RHIZOME DIGEST: 10.28.05

discussion

Posted Oct. 27 2005 20:00

RHIZOME DIGEST: 10.28.05

RHIZOME DIGEST: October 28, 2005 Content: +note+ 1. Marisa Olson: Rhizome Exhibition: Net Art's Cyborg[feminist]s, Punks, and Manifestos +opportunity+ 2. Kristin O'Friel: ISEA2006 :: Call for Participation :: Pacific Rim 3. Liz Nofziger: ASPECT Volume 7: Personas & Personalities 4. Jeff Ritchie: 2006 iDMAa + IMS Conference- <code> HumanSystems | DigitalBodies +announcement+ 5. Jane Marsching: exhibition: Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal 6. Trebor: Audio from "Share, Share Widely" conference on new-media art education 7. Defne ayas: PERFORMA05- FIRST BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY 8. voipunk@thehotmails.com: The Hotmails Performance +comment+ 9. Brett Stalbaum: A Short History of Virtual Hiking + video +Commissioned for Rhizome.org+ 10. Cory Arcangel: Interview with Tom Moody by Cory Arcangel + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Marisa Olson <marisa@rhizome.org> Subject: Rhizome Exhibition: Net Art's Cyborg[feminist]s, Punks, and Manifestos Date: Fri, October 28, 2005 11:10 am Hello. I'd like to encourage you to visit the newest exhibition guest-curated from the Rhizome ArtBase. "Net Art's Cyborg[feminist]s, Punks, and Manifestos" is an exhibition on the politics of [internet] appearances, guest-curated by Marina Grzinic. Ten works and the curator's statement are online, here: <a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a> + + + Marisa Olson Editor & Curator at Large Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Please Support Rhizome! Rhizome launched its membership drive, the Community Campaign, on September 19th. The campaign is incredibly important to Rhizome's survival and growth over the next year, and we sincerely hope that you will help us meet our goal of $25,000 by December 1st by becoming a Member or making a donation today! This targeted amount will go into strengthening our current programs, and seeding our energy into new initiatives. Higher-level donors are thanked on our support page and have an opportunity to secure limited-edition works by Cory Arcangel, Lew Baldwin, and MTAA. This is a very exciting time for the organization, and a great time to get involved. Thank you for your ongoing support. <a rel="nofollow" href="http://www.rhizome.org/support/">http://www.rhizome.org/support/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Kristin O'Friel <kristin.ofriel@gmail.com> Date: Oct 25, 2005 8:14 AM Subject: ISEA2006 :: Call for Participation :: Pacific Rim PACIFIC RIM This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose: A Global Festival of Art on the Edge to groups and individuals to submit proposals for exhibition of interactive art work and projects reflecting on the thematic of the Pacific Rim. This is the second and final call for artworks in this category. Proposals Due: December 15th, 2005 Final Decisions: Feb 10, 2006 ABOUT THE PACIFIC RIM CALL The political and economic space of the Pacific Rim represents a dynamic context for innovation and creativity. Convergent and divergent practices involving art, science, architecture and urban planning, engineering, industrial and interior design, communications, literature and performance are being manifested in new forms of cultural production and social experiences. The complex relations and diversity of Pacific Rim nations is exemplified throughout the hybridized communities that comprise Silicon Valley including local indigenous peoples. As the 10th largest city in the United States, San Jose is an important portal on the eastern edge of the Pacific region, which shares deep historical and cultural connections that range from Latin America and the South Pacific to Southeast Asia and Asia. ISEA2006 and ZeroOne San Jose Festival are highlighting the Pacific Rim defined in the broadest possible sense to include not only those states and nations that border the Pacific Ocean but also the geo-political, economic, social and historical frameworks of which they are part. We are seeking proposals that address, but are not limited to, art work that emphasize radical and alternative responses to contemporary cultural conditions throughout the Pacific Rim. We want to encourage proposals specifically from emerging artists. Of particular interest are projects that focus on engagements and interaction strategies with Diaspora communities and local context as well as work that enable new discourses, platforms and explorations. Proposals may reflect works in the form of interactive installations, wearable computing, site works, DIY alternatives, networks and mobile systems, activist projects and public insertions. Proposals should therefore identify target audiences as much as is possible, although it is not necessary to specify a venue. Venues are distributed throughout the city and include galleries, exhibitions spaces and outdoor spaces and theaters. Proposals may consider the use of the City of San Jose's public resources (wireless network, transportation systems, etc.) Note: There are separate calls for participation for artworks for each of the ISEA2006/ZeroOneFestival Themes: Transvergence, Pacific Rim, Interactive City and Community Domain. There will be a separate call for symposium papers related to the Pacific Rim (and other) themes. ABOUT THE ISEA2006 SYMPOSIUM AND ZEROONE SAN JOSE FESTIVAL The 2006 edition of the internationally renowned ISEA Symposium will be held August 5-13, 2006, in San Jose, California. The Inter-Society for Electronic Arts (ISEA) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and emerging technologies. Prior host cities include Helsinki, Paris, Sydney, Montreal, Chicago, Manchester and Nagoya. ZeroOne San Jose is a milestone festival to be held biennially making the work of the most innovative contemporary artists in the world accessible. In 2006 it will be held in conjunction with the ISEA2006 Symposium. SYMPOSIUM AND FESTIVAL CONTEXT The CADRE Laboratory at San Jose State University will also host a 2 day pre-symposium, The Pacific Rim New Media Summit, on August 7th and 8th. The Summit is focused on issues influencing new media programs, educational and research centers, and cultural arts initiatives. The primary objective of the Summit is the networking of organizations with the intention of identifying and enabling future cross-cultural interaction. The summit is intended to explore and build interpretive ?bridges? between institutional, corporate, social and cultural enterprises, with an emphasis on the emergence of new media arts programs and initiatives. An important objective is to examine and create new transaction spaces for creativity and innovation. For more information: <a rel="nofollow" href="http://isea2006.sjsu.edu/prnms.html">http://isea2006.sjsu.edu/prnms.html</a> PROCESS Submissions are due: December 15th, 2005 On line submissions: <a rel="nofollow" href="http://isea2006.sjsu.edu/register/submission.php">http://isea2006.sjsu.edu/register/submission.php</a> All entries will be reviewed by an international jury. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Liz Nofziger <liz@nofzilla.com> Date: Oct 26, 2005 3:51 PM Subject: ASPECT Volume 7: Personas & Personalities Aspect Magazine is accepting submissions for the spring 2006 edition of its biannual DVD publication titled "Personas & Personalities". Aspect's seventh volume will feature artists or groups of artists working with constructed identities and elements of personality. Work of any medium, material or genre will be accepted, but submitted documentation must be on video. The staff of ASPECT is asking curators, art critics, and members of the contemporary art community to help assemble and comment on works for the next issue by submitting a work of art on which they wish to provide audio commentary. Due to the format of the publication, the criteria for selection will include both the qualifications of the commentator and the quality of the work submitted. Audio recordings of the commentary will be assembled after the submissions have been selected. Submissions should include: - Video documentation of a work or small group of works by a single artist - Resume of the artist - Contact information for the commentator and artist - Resume of the commentator - Brief notes outlining the contents of the proposed commentary - A SASE (self-addressed stamped envelope) for return of materials Submissions must be received by December 20th 2005 and sent to: Aspect Magazine 316 Summer St. 5th Floor Boston, MA 02210 Submitters will be contacted via email no later than January 20th, 2006. For more information see our FAQ: <a rel="nofollow" href="http://www.aspectmag.com/submissions/faq.cfm">http://www.aspectmag.com/submissions/faq.cfm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Jeff Ritchie <ritchie@lvc.edu> Date: Oct 27, 2005 9:12 PM Subject: 2006 iDMAa + IMS Conference- <code> HumanSystems | DigitalBodies 2006 iDMAa + IMS Conference- <code> HumanSystems | DigitalBodies www.muohio.edu/codeconference Call for Papers The International Digital Media and Arts Association and Miami University?s Center for Interactive Media Studies presents the 2006 iDMAa + IMS Conference. The conference?s theme is built around an examination of the many codes that drive the digital media and arts world. The Conference will bring academics, artists, and industry representatives together to help define, refine and advance the leading edge of new media. This is the third annual iDMAa Conference and fifth annual IMS Conference. The conference will include refereed paper presentations, panels, discussion workshops, gallery talks, and performances. Pre-conference, hands-on tutorials (free for iDMAa members) will begin on Wednesday, April 5th, 2006. The conference will begin on April 6th and end on April 8th. The conference will also include a juried exhibition and a vendor fair. This conference is sponsored and hosted in Oxford, Ohio by Miami University?s Center for Interactive Media Studies. The Conference seeks submissions of papers for presentation and discussion. All papers will be refereed for acceptance and selected papers will be published in the iDMAa Journal. There will be an on-line proceedings, including all accepted work, as well. Submissions will be accepted in two categories: papers and notes. Papers will follow traditional academic writing standards and should not exceed ten pages. Notes are at most two pages long. Online and interactive supplements can be included. Please send all submissions by November 23rd, 2005 to: Prof. Peg Faimon, Program Chair 231 Hiestand Hall Miami University Oxford, OH 45056 faimonma@muohio.edu Papers may be submitted for review in Microsoft Word or PDF format. Please follow standard academic paper formatting conventions. Supplementary materials may be submitted in formats displayable by standard web browsers with freely available plug-ins (e. g. Flash, RealPlayer, Windows Media Player 10 or Quicktime). Authors will be notified of acceptance by January 6, 2006. Your submission should include a cover letter indicating which conference track is preferred (See list below). Participants are also encouraged to propose panels or complete ?paper sessions? on topics of specific interest. Special conference rates are available to individuals who organize and bring complete panels for sessions. We encourage the submission of panels. Panel submissions should include a brief description of the panel topic and list of panelists. Note that any panel chair submitting a panel with a minimum of four panelists who are full paying registrants to the conference will receive a discounted registration. <code> Conference Tracks ?We all have the extraordinary coded within us, waiting to be released? ? Jean Houston The 2006 iDMAa + IMS conference is structured around the taxonomy outlined below. These categories are meant only to be broad groupings as an organizational tool. The suggestions included below each track are just that ? suggestions. We encourage broad, creative, and radical interpretations of these tracks. Track One: Art Code | Code Art Sample Topics: Algorithmic Art, Software Art, Net Art, Installation Art, Physic Computing, Sonic Art, Interactive Design and Development Track Two: Academic Code Sample Topics: Curriculum Development, Promotion & Tenure, Program Development, Pedagogy, Technical Support and Funding, Inter-Institutional Collaboration, Digital Film Schools, Classroom and Lab Exemplars, eTextbooks Track Three: Image Code Sample Topics: Digital Photography, Digital Imaging as Art, 3-D Modeling, Digital Printing, Medical Imaging, Commercial Design, Installation, Digital Painting Track Four: Time-Based Code Sample Topics: Digital Video, Flash, Processing, Distance Collaboration/Performance, Animation, Film, Interactive Track Five: Cultural Code Sample Topics: Network Culture and Complexity/Change, Philosophy, Digital Identity Track Six: Legal Code Sample Topics: Copyright, Legal Issues for Artists, P2P File Sharing, Open Source, Creative Commons Track Seven: Semiotic Code & Storytelling Sample Topics: Digital Narrative, Digital Asset Management, Still Image as Narrative, Semantic Web Track Eight: Commercial Code Sample Topics: Mobile Media, Emerging Technologies, Business Applications Track Nine: Game Code Sample Topics: Serious games, artistic games, commercial games, games as pedagogy, analysis of games + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Jane Marsching <jane@janemarsching.com> Date: Oct 21, 2005 8:50 AM Subject: exhibition: Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal The Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal Center for Art and Visual Culture, UMBC, Baltimore, MD Curated by Mark Alice Durant and Jane D. Marsching October 20, 2005 – December 17, 2005, Opening Reception October 20th from 5 - 7pm Organized by the Center for Art and Visual Culture, The Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal is a major traveling exhibition featuring twenty eight contemporary artists whose work employs modern communication technologies (photography, film, video, computers, radio, internet, and digital media) to explore culturally inbred questions / superstitions concerning parallel worlds to our own. Today, the amount of attention devoted to paranormal phenomena such as UFOs, demonic possession, psychics, and ghosts in the media indicates that photography 's early fascinations have not disappeared. Millennial angst, bewildering leaps of science, wildly improbable technological inventions, and ever-decreasing wilderness as human sprawl grows exponentially, makes other worlds once again appear possible, even probable, and definitely alluring. Our escalating desire to prove the existence of another dimension (no matter which one) is linked to photography, with its history of providing us with our proofs. Seduced by the invisible in the face of the medium's relentless and dull dependence upon the physical, photography as a tool of fact (in science), fantasy (in spirit photography), and invention (in the hands of artists) is exploring new frontiers once again. Included in the exhibition are: Mark Amerika, Zoe Beloff, Diane Bertolo, Jeremy Blake, Corrine May Botz, Susan Collins, Gregory Crewdson, Paul DeMarinis, Spencer Finch, Ken Goldberg, Susan Hiller, Marko Maetamm, Miya Masaoka, Jennifer and Kevin McCoy, Mariko Mori, Maria Miranda and Norie Neumark, Paul Pfeiffer, Fred Ressler, John Roach, Ted Serios, Leslie Sharpe, Chrysanne Stathacos, Thomson & Craighead, Suzanne Treister, and Anne Walsh & Chris Kubick Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal will be accompanied by a 200 page fully illustrated catalogue with essays on the significance of paranormal and the supernatural in contemporary culture by Lynne Tillman, associate professor and writer-in-residence at the University at Albany, and Marina Warner, novelist and former scholar at the Getty Center for History of Art and Humanities. Mark Alice Durant and Jane D. Marsching, co-curators of the exhibition, will contribute extensive essays on the interplay between science, art, and the occult as it relates to the artworks in the exhibition. The publication will contain over eighty illustrations in color and black and white as well as a checklist for the exhibition, illustrated timeline, and a bibliography. Published by the Center for Art and Visual Culture, as the ninth title of its Issues in Cultural Theory series, Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal will be distributed internationally by Distributed Art Publishers (DAP), in New York (<a rel="nofollow" href="http://www.artbook.com/">http://www.artbook.com/</a>) The exhibition website is: <a rel="nofollow" href="http://www.bluroftheotherworldly.com">http://www.bluroftheotherworldly.com</a> The press release can be viewed at: <a rel="nofollow" href="http://www.umbc.edu/NewsEvents/releases//archives/2005/10/umbcs_center_fo_3.Html">http://www.umbc.edu/NewsEvents/releases//archives/2005/10/umbcs_center_fo_3.Html</a> (includes images and video clips) ::::::::::::::::::::::::::::::::: <a rel="nofollow" href="http://www.janemarsching.com">http://www.janemarsching.com</a> jane d. marsching 554 poplar street roslindale, MA 02131 617-325-2088 home 617-763-8627 cell jane@janemarsching.com ::::::::::::::::::::::::::::::::: + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. From: Trebor <trebor@buffalo.edu> Date: Oct 23, 2005 3:43 PM Subject: Audio from "Share, Share Widely" conference on new-media art education Now you can listen to hours of audio recordings from the May 05 "Share, Share Widely" conference at <a rel="nofollow" href="http://mediablog.newmediaeducation.org/">http://mediablog.newmediaeducation.org/</a> or <a rel="nofollow" href="http://distributedcreativity.typepad.com/educonversations/">http://distributedcreativity.typepad.com/educonversations/</a> Live conference contributions and audio blog entries discuss issues in new-media art education. Conference presentations: Stephen Brier, Rick Maxwell, Stanley Aronowitz, McKenzie Wark, Trebor Scholz, Pattie Belle Hastings, Hana Iverson, Patrick Lichty, Natalie Jerimjenko, Tiffany Holmes, Andrea Polli, Share Group, Colleen Macklin, Douglas Repetto, Jon Ippolito, Joline Blais, Brooke Singer, Stephanie Rothenberg, Mark Tribe, Chris Salter, Liz Slagus, Thomas Slomka, Daniel Perlin, Timothy Druckrey Audio blog: Saul Albert, Amy Alexander, Axel Bruns, Jon Cates, Susan Collins, Eugene I. Dairianathan and Paul Benedict Lincoln, Kenneth Fields, Brian Goldfarb, Elizabeth Goodman, Alexander Halavais, Dew Harrison, Jeff Knowlton, Geert Lovink, Martin Lucas, Nathan Martin, Kevin McCauley, Casey Reas, Shawn Rider, Ricardo Rosas, Joel Slayton, Paul Vanouse Vlog entries: Richard Barbrook, Jon Cates, Tony Conrad, Jessica Irish Best, Trebor – <a rel="nofollow" href="http://collectivate.net">http://collectivate.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Defne ayas <defne@performa-arts.org> Date: Oct 23, 2005 5:18 PM Subject: PERFORMA05- FIRST BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY Content-Type: text/plain; charset=utf-8 PERFORMA05- FIRST BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY November 3 through November 21, 2005 <a rel="nofollow" href="http://www.performa-arts.org/">http://www.performa-arts.org/</a> PERFORMA is pleased to announce the program of PERFORMA05, the first biennial of new visual art performance in New York City. More than 20 venues throughout New York will present a multidisciplinary program of live performances, film screenings, lectures, and exhibitions from November 3 through 21, 2005. Ten major new works will be premiered and more than 90 artists will participate in the three-week contemporary art program. PERFORMA05 is organized under the curatorial direction of Founding Director and Curator RoseLee Goldberg. PROGRAM HIGHLIGHTS PERFORMA?s first commission True Love is Yet to Come, a new work by Danish artist Jesper Just, will open PERFORMA05 at the Stephan Weiss Studio on November 3rd. Working with the Danish multi-media theater company VISION4 and the cutting edge Eyeliner 3-D projection system, Just will bring to life his seductively elegant style and complex take on male identity to life through a layering of a live performance by Denmark's Baard Owe interacting with projected images of the Finnish Screaming Men?s Choir and animated sets. Belgian artist Francis Alÿs will present Rehearsal II on November 17, a PERFORMA commission and Alÿs?s first indoor performance, in collaboration with Rafael Ortega with a trio of performers ? a strip-tease artist, pianist and singer ? who will rehearse, over and over, the same performance at the Slipper Room on the Lower Eastside. Eyebeam and PERFORMA co-present Screen Play, a moving image visual score for live musicians, by artist and composer Christian Marclay. Marclay?s video collage combines computer animation, motion graphics and found footage, and will be interpreted live by three different ensembles of live musicians, including Elliott Sharp, TOT Trio, and Zeena Parkins, among others. Salon 94 will preview a work-in-progress by Laurie Simmons, entitled, The Music of Regret, a mini-musical film in three acts examining the challenges of modern living in three tales of disappointment and regret. Incorporating narrative cinema, musical theater, puppetry, and dance, the film features key players from Simmons?s oeuvre, including her signature walking objects, ventriloquist dummies, and vintage puppets. Acts I and II of the film will be shown alongside a special live performance. The Music of Regret is co-produced by Salon 94 and PERFORMA, and is Laurie Simmons?s directorial debut. LISTEN UP! Lectures as Performance at The Kitchen, will be an evening highlighting the current interest of artists in using the formal lecture setting as a context for visual art. Astrophysics with High Energy Light is Bernar Venet?s reconstruction of an early conceptual work, Neutron emission from muon capture in Ca40, which was first presented at The Judson Church Theater in 1968. A Room of One?s Own, a new work by Coco Fusco, will be a window onto special training sessions for women to learn interrogation techniques. NOT FOR SALE: Writing on Performance and New Media on November 12 is a symposium presented in association with New York University?s Steinhardt School of Education, Department of Art. A dynamic continuation of the discussion initiated by PERFORMA in 2004, NOT FOR SALE examines performance and its relationship to the museum, gallery, and collector. The two-part symposium will bring together a distinguished panel of critics and curators including Catherine Wood, curator of Tate Modern; Katy Siegel, art historian, curator and critic; and Phillippe Vergne, Co-Curator of Whitney Biennial 2006, who will discuss the art of writing about multidisciplinary work as well as individual approaches to archiving ephemeral art. PERFORMA Radio, organized by Anthony Huberman, curator of SculptureCenter, will expand the field of performance into radio space with projects by invited artists including Ceal Floyer, Pierre Huyghe, and Banks Violette, which will be broadcast on WFMU (91.1FM-NY, and WKCR (89.9FM-NY).PERFORMA and Swiss Institute ? Contemporary Art will co-present 24-Hour Incidental, which will simultaneous feature performances by ten artists, including John Armleder, Peter Coffin, Jason Dodge, Annika Eriksson, Karl Holmqvist, and Koo Jeong-A from noon one day to the next alongside the installation of Yes Painting, 1966 by Yoko Ono. Anthology Film Archives and PERFORMA will present an evening of commissioned performances by three New York artists, Ei Arakawa, Jutta Koether and Emily Sundblad, and will present film retrospectives of Bas Jan Ader and Michael Smith, as well as the premiere of Rene Daalder?s documentary on the art and life of Bas Jan Ader, Here Is Always Somewhere Else. Paula Cooper Gallery and PERFORMA co-present Carey Young?s Consideration, a series of process-based contracts developed by artist in consultation with a lawyer. WPS1 Art Radio, as the official Internet radio station of PERFORMA05, will present a lineup of live broadcasts, interviews, and documentation from the biennial including the launch of a book project Cosmograms by Melik Ohanian, and Pablo Helguera's first operatic live performance Foreign Legion-presented by Lower Manhattan Cultural Council and Gigantic Art Space for PERFORMA05. Artists Space joins forces with PERFORMA to present Empty Space with Exciting Events. Artists Space curator, Christian Rattemeyer, has invited guest curators and artists to present individual evenings of performance that will form an extensive series in gallery?s main space. Artists include Vlatka Horvat, Sabrina Gschwandtner, Cat Mazza, and Lee Walton. Each Wednesday night will feature bands, with performances including Discoteca Flaming Star, Larry Krone, and Millree Hughes. PARTICIPANT INC will stage a performance-based installation as the site of durational actions and several evenings of live video and performance including Derrick Adams, Ron Athey & Juliana Snapper, Charles Atlas with Chris Peck, Vaginal Davis, Lovett/Codagnone, My Barbarian, Luther Price and Katherine Finneran, Rafael Sánchez, and Julie Tolentino. Over 20 venues and organizations will present additional programming as part of PERFORMA05, including: Anthology Film Archives, apexart, Art In General, Art Production Fund, Artists Space, Eyebeam, The Kitchen, Lower Manhattan Cultural Council, Museum for African Art, New York University, Participant Inc., Solomon R. Guggenheim Museum, The Studio Museum in Harlem, Swiss Institute ? Contemporary Art and White Box. Participating galleries include, Deitch Projects, Paula Cooper Gallery, Jack The Pelican Presents, Leo Koenig Inc., Salon 94, and Yvon Lambert. MORE TO COME… A full program of events is available online: <a rel="nofollow" href="http://www.performa-arts.org/">http://www.performa-arts.org/</a> For Schedule information: <a rel="nofollow" href="http://05.performa-arts.org/schedule">http://05.performa-arts.org/schedule</a> For Ticket Information: <a rel="nofollow" href="http://05.performa-arts.org/ticketinfo">http://05.performa-arts.org/ticketinfo</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Submit to a Rhizome Commissioned Art Project! Panel Junction is a project co-produced by media artist Andy Deck and many volunteers. It combines the graphic novel with forms of shared authorship that are unique to the Internet. Contributions from visitors become material and base imagery for the narrative of the novel, which will culminate in a free document good for online viewing and printing on any standard inket printer. All images and text contributed to the project will remain free for non-commercial use with attribution under a Creative Commons license. Panel Junction received and 05-06 Rhizome.org Commission. Check it out, here: <a rel="nofollow" href="http://artcontext.org/act/05/panel/feature.php?page=3D6">http://artcontext.org/act/05/panel/feature.php?page=3D6</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: voipunk@thehotmails.com <voipunk@thehotmails.com> Date: Oct 25, 2005 8:07 PM Subject: The Hotmails Performance Performance: Saturday, October 29, 2005 at 8:00 pm Helen Pitt Gallery The Hotmails The Hotmails is an Internet punk project produced by internationally exhibiting Media Artists Alberto Guedea (Mexico) and Jeremy Turner (Canada). For this project, Turner and Guedea perform as an Internet punk band in attempts to evolve Internet Art from that of a dry archival database to a rebellious purveyor of direct experience?as performance art. The Hotmails audio works are computerized compositions made out of samples taken from classic and contemporary punk and metal bands that accentuate and investigate the nostalgic cliches surrounding the Punk aesthetic and sensibility. Considered the first VoIPUNK project on the Net, The Hotmails stream from Vancouver, through the Hotmail voice-chat service MSN and other Voice-Over Internet Protocol (VoIP) platforms (Skype, Google Talk), to galleries, artist-run centres and happenings around the world. <a rel="nofollow" href="http://thehotmails.com">http://thehotmails.com</a> Helen Pitt Gallery 102-148 Alexander Street Vancouver, B.C. V6A 1B5 Canada T: (604) 681-6740 <a rel="nofollow" href="http://helenpittgallery.org">http://helenpittgallery.org</a> <a rel="nofollow" href="http://helenpittgallery.org/events.htm">http://helenpittgallery.org/events.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Brett Stalbaum <stalbaum@ucsd.edu> Date: Oct 26, 2005 3:54 PM Subject: A Short History of Virtual Hiking + video <a rel="nofollow" href="http://www.paintersflat.net/virtual_hiker.html">http://www.paintersflat.net/virtual_hiker.html</a> + short video ~ 9MB A virtual hiker is an algorithm that produces computationally derived paths from data in such a way that allows them to be re-followed through the actual world. The virtual hikers that are included in the C5 Landscape Database, beginning with version 2.0, include various Least Cost Path hikers and a Slope Reduction hiker based on a natural selection algorithm. The first attempt to follow a virtual hiker through a real landscape was performed by C5 on April 9th 2005 near Dunsmuir California as part of the quest to discover the *Other Path* of the Great Wall of China in California, or as it is now known, simply the Great Wall of California. After a rigorous insertion hike and facing both fading daylight and rapid waters flowing through necessary water crossings, C5 was only able reach the beginning of the Great Wall's other path. The visual comparison of the China terrain and its California other were satisfyingly documented, even through it was impossible to actually walk in the footsteps of the virtual hiker. (C5 personnel are Joel Slayton, Steve Durie, Geri Wittig, Jack Toolin, Brett Stalbaum, Bruce Gardner, Amul Goswamy and Matt Mays.) The second attempts to follow a virtual hiker were performed by Paula Poole and Brett Stalbaum using C5-developed software in the Anza Borrego desert of Southern California. On May 28th 2005, we attempted to follow the stepwise 3 degree Least Cost virtual hiker from Agua Caliente Springs to the Inner Pasture. An earlier scouting mission had revealed that part of the LCP path dead ended in a box canyon, but some probative scouting revealed a saddle over which the canyon could be bypassed. Even though this would cause a small divergence from the course, we proceeded to try the full hike. Unfortunately, the virtual hiker's track also led over a steep talus slope. While the path was not impossible to traverse due of the severity of the slope alone, the combination of loose talus and the many agave plants, cholla and barrel cactus in the area presented painful safety challenges. The idea of following the LCP path to Inner Pasture was abandoned after Brett slipped and fell, speari! ng his arm on an agave. Realizing that most paths in the area were probably untenable due to the floristic nature of the Anza Borrego desert and its many sharp plants including the beautiful ocotillo, jumping and teddy bear cholla, it was decided to follow the nominal foot path to the Inner Pasture known as Moonlight Canyon. While both the LCP hiker and Slope Reduction Virtual Hiker utilized parts of Moonlight Canyon, they diverged enough that the claim to have followed the virtual hikers could not be sustained. Interestingly, however the virtual hikers did traverse parts of Moonlight Canyon. The desert mountain ranges of the Great Basin provide much less in the way of spiny botanical hazards than do the Sonoran desert. A scouting mission including Brett, Paula and Naomi Spellman was performed on June 18 2005 to evaluate the terrain, and During the Locative Media in the Wild Workshop at the White Mountain Research Station Crooked Creek Facility, July 22nd of 2005, Brett, Naomi, Kimberlee Chambers and Nico Tripcevich became the first to actually successfully follow the path of both a Three Degree Least Cost Path hiker and a Slope Reduction hiker. True to form, the LCP path followed a waterway, and the Slope Reduction Path discovered a surprising and unexpectedly easier path than the non-computational path that had originally been scoped out on June 18th. Experiments with virtual hikers are ongoing. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Cory Arcangel <cory.arcangel@gmail.com> Date: Oct 28, 2005 8:26 AM Subject: Interview with Tom Moody by Cory Arcangel +Commissioned by Rhizome.org+ Interview with Tom Moody, by Cory Arcangel + Editor's Note: The following is an interview of Tom Moody, conducted by Cory Arcangel, over several emails. Below are their bio's, followed by the interview, which touches upon blogging, fandom, defunct hardware & software, music, code, studio processes, and their shared appreciation for the lo-fi… [ If this interview is truncated, in your email version of the Rhizome Digest, you may view the entire piece online, here: <a rel="nofollow" href="http://rhizome.org/thread.rhiz?thread=19080&page=1#36375">http://rhizome.org/thread.rhiz?thread=19080&page=1#36375</a> ] Tom Moody is a visual artist based in New York. His low-tech art made with MSPaintbrush, photocopiers, and consumer printers has appeared in solo shows at Derek Eller Gallery and UP&CO and numerous group shows. His weblog at www.digitalmediatree.com/tommoody, begun in February 2001, was recently recommended in the Art in America article "Art in the Blogosphere," and his web video "Guitar Solo" made its live audience debut this month in "23 Reasons to Spare New York," curated by Nick Hallett at Galapagos Art Space in Williamsburg, NY. Cory Arcangel is a computer artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers, the internet, and popular culture. He is a member of the artist groups BEIGE + R.S.G. His work has shown recently in the Whitney Biennial of American Art, The Guggenheim Museum, New York, the Museum of Modern Art, New York, the Migros Museum in Zurich, and Team and Deitch Galleries, in New York. Aside from gallery installations, most of his projects can be downloaded with source code from his website… <a rel="nofollow" href="http://www.beigerecords.com/cory/">http://www.beigerecords.com/cory/</a> Future projects include the music group Van Led, a self produced version of MTV cribz, and various assorted computer hacks. + + + Cory: One of the things I think is interesting about you is that you seem to have done so many things. From being a fan of your blog over the past couple of years (is there a word for this? blogfan? RSStailgater?….anyway….), I have learned in bits and pieces that at one point or another you were a painter, a DJ, and also a critic for more traditional art magazines. As far as I can tell, you did this all at the same time. Is it possible to connect the dots to give a bit of pre-blog background about yourself, about how you came to each? Tom: I double-majored in English lit and studio art at the University of Virginia; I DJ'd all four years and was Program Director of the student FM radio station, WTJU, the last two. Painting or being an artist is my main focus, but my original interests are mostly all still going strong. After college and a year of art school at the Corcoran in DC I moved to NY and painted, without a clue of how to access the art scene. I tried to get into SVA but applied too late for the fall semester. If I had gotten in, Keith Haring would have been my classmate (!). Then I moved to Texas, where I originally grew up. I exhibited work, wrote art reviews for a Dallas zine, and to shorten a long story, that writing eventually led to a Dallas Morning News freelance gig and covering Texas for Artforum. Music took a back seat but one of my regrets was turning down a radio show on KNON-FM–I wanted to but didn't have time. I wrote tunes on the Macintosh but found music too time-intensive to produce at that stage. I moved back to NY in 1995, had my first solo show here in '98, and wrote regularly for Artforum, which helped me get a sense of what was here. I exhibited at Derek Eller Gallery and Uscha Pohl's UP&CO space and actually sold work during the dot-com era, but by 2000 the first wave of what I'd call viable computer-made art also began to implode. A show I co-organized at Cristinerose Gallery called "Cyber Drawings," which also included Claire Corey's and Marsha Cottrell's work, got enthusiastic press response, but a certain momentum was being lost as potential collectors watched their businesses go south. Around this time Annika Sundvik and John Lavelle, who I met through the gallery world, opened a restaurant in Chinatown called Good World Bar & Grill. I DJ'd there for the better part of 2000. I started the blog in 2001, and started seriously making music again last year. Cory: Digital Media Tree seems to also have an interesting history. It is a custom-built blog community which has many members of which you are one. Running your blog on custom built software is actually quite rare, so I am curious, how did Digital Media Tree get started? Tom: Digital Media Tree is the brainchild of Jim Bassett, who wrote the software and has been the low-key, creative, officially-unofficial webmaster since 2000. It is a blog collective and quite active, with all of us commenting on each other's pages and posting to public and private group pages. My invitation to join the group came from artist Bill Schwarz, who has a page at <a rel="nofollow" href="http://www.digitalmediatree.com/schwarz/">http://www.digitalmediatree.com/schwarz/</a>. There are features at the Tree at I haven't found in other blog packages, such as the ease of configuring pages with "use your own html" options, and the ability to spin off an infinite series of customized pages, as blogs or fixed pages. I'm too lazy to learn CSS, but actually prefer my page's under-designed html look. Cory: It seems Bill was right-on by inviting you 'cause, looking through your archives, you jumped really quickly into blog format. You were reviewing shows, posting your own work, and even posting political commentary. I am not sure where I am going with this…basically what was your first impression of the blog format? Why didn't you restrict yourself to one topic? And also, what was your motivation in posting your studio process (a traditionally private practice) to the web? Tom: I had my own site, and a site devoted to science fiction writer Doris Piserchia (<a rel="nofollow" href="http://www.digitalmediatree.com/dorispiserchia/">http://www.digitalmediatree.com/dorispiserchia/</a>), up and running a few months before joining the Tree so my basic rules of navigation were already in place: no splash pages, images must load quickly, assume no surfer will stay longer than .5 seconds so you better deliver, etc. The range of my blog content emerged within the first six months. Looking back at the "attack on America" posts from fall 2001, I was still apologizing to an imagined art readership for all the political ranting. By the end of the first year I knew the blog was going to be based on desire, passion, whim, or whatever you want to call it. That I'd post what I felt like and let the content emerge from that process. Cory: Ok, so let's talk about your work. I did a studio visit a while back, and the work that I remember being the most interesting in person was your inkjet and MSPaint work. What is your fascination with personal computer software and hardware? When did you make the switch from paint-paint to MS paint? Why? Also is it true that your previous job had a role to play in this transition? I remember you mentioning this once to me. Tom: I started using MSPaintbrush, actually an older version of MSPaint, on my first permatemp job in NY, which had a lot of downtime. The computers we used didn't have Photoshop back then (around '95-'96). Actual painting was giving me health problems–everything from turpentine poisoning to repetitive stress injuries–and over a period of a couple years, I gradually phased it out and started channeling everything I'd been doing previously through this one dumb program. I liked the idea of Paintbrush as a "found art tool"–it seemed genuinely exotic within the still slightly medieval, hand-crafty art world but also didn't buy into the whiz-bang futuristic assumptions I hated about so much computer art. I figured almost everyone had fooled around with one of these early programs and could intuitively get that I was doing something more elaborate with it. That didn't necessarily turn out to be true, but that was the intent. Cory: I love this post from your blog (<a rel="nofollow" href="http://www.digitalmediatree.com/tommoody/?28018">http://www.digitalmediatree.com/tommoody/?28018</a>), talking about your pre-computer work: "I mean, I like the ability of avowedly maximalist work to upset people. Collectors prefer elegant black and white abstractions that fade into the background, and the bad kid in me wants to make something they'll totally hate. And these are bad–there are a lot of degraded, half-finished pin-up girl drawings you can't see in the scanned polaroid, and bug-eyed caricatures, just the worst stuff. I'm compelled to do this kind of work (still) but once it's finished and I step back and look at it, I sometimes wish I hadn't." Do u still agree with this? Tom: The work I did before moving to NY was packed with imagery, much of it unfiltered and kind of nasty. In the passage immediately prior to that quote I talked about getting "minimalist religion" on moving here, referring to all these studio visits I had with artists who said "You've got to start breaking this down into its parts, figure out what matters to you, open it up…" Otherwise–and I came to agree with this–the content would just be that we all live in a haze of information and conflicting signals, blah blah. The critiques made sense to me, and I ended up isolating the tripped-out, spherical abstractions, slightly pitiful but well-drawn portraits of media babes, and weird cartoons into separate bodies of work, each drawn in Paintbrush and printed out on xerox paper (and later EPSON home printer paper). I guess the point being you don't have to fill up a picture to annoy collectors. Cory: So, if I am understanding this correctly, all your visual art is done on MSPaint? Tom: It's actually Paintbrush–I know I'm a nerd on this subject. Paint ships with all Windows-equipped computers now, Paintbrush is the earlier version. It's abandonware but I still use it. I recently emailed the .exe file to drx of Bodenstandig 2000 and he was really happy to get it! I wrote a long blog post about why the earlier version was better before Microsoft "improved" it. Mostly it's in the handling of shading with the "spraycan tool"–you get much richer intermediate values. In answer to your question, it's my main drawing and painting tool. I use Photoshop for resizing and printing but I've never warmed up to painting in it–I like seeing the pixels, especially with a photorealistic rendering; it's literally edgier. Those spheres I do aren't made with a gradient tool, they're all hand-shaded in Paintbrush. Cory: There is a lot of talk about craft on your blog. You have stated that you started to use MSPaint(brush) primarily because it was exotic and you felt that the process was accessible to a wider art audience. Did the idea of craft ever enter into this transition? What are/ were the various hang-ups, and the advantages of using something like MSPaint in terms of building a craft? Tom: Hmmm, it sounds like I contradicted myself. When I said using that particular computer program was exotic I meant in the sense that the art world only just embraced *photography* as a legitimate medium, after decades of resistance to it as a lesser art form. The computer still has the shock of the new, or the shock of the bad in some cases. Art world folks know painting, photo, and printmaking lore, but are less secure–myself included–knowing what constitutes talent on the computer as opposed to some easy-to-do technical trick. I thought because everyone had Paint or the equivalent on their computer and had at least made a mark or spritzed the spraycan, they could see that I was doing something more ambitious with it. I was thinking of this guy in New Mexico who made perfect perspective drawings using an Etch a Sketch. If I could draw La Femme Nikita from scratch on this toy program and actually have people (well, guys) say she's hot, then a landmark would be achieved for both Paintbrush and the computer. The problem is I drew her so realistically people assumed I was running a photo though a pixelating filter. When I talk about craft on the blog, just to make it clear, I'm not talking about drawing ability but things like mosaics and needlepoints that relate to the computer on a much more fundamental image-making level, the grid level. I love the cross-stitch patterns and beadwork you can find online based on MSPaint drawings. In the late '90s I was impressed by the writing of cyberfeminist Sadie Plant, who opened up for me a whole organic, non-analytical way of looking at computation. She traces digital equipment back to one of its earliest uses, as punchcards for looms, and talks of the internet as a distributed collaborative artwork akin to traditionally feminine craft projects At the time I was drawing and printing hundreds of spheres at work and bringing them home, cutting polygons around them, and then taping the polygons back together in enormous paper quilts. In my press release for the Derek Eller show we called it "corporate tramp art." Cory: Lets talk about what you are working on now….. recently you (and I) were included in the Fuzzy Logic show of the Futuresonic festival. What did you show there? Tom: One of those quilts, which I'm still making. That body of work has been shown quite a bit over the years but the Fuzzy Logic show was the first where a surrounding dialogue perfectly fit it. Plant attended Futuresonic as a speaker, and co-curator Jackie Passmore wrote about the art show: "the artists…trade between the tools of handcraft and computer programming indiscriminately, highlighting the oft-overlooked correlation between the lo-fi art of handcraft and knitting and its digital descendant, the computer. Fuzzy Logic celebrates the art of the microprocess: knitting numbers, aligning loom and logic, weaving program and pattern." The quilt I had in Fuzzy Logic was a little different in that I made a big Buckyball from a scan of an old painting and hand pieced an Op art pattern drawn in Paintbrush around it. What did you show? Cory: Well, at Futuresonic, I showed an "Infinite Fill Blanket." People may or may not remember that about a year ago, my sister and I put together a show, at the gallery Foxy Production, all based around the paint patterns in Mac Paint (called Infinite Fill patterns). It was a group show, and in the end we had 93 people. Basically we let anyone in who submitted stuff that was black and white and had patterns. So yeah, for this, at one point I wanted to make Infinite Fill clothes. So Jamie went and bought this big piece of fabric, and took it to the silkscreeners www.kayrock.org and they silkscreened a pattern on the fabric. So to make a long story short, the fabric never ended up getting to a fashion designer and became a blanket, which I (for some reason) brought to Liverpool when I was in residency @ the FACT center. From there it ended up in the show! Speaking of the "Infinite Fill Show," you submitted a piece for it, which was an animated gif similar to the gifs on your blog. I was interested in knowing how having the blog has changed your art? For example, much of the earlier work you posted to the blog was documentation, but now I am seeing finished pieces, or "end files," meaning the file you post IS the art. I would consider your mp3's in that category also…. Tom: The "Infinite Fill Show" also featured that "MacPaint meets repeating pattern meets craft" theme that hardly existed in the late '90s. At least in the gallery environment. The show felt new and fresh to me and I went a little crazy writing about it on the weblog. Over the course of a few weeks I did about 20 posts, with photos and some attempt to articulate a theory (<a rel="nofollow" href="http://www.digitalmediatree.com/tommoody/?search=infinite+fill">http://www.digitalmediatree.com/tommoody/?search=infinite+fill</a>). Artnet.com's review referenced psychedelia and goth but I wanted it clear that, as you said, the operative buzz words were "Op Art" and "geek." I like that you made it open call–that gave it some of the energy of Jim Shaw's "Thrift Store Paintings" show at Metro Pictures in the '90s, combined with what's out there now on the amateur web. You are right about the change in my own work on the weblog. At a certain point, if you know a few people are checking out the page it's tempting to make work specifically for that setting. I try to balance different types of writing and art, because the web screams for dynamic change. Animated GIFs punch up the page, or annoy, depending on how you see them, just as they do on the commercial web. The music has really taken off in the last year and I've been pleased with the stats and supportive comments. After my early experiments with MusicWorks on the Macintosh in the '80s, I've been blown away to discover what you can do on a home computer now. Cory: Yes, I have been quite interested in the music…. It seems, right now, the web is perfectly geared towards this… I mean u can basically sit at home, upload some music, and because your blog has a built-in audience, basically get that music out the door right away. About one of them (<a rel="nofollow" href="http://tommoody.us/audio/aug05/Cock_of_the_Walk_Siege_Mix.mp3">http://tommoody.us/audio/aug05/Cock_of_the_Walk_Siege_Mix.mp3</a>): Talk to me about those weird techno synth pads that come in a pitch shift all over the place! Awesome. Tom: They come from a software synthesizer called Absynth; I find most of its presets kind of arty but that one is too lush not to use. It has some kind of gating effect that changes it depending on what's playing in the "foreground." Cory: What are your influences for this music? They sound quite studied, actually. They make me think of my first rave experiences. Do u know what you are going for, or do you just play around until you get something you like? They are also quite a bit more advanced than even I remember when you started, which is amazing. Are you interested in the idea that people can basically hear you develop your sound? Tom: That first work you heard was done with my old Mac SE, lock grooves, beats from turntables, etc. I'm doing almost everything on the PC now, and have learned quite a few new tricks in the past year with a sequencer (Cubase SE) and various softsynths. I'm not too conscious of the evolution, glad to hear it, but I'm obviously not self-conscious about trying out things in public. Knowing there's an audience, however small, means I'll put in that extra twelve hours to make the thing as tight as I can get it. One thing I omitted from my bio was that, in my "tweener" years, I traveled around Texas with a boys choir, performing Benjamin Britten carols, mostly to church audiences. At age eleven I sang the countertenor in Britten's "Canticle II: Abraham and Isaac": I sucked as Isaac but I learned it. I've been involved with music my whole life but never particularly cared about playing it; what I'm doing now is composing and letting the machines do the manual part. Fortunately, electronic music provides an arena where you're *expected* to be both composer and performer. In my college DJ years I was airing Can, Ralf and Florian, Tony Williams Lifetime, Iggy Pop's The Idiot, etc. My jaw dropped, in the early '90s, when I first heard breakbeat 'ardkore rave stuff. I couldn't believe how good it was–it was like all my influences grew up (and sped up). Cory: I like this one (<a rel="nofollow" href="http://tommoody.us/audio/jul05/1987.mp3">http://tommoody.us/audio/jul05/1987.mp3</a>): Where is the drum machine from? What is the name of that eerie piano sound? That sound is great and got lost in the post-rave era. Where are the drum samples from? (Sorry for everyone reading this to get so technical, but after studying music for so many years, I no longer have the ability to talk about music normally.) Tom: The drum beats are from the Vermona DRM1, a German-made beatbox from the late '80s. I downloaded a demo with individual hits and snipped the .wav files to make a kit, which plays in the drum sampler Battery. Every two bars, the drumming speeds up: that's a Cubase effect called "midi echoes." The eerie piano is a "house pad" that ships with another softsampler, Kompakt–it is really pretty and definitely has that rave sound. I have no problem using presets as long as the surrounding context shows some thought. Sampling opens up a whole historical dimension in music, it's a pity we have to use licensed materials now or get our brains sued out, but that's another interview. Cory: So yeah, basically, even doing this interview was hard for me, cause u do so much. i mean, you are a critic, have a visual art practice which is somewhere between real and virtual, and also u are constantly making music. So, i mean, woah, you are all over the place. I think my practice is similar, and recently when i lecture about my work, the whole point of my lectures is trying to have people see the thread that holds it all together. Does a similar thread exist for you? Tom: Well, there's good "all over the place" as well as bad. When I got to New York I had some interesting studio discussions with artists about forcing yourself to do one thing. Obviously it makes for a smoother ride in the art world, which still seems to have only one model–the driven Mondrian or Pollock working toward a signature style, which, surprise, surprise, fits into the market's need for a streamlined identifiable product. Despite all the curatorial talk about cross-disciplinary practices, the monomaniacs have an easier time of it. A painter I talked to quite a bit, in the '90s, is a terrific cartoonist, musician, musicologist, and writer, and at a certain point he made the conscious decision to begin channeling his energy and interests through his painting, trusting that all his content would come out through that one activity. And it worked for him–he's had a great career. But there are different ways to be a monomaniac. The artists I admire most are all multiple stylists: Polke, Kippenberger, Picabia. For all my supposed diversity, I cycle back again and again to certain things: the lo-fi, the love/hate relationship with technology, some kind of squirmy vortex image (or sound), an arrested-adolescent eroticism… I'm for the irrational and against narratives, despite my use of them as a critic. My abstract work is quite focused, paradoxical as that sounds, and is getting more so, but these other activities may be increasing the noise-to-signal ratio in the short term. Sometimes it feels like the only thread is the urge not to have a thread; I take it on faith there's an overall direction even I might not be aware of. + + + + <a rel="nofollow" href="http://www.digitalmediatree.com/tommoody/?28018">http://www.digitalmediatree.com/tommoody/?28018</a> + <a rel="nofollow" href="http://www.beigerecords.com/cory/">http://www.beigerecords.com/cory/</a> + <a rel="nofollow" href="http://www.digitalmediatree.com/schwarz/">http://www.digitalmediatree.com/schwarz/</a> + <a rel="nofollow" href="http://www.digitalmediatree.com/dorispiserchia/">http://www.digitalmediatree.com/dorispiserchia/</a> + <a rel="nofollow" href="http://www.digitalmediatree.com/tommoody/?28018">http://www.digitalmediatree.com/tommoody/?28018</a> + <a rel="nofollow" href="http://www.kayrock.org">http://www.kayrock.org</a> + <a rel="nofollow" href="http://www.digitalmediatree.com/tommoody/?search=infinite+fill">http://www.digitalmediatree.com/tommoody/?search=infinite+fill</a> + <a rel="nofollow" href="http://tommoody.us/audio/aug05/Cock_of_the_Walk_Siege_Mix.mp3">http://tommoody.us/audio/aug05/Cock_of_the_Walk_Siege_Mix.mp3</a> + <a rel="nofollow" href="http://tommoody.us/audio/jul05/1987.mp3">http://tommoody.us/audio/jul05/1987.mp3</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 10, number 43. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +