RHIZOME DIGEST: 5.15.05

discussion

Posted May 14 2005 20:00

RHIZOME DIGEST: 5.15.05

RHIZOME DIGEST: May 15, 2005 Content: +announcement+ 1. Pete Otis: REFRESH! Histories of Media Art: Program and Registration 2. Lauren Cornell: commissions announcement delay 3. Jo-Anne Green: Turbulence Guest Curators: "Why rock" by Annie Abrahams and Clément Charmet +opportunity+ 4. Trebor Scholz: Prog:ME (fwd from Ricardo Rosas) 5. Sheindal Cohen: New Media Curator vacancy +scene report+ 6. Marisa S. Olson: Sonic Interventions: Pushing the Boundaries of Cultural Analysis Amsterdam School for Cultural Analysis, Universiteit von Amsterdam + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005 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 Rhizome Commissions, seven artists were selected to create artworks relating to the theme of Games: <a rel="nofollow" href="http://rhizome.org/commissions/2005.rhiz">http://rhizome.org/commissions/2005.rhiz</a> The Rhizome Commissioning Program is made possible by generous support from the Greenwall Foundation, the Jerome Foundation, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships to qualifying institutions in poor or excluded communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Kevin McGarry at Kevin@Rhizome.org or Lauren Cornell at LaurenCornell@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 5.10.05 From: Pete Otis <virtualart@culture.hu-berlin.de> Subject: REFRESH! Histories of Media Art: Program and Registration REFRESH! 1st INT. CONFERENCE ON THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY September 28 - October 1, Banff New Media Institute, Canada www.MediaArtHistory.org <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=www.MediaArtHistory.org">https://freemailng5502.web.de/jump.htm?goto=www.MediaArtHistory.org</a>> ?The technology of the modern media has produced new possibilities of interaction. What is needed is a wider view encompassing the coming rewards in the context of the treasures left us by the past experiences, possessions and insights." R. ARNHEIM, Sommer 2000 - Honorary Chair, Refresh! ? Recognizing the increasing significance of media art for our culture, the conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Banff New Media Institute, the Database for Virtual Art, Leonardo/ISAST and UNESCO DigiArts are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art. The conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange? Held at The Banff Centre REFRESH will feature lectures by invited speakers as well as others selected by an international jury from 350 received paper proposals. SESSIONS For further information on the program and the speakers in each session please go to www.MediaArtHistory.org <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=www.MediaArtHistory.org">https://freemailng5502.web.de/jump.htm?goto=www.MediaArtHistory.org</a>> . I. MediaArtHistories: Times and Landscapes I Chairs: O. GRAU and G. NADARAJAN MediaArtHistories: Times and Landscapes II E. SHANKEN and C. GERE II. Methodologies: W.J.T. MITCHELL and tba. III. Art as Research / Artists as Inventors: D. DANIELS IV. Image Science and 'Representation': From a Cognitive Point of View: B. STAFFORD V. Collaborative Practice/ Networking (history): R. KLUSZCZYNSKI and D. DOMINGUES VI. Pop/Mass/Society: M. KUSAHARA and A. LANGE VII a. Collecting, preserving and archiving the media arts: J. GAGNON VII b. Database/New Scientific Tools: R. FRIELING and O. GRAU VIII. Cross-Culture - Global Art: S. DIAMOND and M. HSU IX. What can the History of New Media Learn from History of Science/Science Studies? L. HENDERSON X. Rejuvenate: Film, sound and music in media arts history: T. GUNNING and D. KAHN XI. High Art/Low Culture ? the future of media art sciences? K. BRUNS XII. History of Institutions: I. SAKANE and J. REICHARDT XIII. tba REGISTRATION: For information, online conference registration and accommodation please go to: <a rel="nofollow" href="http://www.banffcentre.ca/bnmi/events/refresh/registration_form.asp">http://www.banffcentre.ca/bnmi/events/refresh/registration_form.asp</a> <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=http://www.banffcentre.ca/bnmi/">https://freemailng5502.web.de/jump.htm?goto=http://www.banffcentre.ca/bnmi/</a> events/refresh/registration_form.asp> For questions concerning registration please contact Luke Heemsbergen: Luke_Heemsbergen@banffcentre.ca Conference: September 28 ? October 1st www.banffcentre.ca/bnmi <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=www.banffcentre.ca/bnmi">https://freemailng5502.web.de/jump.htm?goto=www.banffcentre.ca/bnmi</a>> EXHIBITION On the occasion of the 10th anniversary of the Banff New Media Institute and in conjunction with the conference, Sarah Cook and Steve Dietz will curate "The Art Formerly Known As New Media", an exhibition at the Walter Phillips Gallery (Sept. 17 - Oct. 23). Supported by: BANFF NEW MEDIA INSTITUTE, DATABASE OF VIRTUAL ART, LEONARDO, DEUTSCHE FORSCHUNGSGEMEINSCHAFT, UNESCO DIGIARTS, VILLA VIGONI, INTEL, GOETHE-INSTITUT, SSHRC, CANADA COUNCIL CONFERENCE CHAIR: Prof. Dr. Oliver Grau Siegen University Fachbereich 3, Medienwissenschaften Adolf-Reichwein Strasse 2 57068 Siegen Germany <a rel="nofollow" href="http://virtualart.hu-berlin.de">http://virtualart.hu-berlin.de</a> <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=http://virtualart.hu-berlin.de">https://freemailng5502.web.de/jump.htm?goto=http://virtualart.hu-berlin.de</a>> <a rel="nofollow" href="http://www2.hu-berlin.de/grau/">http://www2.hu-berlin.de/grau/</a> <<a rel="nofollow" href="https://freemailng5502.web.de/jump.htm?goto=http://www2.hu-berlin.de/grau/">https://freemailng5502.web.de/jump.htm?goto=http://www2.hu-berlin.de/grau/</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Member-curated Exhibits <a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a> View online exhibits Rhizome members have curated from works in the ArtBase, or learn how to create your own exhibit. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 5.11.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: commissions announcement delay Hi Rhizome, I am writing to apologize for the delay in announcing the winners of this year's commissions. We are awaiting word from one of our funders, and expect to announce the winners in the next three weeks. Thanks for your patience. yours, Lauren Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell@rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 5.14.05 From: Jo-Anne Green <jo@turbulence.org> Subject: Turbulence Guest Curators: "Why rock" by Annie Abrahams and Clément Charmet May 14, 2005 Turbulence Guest Curators: "Why rock?" by Annie Abrahams and Clément Charmet with texts by Alan Sondheim and Frédéric Madre <a rel="nofollow" href="http://turbulence.org/curators/rock/rock.htm">http://turbulence.org/curators/rock/rock.htm</a> "Why rock?" presents sound works by net artists with real or supposed rock affinities. Why rock? Is it a need to make an adolescent dream come true or an urge to become more pop(ular)? Is it about making the body present on the screen or taking control of the power of the word? Is it an escape from net art production patterns or because we believe 21st century rock stars will emerge from the net? Works by Alexei Shulgin, Pavu, Richard Stallman, Igor Stromajer, V.N.A.T.R.C., Talan Memmott, Cory Arcangel, Clément Charmet, Dragan Espenschied, Annie Abrahams, Clement Thomas, Alan Sondheim and Marc Garrett. BIOGRAPHIES ANNIE ABRAHAMS is an artist who has worked on the net since 1996. In her work she often addresses the visitor directly; she wants him/her to be aware of his/her loneliness in front of the computer. There is no other person, there is only you and your imagination. Most of Abrahams's work is featured on her site "Being Human / Etant Humain" (bram.org): about low-tech mood mutators and interrogations on communication. Not immersive. She teaches in the Art Department of the University of Montpellier, France. CLÉMENT CHARMET is a French programmer and artist born 1981. His work as an artist began in 2002 when he released several net art pieces which dealt with automated data generation and manipulation of the network. Since 2003 he has performed with Vincent Dorp under the name thirtytwobit, a group interested in computer glitches and digital noise. Charmet is also the web designer of panoplie.org, a French webzine about contemporary art that has produced web works with non-web artists since 2004. For more Turbulence Guest Curators, see <a rel="nofollow" href="http://turbulence.org/curators">http://turbulence.org/curators</a> – Untitled Document 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 and Conference: <a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 5.09.05 From: Trebor <trebor@buffalo.edu> Subject: Prog:ME (fwd from Ricardo Rosas) Prog:ME Festival Ë? Call for Entries Prog:ME (programa de mÃda eletronica) is the 1st Festival of Electronic Media of Rio de Janeiro which will be an annual event in the city. Organized by Carlo Sansolo and Ã?rika Fraenkel, the festival will take place on the 19th July until the 18th September 2005 in the Centro Cultural Telemar, in Rio de Janeiro-RJ, with 30.000 reais in prizes (approximately $11,000 US). The deadline for application is 15th of June of 2005. To apply please go to www.progme.org <<a rel="nofollow" href="http://www.progme.org/">http://www.progme.org/</a>> . The event hopes to contribute to the stimulation of national production by highlighting new and established artists who develop works of art and technology, domestically and internationally. Running parallel to this is a program of invited foreign curators who will introduce artists of video-art from around the globe. In this festival we'll be inviting submissions for net-art, interactive cd-roms and dvds, and video-art works; we'll also exhibit performance and urban intervention pieces using electronic media. There will be talks with theorists in electronic arts; workshops; electronic music shows with DJs/VJs and talks with selected artists who will be presenting their works. There will be 10 prizes of 3000 reais each, five destined for national artists and five for international artists, distributed in the categories of net-art, interactive cd-rom/dvd and video-art. All the participants will receive a catalogue, the catalogue will register all the activities developed on the event, all this information will be also at this web site, and it will feature more Data regarding every work and every artist. All the net art works will be also available from the web site through links and we intend to keep all this info and the works as an on-line catalogue. All the activities, and the programme will be published on this site so you can have follow what is going on. Any doubts about the event please send an email to info@progme.org <<a rel="nofollow" href="http://mail8.uol.com.br/cgi-bin/webmail.exe?Act_V_Compo=1&mailto=info@p">http://mail8.uol.com.br/cgi-bin/webmail.exe?Act_V_Compo=1&mailto=info@p</a> rogme.org&amp;ID=IokP5a0Bc29cV459EOjXMwxd4lWnGKYhoeFMJ6Ev&amp;R_Folder=aW5ib 3g=&amp;msgID=4173&amp;Body=0> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 5.11.05 From: Sheindal Cohen <admin@fact.co.uk> Subject: New Media Curator vacancy FACT FOUNDATION FOR ART AND CREATIVE TECHNOLOGY CURATOR (New Media) Â£18-Â£22K Based in Liverpool, European Capital Of Culture 2008, FACT is dedicated to the support, development and presentation of artists' work in film, video and new media. We are seeking an inspired individual with extensive experience of curating new media. Working within the Exhibitions Team, you will be developing programming ideas, commissioning artists and delivering across a range of exhibition platforms, including galleries, offsite and online. In addition to generating exciting and innovative programme, you will possess the skills to convey your passion of new media to a range of diverse audiences. For an application pack please contact: Sheindal Cohen Email: admin@fact.co.uk Tel: 0151 707 4444 Website: www.fact.co.uk Deadline for applications: Wednesday 1st of June Interviews in Liverpool: Tuesday 7th of June We welcome applications from any individual regardless of ethnic origin, gender, disability, religious belief, sexual orientation or age. All applications will be considered on merit. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About Broadspire Broadspire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected Broadspire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with Broadspire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 5.15.05 From: Marisa S. Olson Subject: Sonic Interventions: Pushing the Boundaries of Cultural Analysis Amsterdam School for Cultural Analysis, Universiteit von Amsterdam Conference Report: Sonic Interventions: Pushing the Boundaries of Cultural Analysis Amsterdam School for Cultural Analysis, Universiteit von Amsterdam by Marisa S. Olson The Sonic Interventions Conference was described by its organizers, the Amsterdam School for Cultural Analysis, as an interdisciplinary conference ³dedicated to exploring the cultural practices, aesthetics, technologies, and ways of conceptualizing sound, noise, and silence.² One might imagine that this is an enormous topic, just as enormous as attempting to categorize something as pervasive as light, with which sound is frequently lumped. Taking the example of a panel discussion on the radio, consider the differences between discussing the radio in domestic life in the 1920s and the entire cultural history of the police radio. Interesting connections emerged and, yet, there was not enough time to address them in a single panel. And, of course, these are just fractional aspects of radio history, and of sound, writ large. The conference was driven by a large number of such concurrent panel sessions, which tended to foreclose the possibility of any two conference-goers having a ³common experience,² or of a consistent discourse emerging. The organizers also asked speakers to limit their presentations to ten minutes, rather than the standard twenty, in order to be more conducive to conversation among the thinly-spread audience. Despite the structural obstacles and the broad topic, Sonic Interventions managed to play host to a number of interesting presentations. Though a wide net was cast in the call for proposals, inviting artists and engineers to contribute, in addition to the typical range of academic papers, the program ultimately skewed in the direction of the academy. Sonic Interventions, then, became an opportunity to survey some of the more interesting contemporary humanities research related to sound. Keynote speaker Douglas Kahn was among the better-known sound theorists present and his opening talk provided an art historical backdrop for the next four days of discussion. In lieu of discussing sound art, Kahn actually discussed artistic research into states of soundlessness. In a reprise of his catalogue essay for the Son et Lumiere show at the Pompidou, Kahn discussed John Cage¹s and James Turrell¹s notions of ³silence,² and perception in general. Discussing the former¹s visit to an anechoic chamber and the latter¹s emulation of such a space, Kahn began to outline a phenomenology of corporeal sound; one concerned with the difference between perceiving the sounds of the body (of the blood flow, or even of thought) as interior or exterior events?that is, whether the sounds of the body¹s systems or the retinal changes experienced in a transition to darkness, would be read as coming from the self or as environmentally specific to the anechoic chamber. Kahn¹s arguments find extension into the realms of site-specificity and composition, of course, but also 1960s military research and counter-cultural resistance, or the ever-slippery relationship between light and sound, as manifest through shades of withdrawal and hallucination. This approach echoed the ethos of the overall conference, made evident in ASCA¹s CFP, which stated, ³Sound is a mental impression, a penetrating sensation, a transmitted disturbance that may be structured or chaotic, narrative or non-narrative, organic or technologically produced, communicative, and even politically charged.² Despite the vagaries of the call (which were, admittedly, posited in a gesture towards inclusion and diversity), Kahn¹s specific approach became an apt backdrop for the ensuing days of Sonic Interventions. The overall intent of the conference was to not only define what constitutes sound or silence, but what historic discourses and ideological models of value have been associated with those definitions. A glance at the conference program reveals that all of the following stood as specimens in the study of sound: music (of many genres, era, and areas), the spoken word (also of many genres, era, and areas), radio, noise (political, mental, static, dynamic), the sound of writing, silence (as in ³the silent arts,² anechoism, ³queer silence,² and beyond), orality, the voice, what the dead would say if they could, what the subaltern would say if they could, the soundscape, instruments, recording and playback technology, the broadcast and its political economy, field recordings, sound memories, sound trauma, and the ecology of sonic waste, among others. Punctuated by performances by Mary Flanagan and Jay Needham were presentations under the heading of four continuous themes: Sound and the Moving Image & Sound Technologies and Cultural Change; The Sonic in the ?Silent¹ Arts and Bring in the Noise; Silences/Orality; and Soundscapes: Sound, Space, and the Body & Sound Practices and Events. In the interest of time and space, I will present the best or most interesting panels from each heading. Under the first category, which considered sound in relationship to the moving image, technology, and cultural change, there was an interesting meeting of Cageian theory and pop aestheticism, brought about by Seda Ergul, Jaël Kraut, and Luke Stickels. Kraut¹s approach to reading Cage¹s notion of silence, and the means of ³defeating² it, sounded almost staid in comparison with Ergul¹s paper on ³Cageian Silence in Buffy the Vampire Slayer² or Stickels¹s, on ³Violence versus Silence: exploding binaries in Hana Bi.² The three bounced nicely off each other, while proving that a flimsy definition of silence could be profitable in its potential for widespread application. The second category, ³The Sonic in the ?Silent¹ Arts and Bring in the Noise² seemed to yield some of the most interesting, if diverse presentations. The title of the category sounds like a collision between ancient philosophy and a contemporary Broadway musical. Nonetheless, conference attendees with an openness to such ³accidents² could find themselves presently surprised, as I was in attending a panel of a literary bent. Hannah Bosma, Alix Mazuet, and John M. Picker did an excellent job in excavating the polyvalent ³sounds² with which literature is infused, ranging from rattling in one¹s head space to the scratchy scrawling of ecriture, to the narrative representation of aurality. Where Bosma opened with an elucidation on ³Different Noises,² Mazuet and Picker looked at Victorian-era instanciations of them. Picker compared the latter to contemporary urban noise problems. Pulling at a similarly literary thread, under the heading of ³Silences/Orality,² Greg Esplin, Maria Boletsi, David Copenhafer, and_Zachary Sifuentes plunged into canonical texts by Melville, Conrad, Kafka, and Eliot. Each presented studies of characters and contexts in which the cacophony of an encroaching modernity is ³heard.² The panel was interesting in that each presenter took a very specifically-angled approach to looking at issues with which many media theorists are currently concerned. These include the notions of private/public, or privacy/publicity; the relationship of the part to the whole (be it a character in a book, and individual in a society, or a cog in a wheel); and modes of distribution and broadcast. Discourses of power, be it individual agency or the apprehensively aligned electrical power, were understatedly present, and the entire conversation was ³enlightening.² Finally, under the fourth broad category, ³Soundscapes: Sound, Space, and the Body & Sound Practices and Events,² Ros Bandt, Ching Fang Chiang, and Pieter Verstraete comprised the panel most oriented toward contemporary art. This very international group looked at variations on installation art ranging from large museum works to smaller-scale immersive works, to Janet Cardiff¹s ³audio walks.² The panelists performed close-readings of sonic aspects of the works, which could also have been inspected under the lens of the previous topics. In particular, the thread of modernity (surprisingly more so than postmodernity) permeated the majority of the conference presentations and the aforementioned tenets of this discourse?particularly the distinction between the personal and the public?were uniquely embodied by the art works discussed here. Elsewhere under the ³Soundscape?² category, Julian Henriques presented a paper, entitled ³The Reggae Sound System: Music, Culture and Technology,² which in a certain sense represented the best synthesis of all of the conference themes: comparing sensorial and political notions of sound and silence, tracing diasporic and ideological roots and metaphorically equating them with root objects in an evolving musicology, and tracing the simultaneous evolution of recording technology and its relationships to the sound it plays and the people who hear it. In the end, were one to draw any one conclusion about the Sonic Interventions conference, it might be that ³sound theory² is currently finding room to ³intervene² in other humanistic studies. For better or for worse, this all-encompassing conference worked less to establish sound as a category in its own right (as one will recall was once done for film studies and new media, in the conferences of yore) than to posit is as a useful, if intricate, gloss upon other areas of enquiry. <a rel="nofollow" href="http://www.hum.uva.nl/asca/object.cfm/objectID=63151C88-6DD8-4960-A6BC779404">http://www.hum.uva.nl/asca/object.cfm/objectID=63151C88-6DD8-4960-A6BC779404</a> 1A49D5 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the third ArtBase Exhibition "Raiders of the Lost ArtBase," curated by Michael Connor of FACT and designed by scroll guru Dragan Espenschied. <a rel="nofollow" href="http://rhizome.org/art/exhibition/raiders/">http://rhizome.org/art/exhibition/raiders/</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 Kevin McGarry (kevin@rhizome.org). ISSN: 1525-9110. Volume 10, number 20. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. 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