include a scrutinization of sensitive, meaningful exchange between different localities facilitated through new media and the manifestations which reconnection or further connection with our environment can take. Workshops In a series of workshops to be held through these events artists will have the opportunity to present concepts and products to the public and investigate with them in an active form of research and collaboration. The focus of these workshops will be upon the exploration of the surrounding environment, investigating its many layers and connections with other spaces. Workshops will enable direct participation and engagement with the locality and may also draw attention to our simultaneous interaction with elsewhere. How to submit If you are interested to participate in any of the above events please send proposals to: Dislocate Ginza Art Lab 7-3-6 Ginza Chuo-ku　Tokyo 104 0061　 Japan Deadline is 7th May Please state clearly in your application – Name: Address: Phone Number: Email address: Website: Project Title: Outline of Project: Technical Requirements: *moving image works should be sent in mini DV format or avi data DVD format Please note we will not be able to support travel and accommodation costs Please contact info@dis-locate.net with any further enquiries Dislocate is supported by The Asia-Europe Foundation www.asef.org and The Sasakawa Foundation www.gbsf.org.uk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: ana otero <4anaotero@gmail.com> Date: Mar 18, 2007 Subject: CALL FOR PAPERS - Virtual Reality & Museums :: Virtual Reality & Museums :: Call for Papers :: Deadline: Friday April 27, 2007 Contributions are welcomed for a new book addressing the construction and interpretation of virtual artefacts within virtual world museums and within physical museum spaces. Particular emphasis is placed on theories of spatiality and strategies of interpretation. The editors seek papers that intervene in critical discourses surrounding virtual reality and virtual artefacts, to explore the rapidly changing temporal, spatial and theoretical boundaries of contemporary museum display practice. We are especially interested in spatiality as it is employed in the construction of virtual artefacts, as well as the roles these spaces enact as signifiers of historical narrative and sites of social interaction. We are also interested in the relationship between real-world museums and virtual world museums, with a view to interrogating the construction of meaning within, across and between both. We welcome original scholarly contributions on the topic of new cultural practices and communities related to virtual reality in the context of museum display practice. Papers might address, but are in no way limited to, the following: * Authenticity and artificiality * Exploration and discovery * Physical vs virtual * Representation/interpretation of virtual reality artefacts - as 3D spaces on screen or in a physical gallery * Museum visiting in virtual space * Representation of physical museum spaces in virtual worlds and their relationship to cultural definitions of museum spaces. Please send a proposal of 500-750 words and a contributor's bio by Friday April 27, 2007. Authors will be notified by Thursday May 31, 2007. Final drafts of papers are due by Monday October 1, 2007. Please send your proposal to: Tara Chittenden Room 201 Strategic Research Unit 113 Chancery Lane London WC2A 1PL Or via email: tara.chittenden[at]lawsociety.org.uk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Aaron Miller <modularia@yahoo.com> Date: Mar 18, 2007 Subject: The Experimental Television Center International Summer Workshop The Institute for Electronic Arts at the School of Art and Design at Alfred University is pleased to announce an upcoming summer course in electronic media production: The Experimental Television Center International Summer Workshop, May 30-June 10, 2007 This immersive and collaborative twelve-day video and sound art workshop will take place at the legendary Experimental Television Center in Owego, New York. The unique image processing system at the ETC facilitates interactive relationships between older historically important analog instruments and new digital technologies including: custom-built equipment by David Jones, Dan Sandin, Nam June Paik, and others; new and vintage analog audio/video processors and synthesizers; Max/MSP and Jitter; multiple computers; keyers, switchers, colorizers, and other hardware; numerous studio cameras; and dozens of other tools, all of which are connected through an intelligent open-ended patch system. A primary goal of ETCISW is the exploration of video as a contemporary electronic arts medium and the promotion of collaborative art practices. For more information, please visit <a rel="nofollow" href="http://www.etcisw.com">http://www.etcisw.com</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: kdermody@sfai.edu <kdermody@sfai.edu> Date: Mar 20, 2007 Subject: Visiting Faculty - Film, Photography, Design + Technology The San Francisco Art Institute Positions Announcement College Summary: Founded in 1871, the San Francisco Art Institute is one of the country’s oldest and most prestigious schools of higher education in contemporary art. For over 135 years, SFAI has been known for producing generations of students, artists, scholars, and creative leaders who have profoundly shaped the cultural life of the United States and abroad. SFAI’s innovative and interdisciplinary curriculum is informed by a strong tradition of rigorous studio work and research in all the visual arts and prepares students to be engaged world citizens—as creative thinkers, artists, activists, curators, and visionaries. SFAI believes the best education gives an incentive and orientation for invention and examination. It provides us with the capacity to ask good questions, the tools for self-knowledge and self-liberation, and the perspective to transform our ideas and positively impact the world that surrounds us. Because the practice of making and engaging with art intensifies and focuses all of these experiences, the work of an artist must remain open to the broader culture. Art and culture can, in fact, provide access to new ways of thinking about knowledge. The School of Studio Practice offers BFA and MFA degrees (academic year and summer options) and a Post Baccalaureate Certificate. It is comprised of 7 areas of study: Design and Technology, Film, New Genres, Painting, Photography, Printmaking, and Sculpture. The School of Interdisciplinary Studies offers degree programs in History and Theory of Contemporary Art (BA, MA), Urban Studies (BA, MA), and Exhibition and Museum Studies (MA). The School of Interdisciplinary Studies holds under its umbrella studies in the humanities, social science, art history and critical theory, English, writing, mathematics, and science. It also houses SFAI’s four centers of interdisciplinary study: Public Practice, Art + Science, Media Culture, and Word, Text, and Image. In addition to offering undergraduate, graduate, certificate programs, SFAI and a range of continuing education and public programs. The School enrolls more than 670 students in the degree program and employs 37 full-time and! approximately 80 part-time faculty members. Further information on the school can be found at: www.sfai.edu The San Francisco Art Institute announces full-time, Visiting Lecturer faculty positions in the following areas to commence in 2007 or 2008. Salary is commensurate with experience. Department of Film The San Francisco Art Institute seeks applicants for a one-year (renewable) full and part-time Visiting Lecturer positions in the Film department to commence in 2007 or 2008. Applicants should have an advanced degree with at least three years of college-level teaching experience, and significant exhibition record and/or related professional work. The ideal candidate will have extensive experience in cinema practices including film production, video or new media cinematic forms, networks/online genres, installation, criticism, theory and history. We are seeking individuals capable of addressing narrative formats as well as a range of documentary genres. Candidates are also being sought in critical theory and history of cinematic forms. The ability to bridge multiple disciplines and contribute to developing an integrative curriculum is required. Also, the successful candidate should have experience working in collaborative, multidisciplinary teams within a professional practi! ce. Deadline for priority consideration is May 1, 2007. Applications will be reviewed until the position(s) is filled. Responsibilities: Candidates will be required to teach up to four courses per year. Core teaching responsibilities include introductory through advanced courses at the undergraduate (BA, BFA) and graduate (MA, MFA, PBacc) levels; Candidates are required to participate curricular development and work across the studio departments and interdisciplinary programs. Qualifications: Preference given to candidates with an advanced degree and a strong track record of teaching and research at the university level and as well should have an active professional practice and international recognition for their work. Reports to: Department Chair Salary: Commensurate based on qualifications Department of Design and Technology The Department of Design + Technology at the San Francisco Art Institute seeks applicants for the following one-year visiting lecturer positions (renewable) with a special emphasis in media design in the Design + Technology department. Visiting Lecturer in Media Design - Applicants should have an advanced degree with at least three years of college-level teaching experience, and significant exhibition record and/or related professional work. Encouraged to apply are candidates with demonstrated proficiency in describing and responding to the audiences and contexts that media design solutions must address including recognition of the physical, cognitive, cultural, and social human factors that shapes media within a global framework. She/he will teach design courses that integrate collaborative, cross-disciplinary approaches to design thinking and creative problem solving, human-centered design, information design, experience design, interactive and motion design, typographic fluency, image, visual literacy and culture understanding, design history and design writing and research. Knowledge of the practical and theoretical communication design issues surrounding digital networked media, interactive and time-b! ased communication is desired. Also, the successful candidate should have experience working in collaborative, multidisciplinary teams within a professional practice. Responsibilities: Core teaching responsibilities include introductory through advanced courses at the undergraduate (BA, BFA) and graduate (MA, MFA, PBacc) levels. Qualifications: Preference given to candidates with an advanced degree and a strong track record of teaching and research at the university level; applicants should have an active professional practice and recognized in their field for their scholarly and/ artistic work. Reports to: Department Chair Salary: Commensurate based on qualifications Visiting Lecturer in Systems of Design – Applicants should have an advanced degree with at least three years of college-level teaching experience and notable professional distinction in the systems of design. Applications are invited from candidates with recognized achievements and proficiency in describing and responding to the audiences and contexts that design solutions must address, including acknowledgment of the physical, cognitive, cultural, and social human factors that shape design decisions within a global framework. The ideal candidate will be a leader in the field with an interest in the intersection of design disciplines, the convergence of critical research and theory, ambient technology, embodied technology, sustainable design practices, and the future of product design. Candidates with professional design practice and research in areas such as architecture, media design, physical computing, critical theory and history of art and design are highly desirable.! The ability to bridge multiple disciplines and contribute to developing an integrative design curriculum is required. Also, the successful candidate should have experience working in collaborative, multidisciplinary teams within a professional practice. Responsibilities: Core teaching responsibilities include introductory through advanced courses at the undergraduate (BA, BFA) and graduate (MA, MFA, PBacc) levels. Qualifications: Preference given to candidates with an advanced degree and a strong track record of teaching and research at the university level; applicants should have an active professional practice and recognized in their field for their scholarly and/ artistic work. Salary: Commensurate based on qualifications Department of Photography The San Francisco Art Institute seeks applicants for a one-year (renewable) full-time Visiting Lecturer positions in the Photography department to commence in 2007 or 2008. Applicants should have an advanced degree with at least three years of college-level teaching experience, and significant exhibition record and/or related professional work. Encouraged to apply are candidates with demonstrated fluency in a range of digital and analog media methods, materials, and strategies at all levels of practice. The ideal candidate should also have a broad historical and theoretical background of the medium specifically within the changing global cultural framework and be capable of addressing a wide range of genres including documentary, conceptual, installation, web-based etc. Also, the successful candidate should have experience working in a collaborative, cross-disciplinary mode. The ability to bridge multiple disciplines and contribute to developing an integrative curriculum i! s required. Responsibilities: Candidates will be required to teach up to four courses per year. Core teaching responsibilities include introductory through advanced courses at the undergraduate (BA, BFA) and graduate (MA, MFA, PBacc) levels; Candidates are required to participate curricular development and work across the studio departments and interdisciplinary programs. Qualifications: Preference given to candidates with an advanced degree and a strong track record of teaching and research at the university level; applicants should have an active professional practice and recognized in their field for their scholarly and/ artistic work. Reports to: Department Chair Salary: Commensurate based on qualifications ———————————————————————————————————————————————————————————————— Application Instructions: Interested candidates should submit a letter of interest with a statement of teaching philosophy and research interests; examples of syllabi, curriculum vitae, examples of written and/or visual work on slide, DVD, CD-Rom, or print publication; names of three professional references with phone numbers. If you would like your materials returned, please include a SASE to: The San Francisco Art Institute Attention: Area Manager for Film, Design and Technology, or Photography 800 Chestnut Street San Francisco, California 94133 We will only accept applications by mail. No electronic applications or telephone calls will be accepted. Application deadline: Priority consideration is May 1, 2007. Applications will be reviewed until the position(s) is filled. The review of applications will be ongoing and materials will be kept for future possibilities unless applicants indicate otherwise. Please no phone calls. The San Francisco Art Institute is an equal opportunity employer and considers the diversity of its students, faculty and staff to be an essential characteristic of an academic community committed to excellence in education. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: ana otero <4anaotero@gmail.com> Date: Mar 14, 2007 Subject: NOW. Meetings in the Present Continuous NOW. Meetings in the Present Continuous Centre de Cultura Contemporània de Barcelona (CCCB) >From 22 to 24 March 2007 NOW is a reflection on the present based on the scientific, technological, artistic, social and spiritual transformations that are taking place at the start of the 21st century. It is a process of research, creation and dissemination that aims to bring together different local and international agents involved in the actions that are promoting a change of paradigm in the information and knowledge society and in globalised cultures. NOW does not adhere to a specific format, although it may be made manifest in different genres and formats. It has been conceived as a work platform with different objectives in the following thematic areas: OPEN SCIENCE, CYBERSPHERE, THE ECO FACTOR, ART NOW, THE PSI PARTICLE, NEW ACTIVISM AND EMERGING CULTURE. Free admission to all activities Prior registration for workshop: On tel. +34.933.064.133 or cursos@cccb.org. <a rel="nofollow" href="http://www.cccb.org/now/ang">http://www.cccb.org/now/ang</a> ——————- PROGRAMME ——————- | NEW ACTIVISM | A world without copyright? The abolition of copyright and a level playing field for the production and distribution of the arts Joost Smiers Presented by Daniel García Andújar Thursday 22 March, 7 p.m. The most spectacular aspect of Un mundo sin copyright (A World without Copyright) by Joost Smiers, is maybe in its title. However, there is a broader social, economic and cultural framework within which this eye-catcher should be understood. Do we like living in a world in which the main tools of our cultural communication are controlled by only a few conglomerates (by copyright, and by the ownership of the means of production, distribution and promotion), and where the real existing diversity has been pushed out of our awareness, and where most of the artists cannot make a living from their work? A fundamental change is necessary, and possible. DR. JOOST SMIERS, PROFESSOR (EM.) OF POLITICAL SCIENCE AT THE UTRECHT SCHOOL OF THE ARTS (THE NETHERLANDS), PUTS FORWARD THE STRATEGIES OF THAT CHANGE IN A DIALOGUE WITH AUDIENCE. | EMERGENT CULTURE | Speciesism and the moral consideration of animals Peter Singer and Jesús Mosterín Presented by Marta Tafalla Friday 23 March, 7.30 p.m. The mafia principle demands absolute solidarity and devotion and even willingness for sacrifice by the group itself, combined with a total disdain and lack of consideration towards other groups. The mafia principle, applied to race, leads to racism; applied to the nation, leads to nationalism; and applied to the species, leads to speciesism. Moral anthropocentrism is the speciesism of the human race, which combines noble sentiments towards our peers with an abject lack of respect and moral consideration towards other creatures. PETER SINGER, ONE OF THE MOST INFLUENTIAL AUTHORS IN THE BIOETHICS FIELD, TALKS VIA VIDEOCONFERENCE WITH JESÚS MOSTERÍN, CHAIR PROFESSOR OF LOGIC AND PHILOSOPHY OF SCIENCE AND HONORARY PRESIDENT OF PROYECTO GRAN SIMIO (GREAT APE PROJECT). | OPEN SCIENCE | (in)tangibles: nanoperception and quantum world David Peat and Victoria Vesna Coordinated by Raquel Paricio Saturday 24 March, 7.30 p.m. Making what happens on a nanometric scale tangible with our senses makes us more aware of an implied order unknown in everyday life. In the art and science sphere, it is perception on different levels that can respond to the controversies between the material and the metaphysical which currently have both cultures trapped. An approach from the most subtle perception in artistic work to the precepts of quantum physics could replace reductionist materialism with a vision that allows a new focus on the art/science binomial, and also spirituality without dogmas for the contemporary world. DAVID PEAT, ONE OF THE PIONEERS IN CONNECTING QUANTUM PHYSICS AND PSYCHOLOGY, TALKS WITH ARTIST VICTORIA VESNA, WHO IS CONCERNED BY THE INFLUENCE OF SCIENTIFIC AND TECHNOLOGICAL INNOVATION ON THE PERCEPTION OF REALITY. | THE ECO FACTOR | Darwin’s nightmare Hubert Sauper, France, Austria and Belgium, 2004, 107’, ENGLISH WITH SPANISH SUBTITLES. Saturday 24 March, 5 p.m. > Auditorium Darwin’s Nightmare denounces the devastating effects that may be caused by the artificial alteration of trophic chains and their influence on the most tragic aspects of globalisation. The clandestine introduction of a predatory fish (Nile perch) into Lake Victoria, the largest tropical lake in the world, caused the extinction of more than 200 species and at the same time allowed the flowering of a private fishing industry created exclusively for foreign markets. Hubert Sauper explains the heartrending situation of 25 million people who live near the lake, most of whom have ended up exposed to conditions of extreme poverty, malnutrition, prostitution and violence. Considered one of the best European documentaries of recent years, Darwin’s Nightmare is not only the horrific tale of a brutal spoliation, but also directly tackles First World responsibility for Africa’s bleak present. ——————- SPACES ——————- | QUERIES AND DOWNLOADS | Transmit – Distribute – Share Platoniq Open Office 22, 23 and 24 March, from 5.00 p.m .to 9.30 p.m. Platoniq is an international collective of cultural producers and software developers. Its work focuses on possible social uses of technology and networking, seeking to develop strategies that generate new forms of communication, training and citizen’s organisation. Since 2003 it has been one of the groups collaborating with the Centre de Cultura Contemporània de Barcelona and in the last year has obtained two prizes for its project Burn Station at the Transitio Electronic Arts Festival in Mexico City and at the Transmediale digital culture festival in Berlin. Currently it is running three lines of research and development in the field of culture applied to new media and experimental public formats that relate training, production and dissemination. 1. Open Server: online audio transmission tool and media archive: www.openserver.cccb.org 2. Burn Station: distribution system for music and radio programmes under copyleft licences in public spaces: www.platoniq.net/burnstation 3. Common Knowledge Bank: dynamics of exchange and collective production involving the free transmission of knowledge and mutual education: www.openserver.cccb.org/bcc DURING NOW, PLATONIQ WILL BE INSTALLING A TEMPORARY OFFICE WHERE VISITORS CAN GET TO KNOW THESE THREE LINES OF WORK IN DEPTH AND JOIN IN ANY OF THE TRAINING AND ORGANISATION ACTIVITIES THAT ARE CARRIED OUT. <a rel="nofollow" href="http://www.platoniq.net">http://www.platoniq.net</a> ——————- WORKSHOPS ——————- | WORKSHOP ON COPYLEFT | Run by publishers Traficantes de sueños Thursday 22 March, 5 p.m. > Free entrance with prior registration Registration: Courses Office Tel. 933.064.133 e-mail: cursos@cccb.org Traficantes de sueños was born with the aim of becoming a meeting point and forum for debate on the different realities of social movements. For this they have created an associative bookstore, a publishing company and they cooperate with alternative distribution networks. The company’s texts are published under a Creative Commons licence and with copyleft. AT NOW, BASED ON THEIR PUBLICATION COPYLEFT. MANUAL DE USO, THEY WILL BE RUNNING A WORKSHOP FOR CREATORS FROM DIFFERENT SPHERES INTERESTED IN APPLYING THIS LICENCE. <a rel="nofollow" href="http://www.manualcopyleft.net/">http://www.manualcopyleft.net/</a> ————— Place: Centre de Cultura Contemporània de Barcelona (CCCB) Montalegre, 5. 08001 Barcelona (SPAIN). Ph. +34.933.064.100. <a rel="nofollow" href="http://www.cccb.org/now/ang">http://www.cccb.org/now/ang</a> Date: From 22 to 24 March 2007 Opening times of the space: 22 March, opened from 5.00 p.m .to 9.30 p.m. 23 and 24 March, opened from 11 a.m. to 9.30 p.m. Free admission to all activities Prior registration for workshop: On tel. +34.933.064.133 or cursos@cccb.org. The CCCB reserves the right to modify the programme for reasons beyond its control. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2007 Media Archeology Festival Aurora Picture Show (Houston,TX) announces their fourth annual Media Archeology Festival: Below-Fi. Get ready for three mindbending days of audiovisual kinesis featuring hackers, benders, builders, and overall enthusiasts of the analogue aesthetic. These artists invent their own instruments of sound and light, and find new uses for technologies of the past to create future-forward entertainment. Curated by Nick Hallett, Aurora's Media Archeology: Below-Fi takes over Houston for three nights from April 19-21 at three unique venues. Performances include Bruce McClure and Ray Sweeten (Thursday, April 19 at Aurora Picture Show, 800 Aurora St.); Dynasty Handbag and Nautical Almanac (Friday, April 20, 8:30pm at Domy Bookstore, 1709 Westheimer); Tristan Perich and Quintron and Miss Pussycat (Saturday, April 21, 8:30pm at The Orange Show, 2402 Munger St.) Lighting designed by Mighty Robot. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: joy.garnett@gmail.com <joy.garnett@gmail.com> Date: Mar 16, 2007 Subject: Cultural Politics: March issue The latest issue of Cultural Politics, (Volume 3, Issue 1, March 2007) with a special section on Velocities of Power has just been published. (See Table of Contents below). As the journal's Arts Editor I am proud to draw your attention to the Field Report for this issue: "We Don't Like It As It Is But We Don't Know What We Want It To Be," a project about time, the war on terror, and architecture in contemporary Damascus by The Speculative Archive artists Julia Meltzer and David Thorne. Other artists contributing to past and upcoming "Field Reports" in Cultural Politics include Stephen Andrews, Zoe Leonard, Nancy Spero, Carrie Moyer, David Humphrey, Trevor Paglen, Paul Chan and Dinh Q. Le… Stay tuned! Joy Garnett Arts Editor Cultural Politics <a rel="nofollow" href="http://culturalpolitics.org">http://culturalpolitics.org</a> Cultural Politics Volume 3, no.1 March 2007 TABLE of CONTENTS ARTICLE Shrinking the Borders: Globalization, Culture and Belonging Graeme Turner SPECIAL SECTION ON VELOCITIES OF POWER Velocities of Power: An Introduction John Beck and Paul Crosthwaite Resistance Becomes Ballistic: Vanishing Point and the End of the Road John Beck Speed, War and Traumatic Affect: Reading Ian McEwan's Atonement Paul Crosthwaite Media Poll-itics in Canadian Elections: A Report on Accelerated Public Opinion Bob Hanke Running to Stand Still: Late Modernity?s Acceleration Fixation Donncha Kavanagh, Geoff Lightfoot, and Simon Lilley FIELD REPORT / ART WORK We Don't Like It As It Is But We Don't Know What We Want It To Be The Speculative Archive /Artists Julia Meltzer and David Thorne on time, the war on terror, and architecture in contemporary Damascus BOOK REVIEWS Ghosts of Place Mike Gane on John Schofield's Combat Archeology: Material Culture and Modern Conflict Bringing the Economy Back in to Cultural Politics? Joanne Roberts on Don Rowbotham's Culture, Society and Economy: Bringing Production Back In + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Marisa Olson <marisa@rhizome.org> Date: Mar 19, 2007 Subject: Fwd: Video Vortex: Responses to YouTube (event & discussion list) From: Geert Lovink <geert@xs4all.nl> Video Vortex Conference: November 30 and December 1 2007, Amsterdam (NL) Organized by the Institute of Network Cultures First announcement, March 15, 2007 Event: <a rel="nofollow" href="http://www.networkcultures.org/videovortex/">http://www.networkcultures.org/videovortex/</a> List info: <a rel="nofollow" href="http://listcultures.org/mailman/listinfo/videovortex_listcultures.org">http://listcultures.org/mailman/listinfo/videovortex_listcultures.org</a> In response to the increasing potential for video to become a significant form of personal media on the Internet, this conference examines the key issues that are emerging around the independent production and distribution of online video content. What are artists and activists responses to the popularity of 'user-generated content' websites? Is corporate backlash eminent? After years of talk about digital conversions and crossmedia platforms we are now witnessing the merger of the Internet and television at a pace that no one predicted. For the baby boom generation, that currently forms the film and television establishment, the media organisations and conglomerates, this unfolds as a complete nightmare. Not only because of copyright issues but increasingly due to the shift of audience to vlogging and video-sharing websites as part of the development of a broader participatory culture. The opening night will feature live acts, performances and lectures under the banner of video slamming. We will trace the history from short film to one-minute videos to the first experiments with streaming media and online video, along with exploring the way VJs and media artists are accessing and using online archives. The Video Vortex conference aims to contextualize these latest developments through presenting continuities and discontinuities in the artistic, activist and mainstream perspective of the last few decades. Unlike the way online video presents itself as the latest and greatest, there are long threads to be woven into the history of visual art, cinema and documentary production. The rise of the database as the dominant form of storing and accessing cultural artifacts has a rich tradition that still needs to be explored. The conference aims to raise the following questions: - How are people utilising the potential to independently produce and distribute independent video content on the Internet? - What are the alternatives to the proprietary standards currently being developed? - What are the commercial objectives that mass media is imposing on user-generated content and video-sharing databases? - What is the underlying economics of online video in the age of unlimited uploads? - How autonomous are vloggers within the broader domain of mass media? - How are cinema, television and video art being affected by the development of a ubiquitous online video practice? - What type of aesthetic and narrative issues does the database pose for online video practice? Conference themes: Viral Video critique Vlogging Critique Participatory Culture, Participatory Video Real World Tools and Technologies Theory & History of the Database Narrative and the Cinematic Database Taxonomy and Navigation Internet Video: Art, Activism, and Public Media Evening Programme / Exhibition Viral Video critique YouTube made 2006 the year of Internet video. The video content produced bottom-up, with an emphasis on participation, sharing and community networking. But inevitably like Flickr being consumed by Yahoo, Google purchased YouTube. What is the future for the production and distribution of independent online video content? How can a participatory culture achieve a certain degree of autonomy and diversity outside mass media? What other motives does Google have for Internet video in terms of searching and advertising? After the purchase of YouTube, Google was asked to remove a number of clips that breached copyright laws. What comparisons can be made between the Napster incident with audio and video-sharing websites? Vlogging Critique This section will deal with vlogging criticism. Is video blogging a form of text-based blogging with other means? How can we develop a form of criticism, and a critical practice, that is not derogative and yet surpasses the anecdotal diary level? Is vlogging the next stage of ego boosting of the blogger, who wants to raise his or her ranking status? What is a video diary and how can this emerging genre be shaped? Can there be sophistication in 'vlogging'? How can we overcome the evangelical that stresses the possibilities of gadget features? And how can we overcome the amateurish aesthetics of this new genre? Participatory Culture, Participatory Video The Web 2.0 holds the promise to create a participatory culture that can renew the stagnated democracies in the West. In this utopian approach, the user has the historical task to overcome the old regime of top down broadcast media and create decentralised dialogues. To what extent can user-generated video content be energized by presenting the material as citizen journalism? Is the increased user participation really a sign of a new political culture or is it a mere special effect of technological change? Real World Tools and Technologies In this session we will investigate the progress that open source and free software initiatives have made in regard to the development of the codex and the player that can compete with the proprietary standards such as Microsoft Media Player. It is not enough to critique the corporate takeover of MySpace and YouTube and upload alternative content. Increasingly the intention of programmers shifts towards Peer2Peer solutions in order to create a truly distributed network in which content can freely float around without having to use centralised servers. In this session we will present projects such as; Theory & History of the Database Searching databases has become a dominant cultural practice. Instead of flipping through a radio and TV guide, the cinema programme or the library, we browse the Internet. In this session we would like to go back in time and investigate the history of the computer database. What are the ideological underpinnings of 'taxonomy'? What do we search when we perform a search? Should the aim be to overcome the fragmented experience of our contemporary database culture and create overriding meaning structures that deepen our understanding without having to compromise on content diversity? Narrative and the Cinematic Do these fragmented video databases lead to new narratives and genres? Does a database like YouTube evoke a skill such as continuous partial attention, or a contemporary disease like the attention deficit hyperactivity disorder (ADHD)? Against the medicalization, scholars have put the ability of users to reassemble short stories into larger new narratives as a reassuring alternative that replaces old media skills. The bricollage is assembled by the end-user, not the producer. Is there a new cinematic experience? Database Taxonomy and Navigation How do artists relate to the possibility of building large video databases? Is YouTube the future of video art? Traditionally, artists have always worked with found footage but nowadays it has never been easier to access. The remix culture, online video tools and increased server space make it possible to create large databases in which complex interconnected content can be offered to the viewer. What is the underlining information architecture? How does one navigate Steven Spielberg's video archive of the holocaust survivors? Or take the Dropping Knowledge project in which 110 experts answered 100 questions of the audience, which can be accessed as a database. The same can be said of large museum collections. Internet Video: Art, Activism, and Public Media From 16mm film and video to the Internet and back, activists have always used the moving image to produce critical and innovative work. For many, the experimentation with visual language and critical content has been one and the same. In this session we will explore early examples of Internet video and investigate how artists and social movements have responded to the YouTube challenge. Is it better to integrate your message into large existing platforms or should we rather let a thousand blossoms bloom and each have our own video server? Online video databases like YouTube seemingly are the ideal artist portfolio online, with unlimited uploads and a massive audience. MySpace is inhabited by bands and musicians, but why don't video artists and filmmakers occupy YouTube? If we look at the videos on YouTube, what aesthetics do we find? Is there a homogenous style that only builds on eyewitness tv and candid camera formats? And now that music videos and commercials increasingly resemble video art, can we define how exactly artistic practices influence the look of online footage? What would it mean to take YouTube Art serious? Is YouTube a medium and platform in itself for art works or is it merely used as a promotional device? Many have used YouTube to produce diary-type performances in which they either played themselves or pretended to be some character. What status do we give to such ego documents? Is YouTube used by artists as a tool to intervene in social and political issues? In this session we will present projects such as: Evening Programme / Exhibition Video Slamming "Short, user-created videos are creating a new kind of watching experience, one more about 'snacking' than half-hour sitcoms." (The Economist) Much like poetry slamming the use of short video fragments has become a dominant mode in visual culture. Where are the video files found and how are they used and played with? Is 'video slamming' the new way of watching audiovisual files? This session is all about the new ways of watching, using, and playing with moving images: scratching, sampling, mixing, but also (meta) tagging, recommending etc. This session will feature performances, live acts and lectures. Video Vortex Discussion List: With this discussion list we like to gather responses to the rise of YouTube and similar online video databases. What does YouTube tell us about the state of art in visual culture? Is YouTube the corporate media structure of the 21st century? What are the artist responses to YouTube aesthetics? General information about the mailing list is at: <a rel="nofollow" href="http://listcultures.org/mailman/listinfo/videovortex_listcultures.org">http://listcultures.org/mailman/listinfo/videovortex_listcultures.org</a> To post to this list, send your email to: videovortex(at)listcultures.org This list is meant for all those interested in the topic, and will possibly continue after the event in late 2007. Practical info: Date November 30 and December 1, 2007. Venue PostCS 11, PostCS building Oosterdokskade 3-5 1011 AD Amsterdam T: 020 - 62 55 999 www.ilove11.nl Organized by Institute of Network Cultures, HvA Interactive Media, Amsterdam Editorial team Geert Lovink, Sabine Niederer, Shirley Niemans Affiliated researchers Seth Keen, Vera Tollmann Production Shirley Niemans For further information, please contact Shirley Niemans, shirley(at)networkcultures.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Franco Mattes <Propaganda@0100101110101101.org> Date: Mar 20, 2007 Subject: Eva and Franco Mattes reenacting Joseph Beuys' "7000 Oaks" FOR IMMEDIATE RELEASE Eva and Franco Mattes (a.k.a. 0100101110101101.ORG) reenacting Joseph Beuys' "7000 Oaks" in a synthetic world Beuys' project begun on March the 16th 1982, at Documenta 7, in Kassel. His plan called for the planting of seven thousand trees, each paired with a columnar basalt stone. Beuys intended the Kassel project to be the first stage in an ongoing scheme of tree planting to be extended throughout the world as part of a global mission to effect environmental and social change. The Mattes are reenacting Beuys' work "7000 Oaks", staging the new performance in the synthetic world of Second Life. The first virtual tree and stone were planted on March the 16th 2007, exactly 25 years after the original oak was planted. The 7000 basalt stones have been stacked on Mattes' island in Second Life: Cosmos Island. The diminishing pile of virtual stones will indicate the progress of the project, which will go on until all 7000 oaks and stones will be placed. Second Life inhabitants will have the chance to take part to the performance, placing stones and trees in their lands. This work is part of Eva and Franco Mattes series of "Synthetic Performances": reenactment of historical performances inside synthetic worlds where body, space and time can be completely reinvented. The series started at the beginning of 2007 and will feature works by artists like Vito Acconci and Marina Abramovic. "Joseph Beuys' 7000 Oaks" is commissioned by Centro de Arte Juan Ismael, Fuerteventura (Canary Islands, Spain), for the exhibition "Deambulatorios de una jornada, en el principio y el proyecto Tindaya", curated by Nilo Casares. More information and contacts: www.0100101110101101.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Turbulence <turbulence@turbulence.org> Date: Mar 20, 2007 Subject: Turbulence Commission: "DISCO-NNECT: An Experimental Video Podcast" by Abe Linkoln, with guest remixers Jimpunk and Subculture March 20, 2007 Turbulence Commission: "DISCO-NNECT: An Experimental Video Podcast" by Abe Linkoln, with guest remixers Jimpunk and Subculture <a rel="nofollow" href="http://turbulence.org/Works/disco-nnect/">http://turbulence.org/Works/disco-nnect/</a> Needs Quicktime plugin "DISCO-NNECT" is an experimental video podcast that will broadcast weekly from March 20 to September 23. "DISCO-NNECT" is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the National Endowment of the Arts. BIOGRAPHIES Abe Linkoln 2001 Born on the Internet. Lives and works on the Internet. linkoln.net screenfull.net universalacid.net Jimpunk (jimpunk.com) <a rel="nofollow" href="http://www.jimpunk.com/info/jimpunk_bio.txt">http://www.jimpunk.com/info/jimpunk_bio.txt</a> Subculture (subculture.com) is artist Antonio Mendoza. He lives in Los Angeles with his wife, two children and five working computers. He is younger than Mouchette, sexier than Olia Lialina and more hermetic than jodi.org. For more Turbulence commissions, please visit <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a> Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: <a rel="nofollow" href="http://new-radio.org">http://new-radio.org</a> New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a> New American Radio: <a rel="nofollow" href="http://somewhere.org">http://somewhere.org</a> Networked_Performance Blog: <a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a> Upgrade! Boston: <a rel="nofollow" href="http://turbulence.org/upgrade">http://turbulence.org/upgrade</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 12, number 11. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +