<br />RHIZOME DIGEST: January 14, 2005<br /><br />Content:<br /><br />+announcement+<br />1. Rob La Frenais: RESEARCH IS NOT TERRORISM!<br />2. matthew fuller: A Decade of Webdesign<br />3. Alexander Galloway: The Mario Movie<br />4. Rachel Greene: Fwd: The Status Sweepstake.<br /><br />+opportunity+<br />5. Kevin McGarry: FW: Eyebeam - Open Call for Proposals<br />6. Rachel Greene: Fwd: University of Illinois at Chicago: Tenure-track<br />Teaching Position in Electronic Visualization<br />7. Kevin McGarry: FW: Loyola Marymount University - Assistant Professor of<br />Photography -Tenure Track<br />8. wolfgang muench: media art & film jobs in singapore<br /><br />+work+<br />9. Rhizome.org: Just added to the Rhizome ArtBase: 800-178968 by Luca<br />Bertini<br /><br />+comment+<br />10. Ivan Pope: The 'Long Tail' of Contemporary Art<br /><br />+book review+<br />11. Defne Ayas: Audio Culture: Readings in Modern Music<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />Date: 1.11.05<br />From: Rob La Frenais <roblafrenais@clara.co.uk><br />Subject: RESEARCH IS NOT TERRORISM!<br /><br />The Arts Catalyst presents<br /><br />RESEARCH IS NOT TERRORISM!<br /><br />In person:<br /><br />STEVE KURTZ of Critical Art Ensemble, artist, activist and researcher,<br />detained last year by the FBI and still facing charges<br /><br />with CLAIRE PENTECOST from the Critical Art Ensemble Defence Fund.<br /><br />Royal Institution of Great Britain<br />21 Albemarle Street<br />London W1S 2BS<br />UK<br /><br />Monday 7 February 2005 8pm<br /><br />Book online at www.artwords.co.uk (from 11th Jan)<br />or buy tickets from Artwords shops in the Whitechapel Art Gallery and<br />Shoreditch, London, UK<br /><br />STEVE KURTZ, member of the internationally celebrated Critical Art Ensemble<br />(CAE), was detained by the FBI last year. He faces a pre-trial hearing in<br />the US on February 10 and speaks 3 days earlier in the UK about this<br />fundamental threat to academic freedom of expression.<br /><br />CAE is known for its critical discourse and activist practice. CAE stands<br />for the bottom-up appropriation of scientific knowledge and its utilisation<br />for tactical purposes. In recent projects, CAE has created a mobile DNA<br />extractor, which tests groceries for possible genetic modification, and a<br />transgenic bacteria release mechanism. It was this equipment and Kurtz'<br />home biotech lab that generated a chain of bizarre events after the death of<br />Kurtz's wife when Kurtz himself was detained by the FBI as a suspected<br />bio-terrorist. <br /><br />Although the bioterrorism charges against Kurtz were finally dropped in late<br />2004 by a Grand Jury, after an international storm of protest, he was<br />charged with mail fraud (a charge traditionally used by the Department of<br />Justice when they can't pin another charge on someone they think should be<br />gagged or neutralised).<br /><br />Also indicted was Robert Ferrell, head of the Department of Genetics at the<br />University of Pittsburgh's School of Public Health. The charges concern<br />technicalities of how Ferrell helped Kurtz to obtain $256 worth of harmless<br />bacteria for an art project. These new charges still carry a potential jail<br />sentence of 20 years and threaten many researchers in the sciences who<br />source material in a similar way.<br /><br />You can read more about this case at www.caedefensefund.org<br /><br />The Arts Catalyst<br />www.artscatalyst.org<br /><br />Steve Kurtz will also be speaking at transmediale 05, Berlin, on Sunday 8<br />February 2005, 3pm, discussing his new project on biowarfare.<br /><br />www.transmediale.de<br /><br />Presented in association with transmediale 05, Berlin<br />Funded by Arts Council of England<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />Date: 1.12.05<br />From: matthew fuller <fuller@xs4all.nl><br />Subject: A Decade of Webdesign<br /><br />—————————–<br />A Decade of Webdesign<br />Two day international conference in Amsterdam, the Netherlands.<br />Friday 21 and Saturday 22 January, 2005.<br />More information & registration at www.decadeofwebdesign.org<br />Entrance fee (including lunch):<br />30 euros per day / 50 euros for two days,<br />Students: 17,50 / 30 euros<br />Make web history at www.designtimeline.org!<br /><br />Organization:<br />Piet Zwart Institute, MA Media Design Research, Rotterdam<br />(<a rel="nofollow" href="http://pzwart.wdka.hro.nl/">http://pzwart.wdka.hro.nl/</a>)<br />Institute of Network Cultures, Amsterdam (www.networkcultures.org)<br />Stedelijk Museum, Amsterdam (www.stedelijk.nl)<br />—————————–<br /><br />Conference Programme:<br /><br />FRIDAY JANUARY 21<br />10:20 Doors Open<br /><br />10:45 Introduction to the conference by Geert Lovink<br /><br />11:00 Histories of Web Design<br />with: Adrian Mackenzie, Peter Lunenfeld, Franziska Nori<br />chair: Matthew Fuller<br />What do technical and cultural historians, or those active in the world<br />of museums, propose as ways to make an account of the last decade?<br /><br />13:00 Lunch break & Timeline Hot Spots<br /><br />14:00 Distributed Design<br />with: John Chris Jones, Olia Lialina, Hayo Wagenaar<br />chair: Femke Snelting<br />The web amplified an explosion of non-professional design. This panel<br />will ask what happens to design once it becomes a non-specialist network<br />process.<br /><br />16:00 Tea break & Timeline Hot Spots<br /><br />16:30 Meaning Structures<br />with: Steven Pemberton, Angela Beesley, Schoenerwissen/OfCD<br />Moderator: Richard Rogers<br />As automated site-design becomes increasingly important, the history of<br />the interweaving of technology and culture up to the point of semantic<br />engineering is mapped out.<br /><br />18:00 End<br /><br />18:30 Conference dinner at the Westergasterras<br /><br />SATURDAY JANUARY 22<br />10.30 Doors open<br /><br />11:00 Digital Work<br />with: Danny O'Brien, Michael Indergaard, Rosalind Gill<br />Moderator: Geert Lovink<br />Can we redesign work? From economics, sociology and design, key<br />observers and critics of the changing patterns of work in web design will<br />comment<br />on the decade and encourage you to have your say.<br /><br />13:00 Lunchbreak & Timeline Hot Spots<br /><br />14:00 Modeling the User<br />with: Helen Petrie, Geke van Dijk, Peter Luining<br />Moderator: Caroline Nevejan<br />Creativity and usability have often been set up as the two key poles of<br />web design. This panel asks instead for a more sophisticated narrative<br />about the change in understanding of user needs and desires over the<br />last ten years.<br /><br />16:00 Tea break & Timeline Hot Spots<br /><br />16:30 Plenary Session<br />With all speakers.<br /><br />18:00 - 19:30 Drinks at Club 11<br /><br />Don't forget to register at www.decadeofwebdesign.org<br />Also, please check the resource section for interviews with Max Bruinsma<br />and Luna Maurer, and extended bios of the speakers, by INC researcher<br />Goran Batic. <a rel="nofollow" href="http://www.decadeofwebdesign.org/resource.html">http://www.decadeofwebdesign.org/resource.html</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />Date: 1.12.05<br />From: Alexander Galloway <galloway@nyu.edu><br />Subject: The Mario Movie<br /><br /> [This text accompanies the publication of the source code to "The<br /> Mario Movie," opening at Deitch Projects in New York this Saturday<br /> January 15th. Cory Arcangel also has a second show opening this<br /> Thursday at Team gallery in New York. -ag]<br /><br />"The Mario Movie," Deitch Projects, New York City, January 2005<br /><br />Cory Arcangel (Beige) and Paper Rad<br /><br />This is a group effort, so let me first introduce the principle actors.<br />Paper Rad: Benjamin Jones, Jacob Ciocci, and Jessica Ciocci. Beige: Cory<br />Arcangel, Paul B. Davis, Joe Bonn, and Joe Beuckman. They work in<br />collectives for the same reason that punks play in bands: it's funner<br />that way, and it's easier to make more noise. There is the<br />Lennon/McCartney question of who is responsible for what, and I can't<br />make head nor tails of it. But from what I know Ben and the Paper Rad<br />kids have a shameless affection for dirt-style, fan fiction comics about<br />Garfield and Howard the Duck. And then there's Paul who I am told once<br />entered the DMC turntable competition under the DJ name "Spin Laden."<br />(He advanced through the opening heats, a challenge in itself, before<br />being thrown off for scratching in the Notorious B.I.G. lyric "Time to<br />get paid / blow up like the World Trade.") The clothes that the Paper<br />Rad kids wear they sew themselves. Cory wears them too, I think, when<br />he's not wearing pizza-shaped animal pullovers knit at home with his<br />other chums. And on more than one occasion, I've been present when,<br />sauntering past a stray guitar, in a Kmart aisle or friend's house party<br />it doesn't matter which, Cory has spontaneously tapped out the full<br />arpeggios of Eddie Van Halen's "Eruption" with ten fingers at full<br />frills. Then there was the music performance in Brooklyn when the Paper<br />Rad three sat cross-legged on the floor performing a pretend recital on<br />some Sony "My First Laptops," while the music was droning on prerecorded<br />throughout. I thought electronic music was the one thing you didn't have<br />to lip-sync? Oh well. Here's how I understand it: I've done way more<br />ecstasy than Beige and Paper Rad put together, but they've done way more<br />acid. And that makes all the difference. As Ben scribbled in a comic<br />once, "Can one be tanned at night by stars?"<br /><br />But it gets weirder: "The Mario Movie," Deitch Projects, New York City,<br />January 2005. There is not much a rational person can say about a<br />psychedelic rave fantasy, with messed up graphics, with castles floating<br />on rainbow colored clouds, with dance parties and raves in underwater<br />dungeons, all starring Mario the plumber who does little more than weep<br />through the tumult. And the whole thing plays live off a hand-soldered<br />video game cartridge. Gosh. But if I may observe one thing it would be<br />merely the following: this is the real deal. Which is to say that it's<br />not the real deal. This is computer code. But what you see is not what<br />you get. To watch the code itself would bore to distraction. Instead<br />this code runs on a video game console that converts it into sound and<br />image. The game console is the Nintendo Entertainment System, known<br />affectionately as "the NES" to every youngster lucky enough to receive<br />one for Christmas in 1985. (Raised by hippies in Oregon, we were not so<br />fortunate.) The NES is a magical device, for given the proper code it<br />can synthesize any sort of video signal from scratch. This is not the<br />sort of video made with a camera and edited on a computer, mind you. How<br />do we know? First, the compiled Mario Movie is 32 kilobytes in size, or<br />about twice as long as the few paragraphs you are reading now. Even<br />compressed, a ten minute video is roughly a thousand times larger.<br />Second, the movie runs directly off the customized game cartridge pushed<br />into the socket of the NES console–without, Cory is keen to observe,<br />altering the factory-soldered graphics chip shipped on the original '80s<br />cartridges. "Yo sound the bells / school is in sucker," MC Hammer would<br />come to say a few years later. "U can't touch this." This is the real<br />deal.<br /><br />Because of this, computer art is more like sculpture than like painting<br />or video. In making the work computer artists actually fabricate the<br />substrate of the medium, they don't apply things to surfaces or use<br />prefab tools to move images on a screen. The code is the medium. So in<br />writing code, and running it, the computer artist builds the work from<br />the ground up. It's all math and electricity. To engineer the<br />soundtrack, Cory pokes the audio registers on the NES's chip in specific<br />frequencies. When he does they chirp. To get the video, he writes<br />hundreds of lines of code, code like "lda $2002" (translation: load the<br />value from memory position 2002 into the "a" register in the processor),<br />or like "jsr vwait" (translation: jump ahead to the subroutine called<br />"vwait" to stall for a few milliseconds while the television¹s electron<br />beam repositions itself). What appears on the screen is the image of<br />pure data. It is, in a manner of speaking, what numbers look like (if<br />they could). Translation: this is not video art. Maybe call it math art,<br />geek art, whatever. The Mario Movie makes tedium profound, and the other<br />way around.<br /><br />They say everything becomes interesting in the long run. Super Mario<br />Bros might be nostalgia to you. But it's not to them. All media is dead<br />media, that's what Paper Rad and Cory understand. It's all garbage from<br />the beginning–so don't yearn for a time when it was otherwise. When you<br />understand media as trash then there is no nostalgia. If there is any<br />shred of longing that remains in the work, it's not for our childhood<br />friend Mario. It's for an acid high, for a simulated hiatus in a far off<br />land that no one has ever been to. It's for watching a cartoon schmuck<br />trip rather than you. It's nostalgia for raves sucked from the fevered<br />brains of raver-haters. Everything is as new as it is old. Everything is<br />as sucky as it is good. This is the movie.<br /><br /><a rel="nofollow" href="http://www.paperrad.org/">http://www.paperrad.org/</a><br /><a rel="nofollow" href="http://www.beigerecords.com/cory">http://www.beigerecords.com/cory</a><br /><a rel="nofollow" href="http://www.teamgal.com/home.html">http://www.teamgal.com/home.html</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering organizational subscriptions, memberships<br />purchased at the institutional level. These subscriptions allow<br />participants of an institution to access Rhizome's services without<br />having to purchase individual memberships. (Rhizome is also offering<br />subsidized memberships to qualifying institutions in poor or excluded<br />communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more<br />information or contact Kevin McGarry at Kevin@Rhizome.org or Rachel Greene<br />at Rachel@Rhizome.org.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />Date: 1.12.05<br />From: Rachel Greene <rachel@rhizome.org><br />Subject: Fwd: The Status Sweepstake.<br /><br /> Begin forwarded message:<br /><br /> From: heath bunting <heath@irational.org><br /> Date: January 12, 2005 7:32:04 PM EST<br /> To: Kayle Brandon <kayle@irational.org><br /> Subject: The Status Sweepstake.<br /> <br />The Status Sweepstake.<br /><br />Saturday 22 January 2005<br /><br />@ Decoy, 22 Green St, Digbeth, Birmingham B12 0NE<br /><br />Modelled upon The United States' Visa lottery:<br /><br /> <a rel="nofollow" href="http://www.usgreencardlottery.org/">http://www.usgreencardlottery.org/</a><br /><br />The Duo Collective:<br /><br /> <a rel="nofollow" href="http://duo.irational.org">http://duo.irational.org</a><br /><br />present The Status Sweepstake:<br /><br /> <a rel="nofollow" href="http://status.irational.org/status_sweepstake/">http://status.irational.org/status_sweepstake/</a><br /><br />taking place during the DIY CULTURE festival:<br /><br /> <a rel="nofollow" href="http://stuffit.org/diy/">http://stuffit.org/diy/</a><br /><br />Timetable: <br /><br /> 12:00 Presentation of the Status Project - <a rel="nofollow" href="http://status.irational.org/">http://status.irational.org/</a><br /> 13:00 Last chance to obtain statuses in and around town.<br /> 18:00 Picking of winner and awarding of new identity.<br /><br />Instructions: <br /><br />During the proceeding week, create one or more true<br />statuses for the following identity:<br /><br /> Unisex Name: Terry Smith<br /> Date of birth: 1 April 1976<br /><br />The status project manual may be of use.<br /><br /> <a rel="nofollow" href="http://status.irational.org/cgi-bin/statuses/statuses.pl">http://status.irational.org/cgi-bin/statuses/statuses.pl</a><br /><br />Collaboration and trading before and during the event is<br />encouraged. <br /><br />Then on Saturday, bring your statuses to DIY CULTURE festival<br />to be entered in The Status Sweepstake.<br /><br />A winner will be randomly chosen from the participants and will<br />receive all statuses entered and will thus be furnished with<br />a functioning alternate identity.<br /><br />Fictional statuses may be used to obtained legitimate statuses,<br />but may not be entered in the draw. For example, you can create<br />a fake student card to obtain an ISIC card, but we will only<br />accept the ISIC card.<br /><br />Best of luck. <br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />Date: 1.11.04<br />From: Kevin McGarry <kevin@rhizome.org><br />Subject: FW: Eyebeam - Open Call for Proposals<br /><br /> —— Forwarded Message<br /> From: Margaret Heinlen <margaret@eyebeam.org><br /> Date: Fri, 7 Jan 2005 11:35:03 -0500<br /> Subject: Eyebeam - Open Call for Proposals<br /><br />EYEBEAM IS PLEASED TO ANNOUNCE TWO OPEN CALLS FOR PROPOSALS<br /> - Artists in Residence (AIR) Program Winter/Spring 2005<br /> - Social Sculpture Commission in Conjuntion with the LMCC<br /><br />Eyebeam is now accepting applications for the next round of Artists in<br />Residence Program as well as the Social Sculpture Commission, our<br />first public art commission conducted in conjunction with the Lower<br />Manhattan Cultural Council (LMCC).<br />Applications accepted Jan. 5 - Feb. 13, 2005<br /><br />Artists in Residence Program:<br />Artists receive production support through 24/7 access to newly<br />renovated studios in Eyebeam¹s Chelsea facility in New York City; a<br />$1500 honorarium; the opportunity to participate in public programs<br />(exhibition, prototyping events, live events); access to production<br />and exhibition equipment; technical support from Eyebeam staff and<br />production help from interns. Artists may work with the resources of<br />the Moving Image Studio, R&D Lab and Education Studios depending on<br />the needs of their project.<br /><br />Eyebeam's AIR Program is a multidisciplinary initiative that supports<br />creative research, production and presentation of projects that query<br />art, technology and culture. Projects range from moving image, sound<br />and physical computing works, to software, websites, technical<br />prototypes, performances, workshops and other kinds of public<br />interventions.<br /> For more information please visit our website:<br />www.eyebeam.org/production/AIR/AIR.html.<br /> To complete an online application please<br />visit:www.eyebeam.org/production/AIR/onlineapp/join_detail.php?<br />program_id=628438<br /><br />Social Sculpture Commission:<br />Eyebeam and the LMCC jointly offer a commission to support artists<br />creating work that engages the public in new ways. These artistic<br />interventions into social processes can take a variety of forms,<br />including gaming, tactical media, network, interactive installation,<br />moving image or conceptual projects that blur traditional boundaries<br />between production, education and exhibition. Though projects will<br />culminate in some form of final work/intervention/demonstration, the<br />process by which these experiences come about will be strongly<br />considered.<br /><br />The program, running from March - August '05, provides a grant of<br />digital production services at Eyebeam's studios (including moving<br />image / sound production, programming and systems design), a stipend<br />of $20,000 for producing the work, and public development support from<br />LMCC.<br /> For more information please visit our website,<br />www.eyebeam.org/production/MID/commission/socialsculpture.html<br /><br />To complete an online application please<br />visit:www.eyebeam.org/production/AIR/onlineapp/join_detail.php?<br />program_id=496693<br /><br />For more information on Eyebeam and upcoming events and programs please<br /> visit www.eyebeam.org.<br /><br />Eyebeam's Artists in Residence Program is made possible through the<br />generous support of Atlantic Foundation, the Andy Warhol Foundation for<br />the Visual Arts, the National Endowment for the Arts, Alienware, the<br />Jerome Foundation, the Greenwall Foundation, the LEF Foundation, the<br />New York State Council on the Arts, a state agency, the Sony<br />Corporation, Lily Whitall and the Avery Foundation.<br /><br />If you would like to unsubscribe from the Eyebeam email list please<br />send an email to info@eyebeam.org. To join this list, please visit our<br />web site and complete the online form.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Member-curated Exhibits<br /><br /><a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a><br /><br />View online exhibits Rhizome members have curated from works in the ArtBase,<br />or learn how to create your own exhibit.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />Date: 1.11.05<br />From: Rachel Greene <rachel@rhizome.org><br />Subject: Fwd: University of Illinois at Chicago: Tenure-track Teaching<br />Position in Electronic Visualization<br /><br /> Begin forwarded message:<br /><br /> From: "Edu-News" <info@edu-news.com><br /> Date: January 11, 2005 10:15:43 AM EST<br /> To: "rachel@rhizome.org" <rachel@rhizome.org><br /> Subject: University of Illinois at Chicago: Tenure-track Teaching<br />Position in Electronic Visualization<br /> Reply-To: Edu-News <info@edu-news.com><br /> <br />Tenure-track Teaching Position in Electronic Visualization<br /><br /> The School of Art and Design at the University of Illinois at Chicago is<br />seeking a full-time tenure-track faculty member at the rank of Assistant or<br />Associate Professor to teach real-time computer graphics programming,<br />interactive computer experiences and/or the production of 3D computer<br />animation. The candidate would be encouraged to participate as a leader in<br />research and media creation at the Electronic Visualization Laboratory (EVL)<br />and the new Center for Virtual Reality in the Arts. There are opportunities<br />for cross-disciplinary teaching with our Graphic Design and Industrial<br />Design programs. Appointment begins August 16, 2005. Salary commensurate<br />with experience and qualifications.<br /><br /> Qualifications <br />Terminal degree (MFA, MS, MA, PhD) in electronic visualization or equivalent<br />required. <br />College level teaching experience with demonstrated commitment to<br />undergraduate and graduate education.<br />Strong professional/research record in art or design with emphasis on<br />real-time interactive graphics and/or virtual reality. Experience in<br />graphics programming languages as well as interactive media theory and<br />practice. <br /><br />General Information<br />The computer art and design experience in both undergraduate and graduate<br />Electronic Visualization programs focuses on real-time and interactive<br />computer graphics, utilizing both programming languages and software<br />packages. The undergraduate program is taught in the collaborative Design<br />Visualization Laboratory (DVL) sharing resources with Industrial Design and<br />Graphic Design. The graduate program operates out of the world renowned<br />Electronic Visualization Laboratory, which is a shared facility of the<br />School of Art and Design and the Department of Electrical Engineering and<br />Computer Science. The Electronic Visualization program is also interested in<br />developing curriculum in the areas of computational design, museum exhibit<br />design, game design, and location-based entertainment.<br /><br />Application Procedure<br />Complete applications must include a letter of intent not more than one<br />page, a resume with exhibition/publication record, a list of three<br />references (including phone and e-mail), and documentation of visual work<br />(preferred formats: DVD and/or CD ROM in standard web formats of VHS (NTSC)<br />video tape). Web sites will also be reviewed when appropriate. An index of<br />the visual documentation with project descriptions and applicant's role in<br />any collaboration should accompany the application.<br /><br />Please send to: <br /><br />Chair, Electronic Visualization Search Committee<br />School of Art and Design (M/C 036)<br />The University of Illinois at Chicago<br />929 West Harrison Street<br />Chicago, Illinois 60607-7038<br /><br />See <a rel="nofollow" href="http://www.uic.edu/aa/artd/teach_pos_ev.html">http://www.uic.edu/aa/artd/teach_pos_ev.html</a> for complete information on<br />the position. <br />See <a rel="nofollow" href="http://www.evl.uic.edu">http://www.evl.uic.edu</a> for more information on EVL.<br />See <a rel="nofollow" href="http://www.uic.edu/aa/artd">http://www.uic.edu/aa/artd</a> for more information on the School of Art and<br />Design. <br /><br />Deadline <br />For fullest consideration applications must be submitted by February 1,<br />2005. Review of applications will continue until position is filled. The<br />University of Illinois is an Affirmative Action/Equal Opportunity Employer.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7. <br /><br />Date: 1.12.05<br />From: Kevin McGarry <kevin@rhizome.org><br />Subject: FW: Loyola Marymount University - Assistant Professor of<br />Photography -Tenure Track<br /><br /> —— Forwarded Message<br /> From: calls@theredproject.com<br /> Date: Mon, 10 Jan 2005 00:48:04 -0800 (PST)<br /> To: kevin@rhizome.org<br /> Subject: calls x 57 pt 1<br /><br />Assistant Professor of Photography -Tenure Track<br />Loyola Marymount University <br /><br />Start Fall 2005.<br /><br />Seeking innovative photographer. Submit letter of application,<br />teaching philosophy, CV, 20 slides of recent work and 20 slides of<br />student work and/or CD-ROM/DVD, syllabi and relevant undergraduate<br />curriculum plans, 3 letters of recommendation, SASE for return of<br />materials.<br /><br />Send to Rev. Michael R. Tang, Chair, Department of Art & Art History,<br />MS-8346, Loyola Marymount University, One LMU Drive, Los Angeles, CA<br />90045-2659.<br /><br />Deadline March 1, 2005, or until filled.<br /><br />Requirements: The ideal candidate will possess an MFA, have both<br />traditional and digital skills, and be well versed in the History and<br />Criticism of Photography. Additional areas of competence include:<br />Color, Studio, Documentary, Alternative Processes and/or New Media.<br />Active exhibition record and three years teaching experience at the<br />college level preferred with a demonstration of teaching excellence.<br />Required Education: MFA.<br /><br />The Department of Art & Art History has approximately 180 students<br />majoring in studio arts (fine arts, graphic design, multimedia arts,<br />art education), and approximately 30 students majoring in art<br />history. It has a well equipped B&W and Color photolab with a full<br />time lab tech. The Department also hosts 2 computer graphics<br />classrooms and a lab for student digital work.<br /><br />LMU is a private liberal arts Catholic University in Los Angeles 3<br />miles from the Pacific Ocean. Academic Organization: 80+ majors and<br />programs in 4 colleges. It is a comprehensive university in the<br />mainstream of American Catholic higher education and seeks<br />professionally outstanding applicants who value its mission and share<br />its commitment to academic excellence, the education of the whole<br />person, and the building of a just society. (Visit <a rel="nofollow" href="http://www.lmu.edu">http://www.lmu.edu</a><br />for more information.) LMU is an equal opportunity institution<br />actively working to promote an intercultural learning community.<br />Women and minorities are encouraged to apply.<br /><br />x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x<br />The Calls and Opps Email list is Edited by Michael Mandiberg<br /><br />This is a gift economy product. If you can, please give back.<br />Send a check to Mandiberg, PO BOX 220051, BKYN, NY 11222<br />Or make a donation towards server costs, click below:<br /><a rel="nofollow" href="http://www.dreamhost.com/donate.cgi?id=752">http://www.dreamhost.com/donate.cgi?id=752</a><br /><br />Open Source: please keep the header and footer intact<br /><br />Sources: listings come from calls sent directly to me, listervs (syndicate,<br />nettime, rhizome, thingist, LACN), online sources (artswire, fine art forum,<br />artservis) and email newsletters (ANAT, franklin furnace, LMCC, Experimenta)<br /><br />To join the list, go to <a rel="nofollow" href="http://theredproject.com/calls">http://theredproject.com/calls</a><br />x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />Date: 1.13.05<br />From: wolfgang muench <wolfgang.muench@lasallesia.edu.sg><br />Subject: media art & film jobs in singapore<br /><br />LASALLE-SIA College of the Arts in Singapore is offering positions in the<br />faculty of media arts:<br /><br />Senior Lecturer / Lecturer - Interactive Art<br />Programme Leader - Media Arts<br />Head of School of Film<br /><br />for more information, please contact me or visit the college's website<br />(->about us->carreer opportunities)<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />Date: 1.13.05<br />From: Rhizome.org <artbase@rhizome.org><br />Subject: Just added to the Rhizome ArtBase: 800-178968 by Luca Bertini<br /><br />Just added to the Rhizome ArtBase …<br /><a rel="nofollow" href="http://rhizome.org/object.rhiz?30479">http://rhizome.org/object.rhiz?30479</a><br /><br />+ 800-178968 +<br />+ Luca Bertini +<br /><br />A toll-free number which will try to establish with you an obsessive and<br />addictive relationship.<br /><br />Calling you back.<br />Even after a few weeks.<br />Pleading with you to come back.<br /><br />800-178968 is a project of an invasive nature, capable of insinuating itself<br />into the homes and mobile phones of the people contacted, violating their<br />privacy, and becoming a part of their daily lives.<br /><br />The adverts for it -which began three months before the start of the<br />service-, hidden among information channels (and adopting their language,<br />codes and instruments), reach an audience/spectator still unaware.<br />And thus more vulnerable, because they are incapable of recognising the<br />artefact.<br /><br />The 800-178968 project has been designed and developed to interact with a<br />"conscious" audience, close to the world of art and its problems but,<br />and above all,<br /><br />for everyday people.<br /><br />The project ended on July 2003 with over 10.000 people contacted<br /><br />+ + +<br /><br />Biography<br /><br />Luca Bertini<br />'79 | lives and work in Milan<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />Date: 1.12.05<br />From: Ivan Pope <ivan2@ivanpope.com><br />Subject: The 'Long Tail' of Contemporary Art<br /><br /> This is a repost of something I wrote for my blog Absent Without<br /> Leave <a rel="nofollow" href="http://blog.ivanpope.com">http://blog.ivanpope.com</a><br /><br />The 'Long Tail' of Contemporary Art<br /><br />January 10, 2005 What Envelops Me<br /><<a rel="nofollow" href="http://blog.ivanpope.com/awol/what_envelops_me/index.html">http://blog.ivanpope.com/awol/what_envelops_me/index.html</a>><br /><br />The concept of the 'Long Tail' (LT) has suddenly become commonplace<br />across the networks. The Long Tail can be simplistically described as<br />the mass of product that is suddenly available to the mass of consumers<br />due to the effect of computer power and computer networks. For example,<br />in music it used to be almost impossible for musicians and bands who<br />didn't have contracts with major record labels to get their albums made<br />and distributed. Now, the combination of access to cheap reproduction<br />technology (including no-cost download systems), distribution via<br />networks, online payment systems and, crucially, an efficient word of<br />mouth recommendation structure, more and more 'unknown' music is selling<br />to more and more consumers. Record companies shriek that they are being<br />ripped off, when it is more likely that consumers have gone elsewhere to<br />find music that really appeals to them.<br /><br />As we become more and more confident with the networks and we learn to<br />use tools, such as blogs and their associated management systems, that<br />give us constant interaction, the Long Tail of almost any area becomes<br />evident and valuable. There is also an element of trust and belief. The<br />first wave of recommendation sites were almost universally distrusted.<br />Why would you believe someone who had a vested interest in recommending<br />things?<br />Now we've all moved on. We have gotten to know how networks of sites<br />work, and to recognise authority, even without using tools such as<br />Technorati <<a rel="nofollow" href="http://www.technorati.com/">http://www.technorati.com/</a>>. Chris Anderson at The Long Tail<br /><<a rel="nofollow" href="http://longtail.typepad.com/the_long_tail/2004/12/recommendations.html">http://longtail.typepad.com/the_long_tail/2004/12/recommendations.html</a>><br />on how Blogs are becoming key players in the LT recommendation game.<br /><br />/Blogs are shaping up to be an equally powerful source of influential<br />recommendations. There are independent enthusiast sites such as PVRblog<br />and Horticultural (an organic gardening blog), commercial blogs such as<br />Gizmodo and Joystiq, and then the random recommendations of whichever<br />blogger you happen to read for any reason (there does seem to be a<br />natural connection between mavens, who know a lot and like to share<br />their knowledge, and blogging). What they may lack in polish and scope,<br />they more than make up in credibility: their readers know that there is<br />a real person there that they can trust./<br /><br />So the Long Tail is when massive inventory can be made available to the<br />mass of consumers at minimal additional cost or effort. It's about<br />routing around bottlenecks and opening up supply to meet the demand.<br />Most industries have some form of artificial bottleneck, created over<br />time by the industry itself, the better to manage and assure profit. The<br />art world is notorious for this, from the creation and support of a<br />'superstar' system, to management of access to magazines, galleries, art<br />schools, agents, curators, museums, public venues and auction houses.<br />The glamorous world of contemporary art, with its round of international<br />festivals, prizes, exhibitions, collectors and top galleries, carries a<br />huge Long Tail. For every artist who makes a living through the gallery<br />system, there are hundreds or even thousands who carry on making art<br />alongside other ways of making a living.<br />Historically this Long Tail of art either suffered in silence or<br />attempted to make some return on their investment by selling through<br />local galleries. However, local galleries, by their very nature, will<br />never reach a sizable potential customer base. And a global customer<br />base which must by definition be fairly huge, can never find the artists<br />that move them and in whose work they may want to invest. Thus, a<br />classic Long Tail exists, swinging behind the small body that is<br />contemorary art.<br /><br />It's not really that all the artists who currently struggle with a day<br />job or a teaching job and who make art on the side, who still dream of<br />'making it', will suddenly be able to quit their jobs and move full time<br />into the studio. It's that there exists a huge Long Tail of art and<br />artists, and there are countless opportunities to start to convert this<br />tail into sales, into collectors. A support system for the contemporary<br />art Long Tail is building by the week.<br /><br />Since I have been blogging my art regularly I have noticed a lot more<br />artist blogs arriving on a regular basis. The more artists that blog,<br />the more regular reading there is for the non-artist public. The more<br />popular blogs are, the more likely people are to read artists blogs. The<br />more artists and curators and gallery workers and museum staff and<br />writers and teachers blog, the more power the movement will have against<br />the usual art press. No Artforum can cover more than a tiny subset of<br />the global exhibition scene. This have historically given them vast<br />power, a power that is guarded and welcomed by the equally bottlenecked<br />gallery system.<br /><br />A global system of public writing about local art scenes, multiple<br />reports of high end art events, individual artists, collectors and<br />general public all blogging away, will create an alternative ecosystem<br />to the established art industry. This has obviously been happening for<br />years to some degree, with online galleries, individual sales sites and<br />collective endeavours springing up. But the critical underpinnings of<br />these endeavours has not been there - and it is hard for consumers to<br />find, let alone believe in, these outlets without a thriving media that<br />is intimately related to and interested in these projects.<br /><br />Now we can see that the combination of blogging and online galleries may<br />give rise to a new ecosystem of art. The Long Tail of art may be about<br />to be exposed.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />11.<br /><br />Date: 1.14.05<br />From: Defne Ayas <dayas@newmuseum.org><br />Subject: Audio Culture: Readings in Modern Music<br />Audio Culture: Readings in Modern Music<br /><br />Editors Christoph Cox and Daniel Warner<br /><br />Reviewed by DA<br /><br />"Over the past half-century, a new audio culture has emerged, a culture of<br />musicians, composers, sound artists, scholars, and listeners attentive to<br />sonic substance, the act of listening, and the creative possibilities of<br />sound recording, playback and transmission." In Audio Culture, editors<br />Christoph Cox and Daniel Warner bring to readers an educated, timely and<br />much needed critical perspective of our contemporary musical experience<br />through the writings of some of the most important musical thinkers,<br />including Jacques Attali, John Cage, Umberto Eco, Brian Eno, Karlheinz<br />Stockhausen, Edgar Varese, just to name a few.<br /><br />Audio Culture offers a collection of essays that filter a range of<br />experimental musical practices in an unusually refreshing way. Maybe not<br />since Gregory Whitehead's reader "Wireless Imagination" (1994), which<br />recorded the "silent" history of audio, has literature on this subject<br />sufficiently captured the attention of both the sound enthusiasts and<br />academics at the same time. Having brought together an intriguing selection<br />of articles from a range of significant radio-sonic heroes as well as<br />important thinkers and philosophers, the editors decided that this time a<br />book should not conform to the highly traditional and historical categories<br />and definitions of music but investigate new paradigms for music criticism<br />and history, even for artmaking.<br /><br />The book explores a number of potential connections between musical forms<br />and practices, while highlighting the conceptual cues they share. The<br />underlining suggestion is that there are numerous links at play between<br />movements and time periods, and it is perfectly ok to imagine<br />minimalism–considered to be rather an academic form–and Techno juxtaposed<br />together, or to find the "hyperlinks" branching out from experimental noise<br />music to HipHop. <br /><br />The result is an elegant anthology that compiles the manifestos of "old<br />masters" such as Italian Futurist Luigi Russolo and statements by Edgard<br />Varese and John Cage while also spotlighting an interview on integration of<br />technology into artistic production by Christian Marclay as well as an<br />almost architectural analysis of DJ culture as put forth by omnipresent DJ<br />Spooky. <br /><br />A topic such as "noise as music" that has reached beyond its academic<br />boundaries and become a widely accepted norm within popular music (revealing<br />the shifting definition of "music" as opposed to "noise" or arbitrary<br />sounds) gets its fair share of analysis for instance. Aldous Huxley wrote in<br />1994: "The twentieth century is, among other things, the Age of Noise [?];<br />for all the resources of our almost miraculous technology have been thrown<br />into the current assault against silence." A few years before, however, John<br />Cage had already proclaimed that "whereas, in the past the point of<br />disagreement has been between dissonance and consonance, it will be, in the<br />immediate future, between noise and so-called musical sounds." The essay as<br />such guides readers on a journey from the nineteenth century pioneering<br />challengers of tonality, through various debates on the classification of<br />"silence" and "noise", towards the eventually widely accepted greater<br />sonorous possibilities within our definition of music.<br /><br />Another topic analyzed at length is the role of technology in shaping the<br />reception, modes of listening and production of music in last few decades.<br />With regards to musical perception and reception, Glenn Gould writes that<br />through technology and recordings, "today's listeners have come to associate<br />musical performance with sounds possessed of characteristics which two<br />generations ago were neither available to the profession nor wanted by the<br />public - characteristics such as analytic clarity, immediacy, and indeed<br />tactile proximity." Gould thought that the live concert had been eclipsed by<br />the audio recording, which could produce a superior interpretation the pure<br />composition, while remaining untainted from any performance bias. For the<br />composer, on the other hand, technological advancements in recording and<br />mixing suddenly enabled non-instrumental sounds to compete on a common level<br />with traditional sounds, opening whole new possibilities of sonorous<br />combinations. Brian Eno explains at length in his essay how he came to coin<br />the term Ambient Music as an emerging musical style of refined environmental<br />music. <br /><br />One cannot underestimate the complexity of the task of reanalyzing a quite<br />large section of culture that has undergone globalization and been therefore<br />affected by cross-pollination of media, technology and culture-?which<br />brought a certain degree of democratization. It is to the credit of the book<br />that it keeps up with the most interesting key texts and ideas in the field<br />and does not make a huge demand on our Windows-culture-inflicted patience.<br /><br />The book is ambitious enough to cater to a broader audience and manages to<br />respond to the numerous demands made upon it. As many know, listening to<br />extended works of experimental music can make the both unsympathetic and<br />sympathetic ears nervous and uncomfortable, and reading the long literature<br />about it may often seem a daunting chore. The reader–educated in the field<br />or not–finds a surprisingly large selection devoted to exploring the<br />critical role of sound in the history of twentieth century art and its<br />implications on the most recent developments in the emerging fields such as<br />Electronica, ambient music, and Techno.<br /><br />The book is each divided into smaller topics such as "Experimental Music" or<br />"Minimalism", each consisting roughly of a handful of essays drawn from a<br />heterogeneous collection of sources. The editors provide context to each<br />small topic and respective essay in an introductory paragraph, which makes<br />the writings very accessible to readers who are not familiar with the author<br />or topic under discussion. Texts and ideas come from a variety of sources<br />including magazines, journals and on-line.<br /><br />With its focus on different musical strategies for composition,<br />improvisation and interpretation that are continually being adjusted and<br />reshaped, Audio Culture succinctly captures the last fifty years that has<br />been the most fascinating times for avant-garde experimentation,<br />performances and sonic landscapes. By treating the existing genealogies<br />between myriads of practices in a progressive fashion, it gives the last<br />decade, which confused us all for definitions in its vibrancy, its much<br />needed attention and vocabulary.<br /><br />Audio Culture guides the readers an intellectual journey from the year 1877<br />when the first recording fundamentally transformed sound, towards almost<br />better understanding our present culture of omnipresent ipod-users,<br />polyphonic cell-phone ringers and Bjork's Medula, helping both the experts<br />and enthusiasts to new ways of thinking, tracing, developing and presenting<br />audio culture.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of<br />the New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Kevin McGarry (kevin@rhizome.org). ISSN:<br />1525-9110. Volume 10, number 3. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />Please invite your friends to visit Rhizome.org on Fridays, when the<br />site is open to members and non-members alike.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />
