RHIZOME DIGEST: 07.07.06

discussion

Posted July 6 2006 20:00

RHIZOME DIGEST: 07.07.06

RHIZOME DIGEST: July 07, 2006 Content: +opportunity+ 1. Conor McGarrigle: Announcing the 2006 Net Art Open 2. Helen Varley Jamieson: ISEA re:mote CFP 3. Legier Biederman: !!Call for Papers!! NMC Media-N Journal: Art in the Age of Technological Seduction 4. Greg Smith: audio artists/musicians call for work - vague terrain 04: the body digital 5. diediaga@gmail.com: Call for Papers and Art Works DIME 06 6. bellthompson@ntlworld.com: Professorial Chair: Head of Computer Animation Group, Bournemouth University, UK +announcement+ 7. Lauren Cornell: 2006-2007 Rhizome Commissions 8. luggagestore@sbcglobal.net: Yoon Lee, Headlands Center for the Arts Tournesol Awardee presents at the luggage store 9. Paula Poole: Rush Creek Wilderness Trail Phase 2 *Now Open* 10. CR+D: News from the Daniel Langlois Foundation +Commissioned by Rhizome.org+ 11. Randall Packer: Review of CAE's Marching Plague by Randall Packer + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Conor McGarrigle <lists@stunned.org> Date: Jul 2, 2006 Subject: Announcing the 2006 Net Art Open Announcing the 2006 Net Art Open <a rel="nofollow" href="http://www.netartopen.org">http://www.netartopen.org</a> Stunned is proud to announce the opening of the 2006 Net Art Open. Now in it's fourth edition the Net Art Open takes a different approach to the curation of Net Art online. Rather then present a single event based exhibition selected by a curator or panel of selectors the Net Art Open is an ongoing blog based process which will unfold over the next six months. Curatorial bias has been removed by accepting all work which meets the criteria. The result is a true reflection of the state of Net Art now. The emphasis in this edition will be bringing the exhibition to the audience, taking account of the changing way people access the net. With so much new work being produced all the time even with the best will in the world it's difficult to keep up so the Net Art Open will be blogged one work at a time with RSS feeds for newsfeed readers and blog aggregators, each entry will be tagged for technorati and del.icio.us and a flickr pool will be created. In addition each entry will feature on the front page of Stunned.org. The net art open was started in 2002 by Conor McGarrigle and Arthur X. Doyle as part of the Irish Museum of Modern Art.com intervention, subsequent editions were in 2003 and 2004-5. <a rel="nofollow" href="http://www.stunned.org/netartopen">http://www.stunned.org/netartopen</a> <a rel="nofollow" href="http://www.stunned.org">http://www.stunned.org</a> Subscribe to the RSS feed <a rel="nofollow" href="http://www.stunned.org/netartopen/index.xml">http://www.stunned.org/netartopen/index.xml</a> <a rel="nofollow" href="http://www.stunned.org/netartopen/atom.xml">http://www.stunned.org/netartopen/atom.xml</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Helen Varley Jamieson <helen@creative-catalyst.com> Date: Jul 5, 2006 Subject: ISEA re:mote CFP (forwarded on behalf of adam hyde - please reply to adam@xs4all.nl) ISEA (International Symposium on Electronic Art)2006, an international conference held in conjunction with ZeroOne San Jose: A Global Festival of art on the Edge, will be held in San Jose, CA, August 7-13 2006. Both events are "situated at the critical intersection of art and technology." ISEA2006 re:mote is a symposium within ISEA2006 and is issuing a Call for Proposals. ISEA2006 re:mote, August 10-12, 2006 International new media art discourse is stimulated by festivals and events like ISEA2006 which form temporary cultural centers to represent, present and discuss networked and digital technologies. However by forming temporary centers we also tacitly create a notion of a periphery - with temporary centers also come temporary peripheries. In new media culture this is a paradox as much new media art, theory, and discourse reflects on the network itself and the elusiveness and redundancy of centers and peripheries. ISEA2006 re:mote attempts to dissuade us from imposing these distinctions by providing a platform for artists, commentators, curators, performers and theorists to participate in ISEA 2006 via online and pre-recorded media. ISEA2006 re:mote Open Call ISEA2006 re:mote is inviting media spaces and individual artists, theorists, and curators from around the world to speak or perform via remote technologies to the audience at ISEA. Presentations to be directed at the four themes of ISEA 2006. Participants are invited to present or perform on topics included within the ISEA symposium, and onsite audience interaction with the presenters is also encouraged. ISEA re:mote will focus on presenting media spaces and people that would otherwise be excluded from presenting their work at ISEA due to financial, political, or logistical reasons. The length of each presentation can be negotiated, however, for now we have set the maximum time limit of 20 minutes. Technologies used will be up to each presenter, the premise is that the technologies should be easy for you to use and access and ISEA2006 re:mote will manage the corresponding technology requirements as much as possible onsite at ISEA2006. Live and pre-recorded material can be included. Live presentations could use any available technlogies including voice technologies such as Skype/OpenWengo/Gizmo/Linphone/Ekiga or other softphones, audio or video streams, video conferencing with softwares like ichatAV/Ekiga/Skype/OpenWengo, web cams, shared desktops using softwares like VNC/RemotePC or Remote Desktop, text chats such as irc or webchats, avatar environments, gaming environments, or even the telephone! In situations where your available bandwidth is limited or restricted, delivery of digital presentation material (audio/video) can be delivered electronically or posted by traditional mail. In all situations online presence of the presenters would be beneficial, this may take the form of IM, irc or other text based chat technologies if 'realtime' audio or video communications are not possible. Creative use of remote presentation technologies is encouraged! Time slots have to be negotiated, but we are willing to bend as much as we can to include as many people as possible from various time zones. Unfortunately there are no honoraria available for this event. ISEA2006 will feature four themes: Interactive City, Community Domain, Transvergence, and Pacific Rim. Please see the following links for further information on each on the themes: Transvergence <a rel="nofollow" href="http://01sj.org/content/view/25/71/">http://01sj.org/content/view/25/71/</a> Interactive City <a rel="nofollow" href="http://01sj.org/content/blogcategory/23/68/">http://01sj.org/content/blogcategory/23/68/</a> Community Domain <a rel="nofollow" href="http://01sj.org/content/view/23/69/">http://01sj.org/content/view/23/69/</a> Pacific Rim <a rel="nofollow" href="http://01sj.org/content/blogcategory/25/70/">http://01sj.org/content/blogcategory/25/70/</a> All proposals need only be a short paragraph outlining what you would like to present, a short bio (one paragraph), and the software, technology, or other delivery process you would like to use for the presentation. Please email this information to Adam Hyde at: adam@xs4all.nl ISEA2006 re:mote is a collaboration between ISEA2006 ( <a rel="nofollow" href="http://01sj.org/">http://01sj.org/</a> ) and Adam Hyde ( <a rel="nofollow" href="http://www.xs4all.nl/~adam">http://www.xs4all.nl/~adam</a> <<a rel="nofollow" href="http://www.xs4all.nl/%7Eadam">http://www.xs4all.nl/%7Eadam</a>> ) and is based on the re:mote series of events: re:mote auckland - organised by r a d i o q u a l i a and ((ethermap <a rel="nofollow" href="http://www.remote.org.nz/">http://www.remote.org.nz/</a> re:mote regina - organised by r a d i o q u a l i a and soil media lab <a rel="nofollow" href="http://soilmedia.org/remote/">http://soilmedia.org/remote/</a> ======================================= – Adam Hyde ~/.nl selected projects <a rel="nofollow" href="http://www.xs4all.nl/~adam">http://www.xs4all.nl/~adam</a> the streaming suitcase <a rel="nofollow" href="http://www.streamingsuitcase.com">http://www.streamingsuitcase.com</a> r a d i o q u a l i a <a rel="nofollow" href="http://www.radioqualia.net">http://www.radioqualia.net</a> Free as in 'media' email : adam@xs4all.nl mobile : + 31 6 186 75 356 (Netherlands mobile) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Legier Biederman <bieder@humnet.ucla.edu> Date: Jul 5, 2006 Subject: !!Call for Papers!! NMC Media-N Journal: Art in the Age of Technological Seduction CALL FOR PAPERS: DEADLINE JULY 30, 2006 "Art in the Age of Technological Seduction" NMC media-N: journal of the new media caucus Fall 2006 issue Guest Editors: Legier Biederman and Joshua Callaghan <a rel="nofollow" href="http://www.newmediacaucus.org/media-n/call.htm">http://www.newmediacaucus.org/media-n/call.htm</a> The fall 2006 issue of NMC media-N, 'Art in the Age of Technological Seduction,' is a collaborative platform, a diverse questioning, re-considering and re-imaging of what, when and how new media arts practice is viewed by artists, practitioners, theorists, critics and historians working in the field today. We seek a broad range of contributions discussing the scope, values, and definitions of diverse new media arts practices and hope that this issue of Media-N will be a departure as much as much as an arrival. Four general questions have been posed by the members of the new media caucus as points of entry for an engaging, vibrant discussion. The issue will be divided into two sections: The first section invites brief personal accounts and anecdotal responses addressing and/or expanding one of the four questions, and we encourage everyone to respond to this section, as we'd like to include as many responses as possible. The second section invites papers that address these questions in a more lengthy and detailed form. Four Questions: 1. Defining and Re-imagining What are new media arts? Is it necessary that we define new media arts? How do we begin to discuss or teach new media arts? What sets new media arts apart from other disciplines or practices, or what connects them? What's (still) new about new media or what was, if anything ever was? What defines your work as new media art and why? How do you explain new media arts to your students and colleagues? What did or currently does attract you to new media arts practices? 2. Discourses on New Media Arts: What do the discourses do to the practice? How might one describe or define the discourse/s on new media arts? How does new media arts discourse relate to new media practices? In other words, what does the discourse/s do or attempt to do to new media arts? Are theory and practice being brought together in new media arts discourse, and if not, how might we begin to do so? What do you find interesting or problematic about new media arts discourses? Do you think there is a disjuncture between new media arts practice and the discourses on it? As a new media artist, do new media arts discourses affect your practice? 3. Authorship, Relationships & Relationality Does your work maintain a traditional relationship between the artist/author/producer and the spectator/viewer? If not, how does it transgress these boundaries? Do you feel it necessary to challenge these boundaries? Do you consider relationality, the non-hierarchical intertwining of data, artwork, artists, and viewers etc., an important aspect of your work? In what context/s is your work shown and how does effect it. How do recombinatory practices commonly found in new media such as sampling, appropriation, and mash-ups, challenge traditional author/viewer conventions? While autonomy and relationality have long lineages in art history, how do they function within new media arts practices and discourses? 4. E-litism: Technospheres and the Everyday How do notions of location, language, identity, and cultural understandings of communication inform or effect new media practices? Who is left out of, disproportionately under-represented, in the world of new media art practices? Is, as some have argued, the openness often associated with information technologies and new media practices, paradoxically, replacing the national politics of a past with the global connectivity of cosmopolitan tourism? How does your particular specificity (sexual, gender, ethnic, racial, class) affect your practice, your work or its reception? Event reviews: The editorial board also invites proposals for reviews of exhibitions/events/ festivals/conferences, etc. For more information: <a rel="nofollow" href="http://www.newmediacaucus.org/media-n/call.htm">http://www.newmediacaucus.org/media-n/call.htm</a> [] Send manuscripts via email to: Legier Biederman (lbiederm@ucla.edu) by July 30, 2006 [] Paper format and media format are in the 'Submission Guidelines' link [] Media-N author's agreement is available from the 'Copyright Statement' link [] [] Questions: contact guest editors Legier Biederman (lbiederm@ucla.edu) and Joshua Callaghan (joshua@joshuacallaghan.com) THANK YOU!! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Greg Smith <smith@serialconsign.com> Date: Jul 5, 2006 Subject: audio artists/musicians call for work - vague terrain 04: the body digital call for audio artists/musicians - vague terrain 04: the body digital Context: In his 1964 text "Understanding Media" media theorist & future-caster Marshall McLuhan stated that electricity was an extension of the nervous system. The next issue of Vague Terrain is dedicated to continuing this line of thought and exploring both the interface and friction between contemporary digital technology and the body. Vague Terrain 04: the body digital will serve as a catalog of new conceptions of the intersection between the physical and digital realms, one in which the body is read as a dataset, instrument, and host to new economies and discourses. The Call: Vagueterrain.net's fourth issue will be entitled "the body digital" and we are currently seeking the work of audio artists and musicians whose work deals with the interface between the body and contemporary technology to showcase in this issue. Vague Terrain 04: the body digital will be published online in early September 2006 so work would need to be submitted by mid August. Vague Terrain audio submissions generally consist of 30-40 minutes of original sound/music which is distributed through our publication via an author sanctioned creative commons license. Please see <a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a> for more information about the scope of our publication. If you are interested in contacting us regarding submitting audio work to this issue, or have any questions please contact us via submit@vagueterrain.net Thanks for your time! Greg Smith & Neil Wiernik editors/curators <a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: diediaga@gmail.com <diediaga@gmail.com> Date: Jul 5, 2006 Subject: Call for Papers and Art Works DIME 06 DIME 2006. 1st International Conference on Digital Interactive Media Entertainment & Arts 25-27th October 2006 - Rangsit University, Bangkok, Thailand. <a rel="nofollow" href="http://www.dime2006.org/">http://www.dime2006.org/</a> Deadline for Submisions is extended to 15th JULY 2006. DIME 2006 is a conference where we showcase the latest developments from the entertainment software developers and academic industrial researchers. This conference is targeted at both the research and commercial communities. We hope to promote research and practical applications in the context of interactive digital entertainment systems, leading edge of new digital and interactive media art and technology. This conference will be divided in two sections; the traditional presentation of communications will go accompanied of an exhibition where to show the developed investigations. Both, communications and works, will be published in the conference proceedings and in the ACM digital library. Research Art Exhibition Interactive art has changed the nature of what we consider art to be.It is changing the creative processes and even the role of the artist that now is called new media artist or interactive artist. Intersections between art and technology are transforming the way art is produced, and each time more frequently teams of artist, designers, engineers, etc.. works together in art and media labs. These teams are not frequently related with the traditional art scene or circuits, as they approach or are directly part of the academia, the research laboratories at the universities, and the digital art specialized forums. In this call for artworks we appeal directly to research artist or teams working in the convergence between disciplines, creating innovative technologies or just re-engineering existing ones through meanings and concepts. We encourage projects that focus on the creation of culture through digital media, reconfiguring technologies for the full range of human experiences. We accept interactive installations, interactive cinema, and any other emergent art form that focus on the use of innovative technologies. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + BNMI Announces International Co-production Labs BNMI has launched its new co-production residency model which includes three exceptional programs led by three peer advisors. Apply today for one of these outstanding opportunities! Co-production Lab: Almost Perfect Program Dates: November 5 - December 2, 2006 Application Deadline: July 15, 2006 Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest (DK, UK) Co-production Lab: Liminal Screen Program Dates: March 5 - March 30, 2007 Application Deadline: October 2, 2006 Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih) Co-production Lab: Reference Check Program Dates: June 24 - July 21, 2007 Application Deadline: December 1, 2006 Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj (Sa/UK) For more information visit: www.banffcentre.ca/bnmi/coproduction or email <bnmi_info@banffcentre.ca> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: bellthompson@ntlworld.com <bellthompson@ntlworld.com> Date: Jul 7, 2006 Subject: Professorial Chair: Head of Computer Animation Group, Bournemouth University, UK There is a very short deadline for applications to this post - need to be in by 17th July! I am sending this to open up the range of possible applicants for the post decribed below. I reckon that there may be Rhizome members/readers who would find it interesting. Our head of School asked us to invite applications from people who we think might be suitable. Note that 'publication' may include exhibition and commercial production. Bear in mind however that Bournemouth University is presently undergoing an initiative to increase staff engagemment in research; applicants are likely to be favoured if they are able to first-supervise PhD level research. We are an enthusiastic and committed group, from broad backgrounds in art, design, software development etc. Our philosophy has always been multi-disciplinary, encouraging the development of new disciplines and practices through art/science collaboration. With the retirement of Prof John Vince, there is a vacancy for someone who can coordinate and support a diverse and passionate team of academics. Personally I would like to see someone appointed who can help to build up the theoretical/philosophical/critical side of our group whilst ensuring that the level of excellence in technical research and learning and teaching and the philosophy of 'marrying art and science' continues. Please pass this information, taken from the official advert (see below for URL), to anyone who is qualifed and might be interested. Regards, Stephen Bell ———————————- Established Chair ? Computer Animation Salary circa £50,000 per annum Bournemouth Media School, a Centre of Excellence for Media Practice with Screen Academy status, is home to the internationally renowned National Centre for Computer Animation. Following the grade 5 secured in the last RAE, a vacancy now arises for an Established Chair with a proven publication record to lead the Academic Group in the development of computer animation and digital effects. Internationally distinguished and recognised by peers, you will inspire and motivate staff, maintaining the School's reputation for excellence in teaching and learning, research and high-quality, employable graduates. With a PhD in computer graphics/animation you will have the capacity to maintain your research and publication activities and the commercial background to implement and exploit knowledge transfer projects. URL FOR DETAILS: <a rel="nofollow" href="http://www.bournemouth.ac.uk/jobs/MED193.html">http://www.bournemouth.ac.uk/jobs/MED193.html</a> Job description and person specification (pdf download) Criteria for Professorial Designation Online application Closing date: 17 July 2006 Please quote reference: MED193 See also: <a rel="nofollow" href="http://ncca.bournemouth.ac.uk/newhome/">http://ncca.bournemouth.ac.uk/newhome/</a> to find out more about Computer Animation at Bournemouth —————————————– Email sent from www.ntlworld.com Virus-checked using McAfee(R) Software Visit www.ntlworld.com/security for more information + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Lauren Cornell <laurencornell@rhizome.org> Date: Jul 1, 2006 Subject: 2006-2007 Rhizome Commissions Hello, On behalf of Rhizome, I'm pleased to announce that eleven international artists/groups have been awarded commissions to assist them in creating original works of Internet-based art. Each commission will range from $1000-$2500. The selected artists are Annie Abrahams and Igor Stromajer, Nadia Anderson and Fritz Donnelly, Adam Brown and Andrew Fagg, Corey Jackson and Aaron Meyers, Zach Lieberman, Michael Mandiberg, the Institute for Applied Autonomy and Trevor Paglen, Evan Roth and Ben Engebre, SLOWLab (Carolyn Strauss and Julian Bleecker), Marek Walczak and Martin Wattenberg and YOUNG-HAE CHANG HEAVY INDUSTRIES. Rhizome Commissions are jury awarded, and one is determined by Rhizome Members through an open community vote. This year, Michael Mandiberg's project Real Costs was selected by the Member vote. Project descriptions and artists' biographies are available at: <a rel="nofollow" href="http://rhizome.org/commissions/2006.rhiz">http://rhizome.org/commissions/2006.rhiz</a> Rhizome would like to thank our Members and the jury for lending their time, opinions and insight to the selection process. All best, 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: luggagestore@sbcglobal.net <luggagestore@sbcglobal.net> Date: Jul 2, 2006 Subject: Yoon Lee, Headlands Center for the Arts Tournesol Awardee presents at the luggage store Solo Exhibition, Yoon Lee, at the luggage store, sf, ca Headlands Center for the Arts Tournesol Awardee YOON LEE, large scale computer generated paintings Dates of Exhibition: July 7 - August 5, 2006 Opening Reception: Friday, July 7, 2006 - 6-8pm Venue: The luggage store 1007 Market Street (nr 6th) San Francisco, CA 94103 Telephone: 415. 255 5971 Website: www.luggagestoregallery.org Gallery Hours Wed-Sat. 12-5pm and by appt. At first glance, Yoon Lee's paintings appear exuberant, as if her gestures capture the moment when chaotic forces transform into ordered systems. She squirts vividly colored acrylic paint out of plastic bottles to create slick, tactile surfaces filled with dynamic swarms of abstract shapes. Her bold yet graceful forms seem swept up in their own fast-paced trajectories, often set against traces of industrial architecture. When viewed more closely, however, it becomes evident that Lee's seemingly spontaneous marks are actually computer generated and painstakingly executed. She predetermines her formal vocabulary by scanning and 'mixing' popular media images, drawings, and photographs of freeways, railroads, and engineering structures taken along the Port of Oakland-visual sites and by-products of global capitalism that the artist experiences on a daily basis. Her monumental paintings mesmerize with their synthetic materiality, ultimately evoking the ambivalent desire we feel when confronted by colorful plastic consumer goods, beautifully crafted confections, or successful advertising campaigns. We are seduced into believing that these glossy, overdetermined objects possess the power to comfort us. As the artist explains, 'This connection between the work and consumer goods reflects my interest in consumption as a strategy to assuage urban anxiety. My work addresses the relationship between this anxiety and the speed in which information and signals travel through space.' Born in 1975 in Pusan, Korea and raised in San Diego, California, Yoon Lee attended the University of California, San Diego, where she studied computer science, mechanical engineering and existential philosophy before deciding on a career in the arts. To augment her painting training, she studied for two years at Tyler School of Art in Philadelphia before completing her BA in Visual Arts at UCSD. She earned her MFA in Painting from the San Francisco Art Institute in 2005. Since then, her work has been featured in solo and group shows throughout California, most recently in San Francisco at the TransAmerica Center, Crucible Steel Gallery, The Lab, Hang Gallery, Diego Rivera Gallery, and Catharine Clark Gallery, where her paintings in the 2006 'Moxie' exhibition garnered critical acclaim. In 2005 her work was selected by Arts Benicia for 'Cream: From the Top', an exhibition highlighting the most promising graduates from Bay Area MFA programs. Lee was awarded 2005 residencies at both Headlands Center for the Arts as part of her Tournesol Award and at Idyllwild Arts near Los Angeles as a participant in their 'Painting's Edge' series. –Lydia Matthews, Associate Professor of Visual Studies, California College of the Arts Headlands Center for the Arts is a nonprofit organization annually offering residencies to approximately 40 local, national and international artists. Headlands supports artists in the exploration of their work and serves as a laboratory whose focus is on the artist's process of investigation and creation by providing an unparalleled environment for the creative process and the development of new work and ideas. Through artists' residencies and public programs, Headlands offers opportunities for reflection, dialogue and exchange that build understanding and appreciation for the role of art in society. (www.headlands.org) The Tournesol Award sponsored by Headlands Center for the Arts was established by an anonymous donor to recognize one emerging artist each yeare whose primary medium is painting. The goal is to provide the artist with the financial and community support to assist their artistic development in the critical years after school. The award includes a cash stipend, a one year residency at the Headlands Center for the Arts and a solo exhibition at a Bay Area venue. the luggage store is a non profit multidisciplinary arts organization est. in 1987, with three venues in downtown San Francisco: the luggage store gallery at 1007 Market, the luggage store annex (aka The 509 Cultural Center) at 509 Ellis and Cohen Alley (a green community commons for public art and social interventions). The Luggage Store's vital exhibition, performing arts, public arts and arts education programs are dedicated to broadening social and aesthetic networks by encouraging the flow of images and ideas between different cultural and economic communities. (www.luggagestoregallery.org) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Paula Poole <paularpoole@yahoo.com> Date: Jul 3, 2006 Subject: Rush Creek Wilderness Trail Phase 2 *Now Open* The Rush Creek Wilderness Trail is possibly the world?s first computationally derived, unofficial public wilderness trail. The trail was first "discovered" by a computer algorithm called a "virtual hiker" (a feature of the C5 Landscape Database API) that traversed the backcountry of California. The results produced a tracklog that can be uploaded to a GPS device and then followed by a real hiker through the actual landscape. Phase 1 of the trail (From the Rush Creek Wilderness Trailhead to Rush Creek Spring) was opened by Brett Stalbaum December 27th and 28th of 2005. Phase 2 of the trail (Rush Creek Spring to the De Facto Rush Creek Trail Terminus) was opened by Stalbaum and Paula Poole June 19th-21st of 2006. The trail provides beautiful views of the Great Basin desert environment, plentiful wildlife viewing opportunities, solitude, and the unique experience of comparing the wayfinding abilities of a computer algorithm to your own wayfinding skills and intuition. For safety, backcountry experience is required. Info: <a rel="nofollow" href="http://www.paintersflat.net/rush_creek/">http://www.paintersflat.net/rush_creek/</a> GPS Data: <a rel="nofollow" href="http://www.paintersflat.net/rush_creek/data.html">http://www.paintersflat.net/rush_creek/data.html</a> Video: <a rel="nofollow" href="http://video.google.com/videoplay?docid=6420463550697768755">http://video.google.com/videoplay?docid=6420463550697768755</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: CR+D <crd@fondation-langlois.org> Date: Jul 4, 2006 Subject: News from the Daniel Langlois Foundation New recipients of financial support from the Daniel Langlois Foundation for Art, Science, and Technology Strategic Grants for Organisations: Through this program, the Foundation supports non-profit organisations in their strategic development projects. To learn more about the 2006 projects that have received support to date under the Strategic Grants for Organisations program: <a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=col&Annee=2006">http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=col&Annee=2006</a> Research and Experimentation Grants in Art+Science+Technology: Under this program, the Foundation receives proposals from artists and researchers who work in areas targeted by the Foundation. Each year, the proposal deadline is January 31. To learn more about the projects by artists and researchers selected by the Foundation for 2006: <a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=ind&Annee=2006">http://www.fondation-langlois.org/flash/e/index.php?Section=proj&SousSection=pro&TypeIco=ind&Annee=2006</a> The program's guidelines are available on the Foundation's Web site: <a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=515">http://www.fondation-langlois.org/flash/e/index.php?NumPage=515</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Randall Packer <rpacker@zakros.com> Date: Jul 7, 2006 Subject: Review of CAE's Marching Plague by Randall Packer +Commissioned by Rhizome.org+ Review of Critical Art Ensembles?s Marching Plague: Germ Warfare and Global Public Health (Autonomedia, 2006), by Randall Packer In May of 2004, Critical Ensemble (CAE) member Steve Kurtz was arrested for possession of alleged illegal bio-medical materials. This event, coupled with the tragic death of his wife Hope, triggered a response of outrage from the arts community when it was determined that accusations made by the FBI suggested the artist was engaging in terrorist activity. Like many at the time, I wrote a letter of support for Steve. The following is an excerpt: "Steve's commitment to social inquiry, particularly in the area of bio-technology, is internationally renowned. Steve is an artist and scholar of extraordinary depth of knowledge and perspective. Behind the actions and projects of CAE is a profound understanding of 20th century avant-garde practice and its impact on contemporary thought. If in fact it is the role of the artist to shed new light and vision on the issues that confront us today… the defense of Steve Kurtz is vital to the defense of the artist, whose role is to function as a mediator between our strange hostile world and the human spirit." Marching Plague: Germ Warfare and Global Public Health, Critical Art Ensemble's latest book, functions as a profound account of the artistic struggle to challenge the political status quo in times of crisis. The task of writing the book was indeed a heroic one. After the original material was confiscated by the FBI, CAE went through the painstaking task of reconstructing the research, a slow and tedious process made more difficult with Kurtz's defense of his legal case. Nevertheless, Marching Plague was completed, albeit in a revised form, documenting the CAE argument that the government's use of funds for germ warfare research is suspect, and is based primarily on deceptive reports and scare tactics. They contend that the military's research in bio-terrorism is a tremendous waste of public funds that diverts money from the more urgent need to "defeat diseases such as malaria and HIV that prematurely end of the lives of millions of people each year." CAE carefully builds its argument as to the limited military effectiveness of harmful germs such as smallpox, anthrax, plague, etc. They cite the history of their use, the relatively small number of fatalities, and the few incidents of successful implementation. They provide abundant evidence that collateral damage and the complexity of discharging the toxins into the environment underscores their claim that germ warfare is a "a burning excess that in the end does little more than terrorize a nation?s own citizenry." Bolstering their case against the false threat of germs as a biological weapon, CAE makes the interesting point that the terrorists are not the "Legion of Doom" or "deranged humans," as the government would have us believe, but rather, they are highly tactical in their political agenda. So why would they employ biological materials given the extreme difficulty of implementation? The reasons are contradictory. While the government maintains its position that bio-weapons in the hands of terrorists would cause millions of deaths, CAE maintains that the extreme difficulty of implementation would primarily result in the death of those who attempt to use them, which they refer to as the "boomerang effect." CAE then takes on the larger ramifications of the politics of fear, discussing the government's propaganda campaign to promote unnecessary, costly defense and security systems in the so-called "war on terror." They equate the Bush Administration?s declaration, "we are winning the war on terror," with the Orwellian reversal of its meaning: that is, we, "the state," are winning as declaration that they are seizing authoritarian control over their citizenry. They give as an example the US Government's Department of Homeland Security threat advisory system, a wildly inaccurate and manipulative system that was "religiously reported by the news media whenever the government gave the call." They go on to say that the Hurricane Katrina disaster in New Orleans was the result of the government's obsession with the war on terror. After the misguided appointment of Michael Brown, "FEMA developed a new 'all hazards' plan suitable only for the many types of terrorist attacks that the agency could dream up." They point out the political crisis inherent in this misguided policy, such that when civilian interests must compete with the military, the military always takes precedence. What is particularly prescient about the timing of Germ Warfare and its critique on the war on terrorism is how it dramatically makes light of the fact that the US Government's obsession with the threat of terrorism has overshadowed more pressing problems, such as global warming, world hunger, AIDS, etc, that in the end are killing millions of people. CAE offers as a rationale the Bush Administration's consistent yielding to the needs of corporate America. Just as energy policy is based on the oil industry's need to maximize its profits, so too, the vast bio-medical industry has capitalized on the fear of germ warfare as a weapon of mass destruction, resulting in costly research to defend the nation against a largely hypothetical attack. In the public health sector, funds to fight disease have been redirected to fight the war on terror due to the Pentagon?s nightmare scenario of germ warfare - a tragic waste of public tax dollars. Overall, CAE's argument against the viability of germ warfare is a timely critique of the war on terror and the government?s effort to perpetuate the crisis for reasons that are suspect, thus draining precious resources from the public good. This critique becomes all the more poignant in light of Kurtz's own personal predicament. The big question CAE asks is, "couldn?t they see that Critical Art Ensemble?s work is art?" Is it really possible that the government can't distinguish between an artist and a terrorist? In the US, there is very little understanding among the general public, let alone the government, that a critical role of the artist in society is to examine and dissect contemporary cultural conditions. We can only stand in horror that Steve Kurtz, an internationally renowned political artist and university professor, could have his work confiscated and be treated as a dangerous threat. But like the case of Joe Wilson, whose controversial investigation of nuclear activity in Niger sent shock waves through the US government all the way up the top, we see echoes of this in the prosecution of Steve Kurtz. Marching Plague is a powerful critique exposing the Government's use of germ warfare as a false scare tactic, and for this reason, we can understand why they have taken Kurtz to task. It is a frightening scenario, one that could happen to any artist or citizen who challenges the government in times of crisis. This book is an important testament to the fragility of free expression in a nation gripped by fear and uncertainty. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 11, number 26. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +