<br />RHIZOME DIGEST: October 20, 2006<br /><br />Content:<br /><br />+note+<br />1. Marisa Olson: Rhizome's annual Community Campaign has launched!<br /><br />+opportunity+<br />2. Jordan Crandall: Under Fire: invitation to participate<br />3. CR+D: RESEARCHER IN RESIDENCE GRANTS<br />4. emily@camargofoundation.org: Call for Applications<br />5. atimko@graystoneadv.com: New Media Position SUNY Oswego<br />6. Drew Hemment: Lecturer posts<br /><br />+announcement+<br />7. Anne-Marie: Riot Gear for Rollartista: Mobile Gaming Performance<br />8. Cathy Davidson: Laurie Anderson|Antonio Damasio Simulcast Oct 21,<br />9. mez breeze: Fwd: live chat with MEZ 10/17 (Leonardo Electronic Almanac<br />Discussion)<br />10. juha huuskonen: Pixelache 2007 events in Finland + France + Colombia:<br />Call for Projects / Participants!!<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: Marisa Olson <marisa@rhizome.org><br />Date: Oct 19, 2006<br />Subject: Rhizome's annual Community Campaign has launched!<br /><br />Dear Rhizomers,<br /><br />On October 17th, Rhizome launched our annual Community Campaign. We are<br />trying to raise $25,000 by December 31st. This amount is absolutely<br />essential to our survival and growth this upcoming year. We are hoping to<br />reach ths goal through membership contributions and individual donations<br />of any size.<br /><br />Last year, your contributions helped us invest significant organizational<br />time in making our system more open and inclusive. We did this by<br />enhancing our new membership policy, re-designing the site, launching a<br />blog, and adding much needed tools, like advanced search, that make<br />Rhizome content more accessible and indexical. We also went through a time<br />of real change, with the entire staff turning over and a rapid increase in<br />participation in our programs and traffic to our site. These signs of<br />positive growth have also brought additional administrative and technical<br />demands upon our already overextended staff.<br /><br />This year, we are hoping to enrich our site in several ways, with an aim<br />to make it more collaborative and dynamic for users and easier to sustain<br />for staff. We are planning to do this by introducing back-end tools that<br />will make site management easier. We are also planning to develop<br />resources like the ArtBase and implement more areas for our community to<br />exchange ideas and projects online. One of Rhizome's key strengths,<br />historically, has been its role as a virtual meeting ground for people of<br />diverse backgrounds who are interested in the various intersections of<br />contemporary art and new technologies. In our anniversary year, we ask<br />that you support us as we work to make Rhizome even more of a resource to<br />the global new media art community.<br /><br />Please consider renewing, joining for the first time, or making a donation<br />of any size. Donors at the $50 and higher levels will be thanked with<br />limited edition works generously donated by an exciting group of new media<br />artists, including Brody Condon, Kristin Lucas, Lovid, MTAA, RSG, Rick<br />Silva, and Lee Walton.<br /><br />More information can be found here:<br /><a rel="nofollow" href="http://www.rhizome.org/support">http://www.rhizome.org/support</a><br /><br />Thank you for your ongoing support.<br /><br />All the best,<br />Marisa, Lauren, and Patrick<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Jordan Crandall <actor@jordancrandall.com><br />Date: Oct 20, 2006<br />Subject: Under Fire: invitation to participate<br />Under Fire is an ongoing art and research project for the analysis of war<br />and political violence. It explores the organization, representation, and<br />materialization of armed conflicts: their structural, symbolic, and<br />affective dimensions.<br /><br />The next Under Fire will take place during the period 16 October - 10<br />December 2006, as a project for the International Biennial of Contemporary<br />Art of Seville.<br /><br />At the core of this project is an online forum. We invite you to<br />subscribe to the forum and participate in the discussion. To subscribe,<br />send a blank email to: underfire-join@underfire.eyebeam.org<br /><br />Further information: <a rel="nofollow" href="http://underfire.eyebeam.org">http://underfire.eyebeam.org</a><br />SCHEDULE<br /><br />OCT 16 - OCT 21<br />PRELUDE<br />AMIR PARSA<br /><br />OCT 22 - OCT 28<br />WAR INFRASTRUCTURES<br />ALAIN JOXE<br />with JOHN ARMITAGE and PAUL N. EDWARDS<br />Intervention: KELLER EASTERLING (on the global industry of subtraction);<br />RAQS MEDIA COLLECTIVE (on the act of 'turning a deaf ear')<br />Insertions: MANUEL DELANDA (on war ecologies); CHALMERS JOHNSON (on<br />military baseworlds)<br /><br />OCT 29 - NOV 4<br />VIOLENCE AS SYSTEMIC CONSEQUENCE<br />LORETTA NAPOLEONI<br />with JAMES DER DERIAN and NABEEL ZIAD<br />Intervention: TREVOR PAGLEN (on stealth installations)<br />Insertion: MAHMOOD MAMDANI (on the legacy of the Cold War and the roots of<br />terror)<br /><br />NOV 5 - NOV 11<br />CULTURAL FICTIONS AND SYMBOLIC REALITIES<br />NEGAR MOTTAHEDEH<br />with RYAN BISHOP, RADHIKA SUBRAMANIAM, and ANANYA VAJPEYI<br />Intervention: CALEB WALDORF (on ecologies of suspicion)<br />Insertions: JEAN BAUDRILLARD (on the irreducible singularity); TERRY<br />EAGELTON (on terror as symbolic form); KLAUS THEWELEIT (on war as symbolic<br />system of desire)<br /><br />NOV 12 - NOV 18<br />RELIGION, POLITICS, MEDIA, AND WAR<br />MELANI MCALISTER<br />with MARY KELLER, JOHN WILLIAM PHILLIPS, and ANA VALDES<br />Insertion: TALAL ASAD (on the inseparability of modern politics and religion)<br /><br />NOV 19 - NOV 25<br />SECULARISM AND RELIGIOUS REVIVALISM<br />BARBARA VICTOR<br />with SABA MAHMOOD and HAREL SHAPIRA<br />Insertion: JACQUELINE ROSE (on Zionism); ARTHUR KROKER (on born again<br />ideology)<br /><br />NOV 24 - NOV 25<br />SEVILLE ENACTIONS<br /> TARIQ ALI, GEMA MARTIN MUNOZ, and EYAL WEISMAN<br /> with CALEB WALDORF and ANA VALDES<br /><br />NOV 26 - DEC 2<br />POWER, SPECTACLE, AND REVOLUTIONARY MOVEMENTS<br />RETORT<br />with IAN DOUGLAS and THOMAS KEENAN<br />Intervention: SLAVOJ ZIZEK (on traversing the fantasy)<br /><br />DEC 3 - DEC 10<br />VIOLENCE, SENSATION, AND POLITICAL SPACE<br />NIGEL THRIFT<br />with BRIAN HOLMES, ANAHID KASSABIAN, and AMIT RAI<br />Interventions: ARIELLA AZOULAY (on the visual presence of death); RULA<br />HALAWANI (on sites of intimacy)<br />Insertions: BRIAN MASSUMI (on the politics of affect); FRIEDRICH KITTLER<br />(on love)<br />In structural terms, Under Fire is a programmatic zone that allows for<br />three different modes of engagement: discussion, enaction, and assembly. <br />Each of these modes involves varying degrees of materiality, incorporating<br />both online and onsite locations. A continuous flow of discussion runs<br />through the core of the project, yet this discursive material gets<br />assembled and enacted in varying forms and rhythms to meet very specific<br />conditions of reception – whether in terms of geographical context, media<br />environment, or social setting. Each enaction and assembly provides a<br />vital platform, to help synthesize the material and bring it to a new<br />level of organization, as well as to catalyze new relationships between<br />participants.<br /><br />What emerges is a communications ecology of actors, intensities, and<br />rhythms both synchronous and dissonant. It is a communications ecology<br />that connects people in very real historical circumstances, who<br />participate from different cultural locales and disciplinary perspectives,<br />ranging from the humanities to the social and political sciences to<br />journalism and activism. It allows for the manifestation of agencies,<br />identities, and drives and the development of interdisciplinary,<br />cross-cultural social networks, cultivating new forms of assembly.<br /><br />This instantiation of Under Fire is a project for the International<br />Biennial of Contemporary Art of Seville (<a rel="nofollow" href="http://www.fundacionbiacs.com">http://www.fundacionbiacs.com</a>).<br />Additional support provided by Eyebeam, New York.<br /><a rel="nofollow" href="http://underfire.eyebeam.org">http://underfire.eyebeam.org</a><br />THEMES<br /><br />At the structural level, Under Fire foregrounds the structural conditions<br />of violence. It addresses issues of economic production, territory, and<br />operations of power. It looks to the history of the western<br />military-industrial complex and its expanding network of extraterritorial<br />enclaves and communications infrastructures. It looks at the rise of the<br />privatized military industry and the global commercialization of arms,<br />espionage, security, and military force. It looks at the production of<br />militancy and its construction of the enemy other. It understands acts of<br />violence as symptoms or effects of structural conditions, and situates<br />cycles of conflict within the workings of a global system. In this way it<br />probes the nature of power and its resistance. Yet, at the same time, it<br />also aims to understand the intersection of space, system, and power in<br />non-socioeconomic and semiotic terms. To this end, it draws from the<br />physical sciences, philosophy, and science studies to!<br /> incorporate recent theories of emergent organization and the ontogenic,<br />nonlinear generation of behaviors and forms.<br /><br />At the symbolic level, Under Fire looks at the representation of violence<br />and the role that images play as complex registers of symbolic meaning. <br />It aims to decode media using the tools of semiotic analysis, focusing on<br />the social and cultural construction of knowledge. In this way it<br />furthers development of a critical spectatorship. Yet at the same time,<br />it explores non-linguistic-based networks of interpretation. Here<br />representation is understood less in terms of a discrete visual artifact<br />and more in terms of a dynamic, processual assembly – or what could be<br />called a media ecology. The image becomes a malleable, reproducible, and<br />re-frameable event, produced by a multiplicity of human and technological<br />applications. Such a media ecology involves not only perception but<br />sensation. It operates at the symbolic, imaginative, and affective<br />levels. It necessarily incorporates material, intensive realities that<br />resist symbolization, but which in every case play a powerfu!<br /> l role in shaping consciousness and the belief systems that motivate action.<br /><br />Following from this, at the affective level, Under Fire does not simply<br />focus on meaning but on the affective and motivational realms of human<br />experience. These include the embodied qualities, sensations, magnitudes,<br />and textures that form the substrata of communication, argument, and<br />judgment. In other words, on par with the content of a particular<br />message, equal attention is given to the quality of embodied resonance it<br />engenders. Under Fire explores the ways that affects are harnessed and<br />molded – through drill, routine, and symbolic ritual – in the training<br />technologies of war, marketing, and religion. It therefore explores the<br />role that affects play in the production of collective identifications,<br />aggressions, and "militarized subjectivities." As such, it explores the<br />politics of affect – whether in terms of the politics of fear, desire, or<br />otherwise. It positions the affective realm as a biopolitical frontier. <br />It seeks to understand how power operates at the !<br /> level of the affective, and, in turn, how the affective becomes political.<br /><br />This leads to important questions. How, then, is politics is constituted<br />in this space between affect and discourse? In other words, how is<br />politics constituted between ineffable states of embodied expression on<br />the one hand, and larger rhetorical strategies on the other? Under Fire<br />follows this line of questioning. It asks: When is expression or action<br />rendered intelligible as a political force? When does expression cease to<br />simply turn around and around itself, and instead erupt into the arena of<br />the political? What are the operations of power that determine its<br />legitimacy? What is the role of the imaginary? What is the difference<br />between violence and politics; when does violence become political? How<br />are new political spaces opened or invented? And in turn, how is<br />subjectivity constituted therein – in terms of self-affectivity or<br />discursive construction? In terms of the repetitive, embodied<br />internalization of expressive acts, or symbolic insertions into the pu!<br /> blic arena?<br /><br />Addressing these and other questions Under Fire inquires into the status<br />of political speech and moves toward what could be understood as a<br />performative politics – a politics that can incorporate a multiplicity of<br />somatic and symbolic registers, filtered by cultural fictions,<br />imaginaries, intensities, and arts of the self. A performative politics<br />that has the potential of inventing a new form of public speech and<br />existence.<br /><br />Under Fire brings together a diverse cross-section of artists, media<br />makers, educators, activists, political analysts, media researchers,<br />writers, performers, cultural theorists, social scientists, architects,<br />organizers, networkers, and other scholars and practitioners who are<br />interested in contemporary media culture, political violence, technology,<br />power, social movements, and global politics.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: CR+D <crd@fondation-langlois.org><br />Date: Oct 16, 2006<br />Subject: RESEARCHER IN RESIDENCE GRANTS<br /><br />THE DANIEL LANGLOIS FOUNDATION: REQUEST FOR PROPOSALS: RESEARCHER IN<br />RESIDENCE GRANTS<br /><br />Montreal, October 10, 2006 - The Daniel Langlois Foundation for Art,<br />Science and Technology is extending its call for research proposals for<br />researcher in residence grants to November 15, 2006.<br /><br />Through its Researcher in Residence Grant program, the Daniel Langlois<br />Foundation for Art, Science, and Technology supports projects that not<br />only draw on the documentation collection and archival fonds of the Centre<br />for Research and Documentation (CR+D), but that also explore new ways of<br />disseminating and interacting with documentary content. More specifically,<br />the program aims to promote research projects that take an innovative<br />approach to disseminating research results via data communications.<br /><br />Recent revisions to this program have led to the introduction of two<br />research components that can be used as focal points for projects: CR+D<br />documentary collections and archival fonds and Information architecture<br />and online publishing.<br /><br />Component 1 - CR+D documentary collections and archival fonds<br />The research project must make use of the CR+D's documentation collections<br />and archives. A profile of the Foundation's collections is available under<br />the "Fonds and Collections" heading in the "Centre for Research and<br />Documentation" section of the Foundation's Web site at:<br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=147">http://www.fondation-langlois.org/flash/e/index.php?NumPage=147</a><br /><br />Component 2 - Information architecture and electronic publishing project<br />Research projects accepted in this component must propose a highly<br />original concept for information architecture and/or electronic<br />publishing. The Foundation is interested in research into content<br />organization systems, navigation and user interface systems, semantics<br />research systems, and metadata development. It is also interested in<br />projects on data and system emulation or migration and research into<br />database access modes and interoperability.<br /><br />For 2007, the Daniel Langlois Foundation is offering two research grants.<br />The proposals selected will allow researchers to work at the Foundation's<br />Centre for Research and Documentation (CR+D), where they will have access<br />to computer and audiovisual equipment as well as to the Foundation's<br />database, its entire document collection, digital documents and a high<br />speed Internet connection (T1). The CR+D also offers reference and<br />research support services as well as technical resources in accordance<br />with the project in question.<br /><br />For more information on this grant program and on how to submit a proposal<br />online, we invite you to consult the program guidelines under "Funding<br />Programs" / "Program for Researchers in Residence" on the Foundation's Web<br />site at:<br /><a rel="nofollow" href="http://www.fondation-langlois.org/flash/e/index.php?NumPage=121">http://www.fondation-langlois.org/flash/e/index.php?NumPage=121</a><br /><br />You may also contact Catalina Briceno, program officer, at<br />prg_ind@fondation-langlois.org. The deadline for applications is November<br />15, 2006.<br /><br />SOURCE: Catalina Briceno, Program Officer<br />The Daniel Langlois Foundation for Art, Science and Technology<br />Tel.: (514) 987-7177, ext. 4214, Fax: (514) 987-7492<br />E-mail: prg_ind@fondation-langlois.org<br />Web site: <a rel="nofollow" href="http://www.fondation-langlois.org">http://www.fondation-langlois.org</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: emily@camargofoundation.org <emily@camargofoundation.org><br />Date: Oct 17, 2006<br />Subject: Call for Applications<br /><br />The Camargo Foundation<br />Call for Applications<br /><br />The Camargo Foundation, located in Cassis, France, is a residential center<br />for composers, writers and visual artists (painters, sculptors,<br />photographers, filmmakers, video artists, and new media artists) pursuing<br />creative projects as well as for scholars pursuing studies in the<br />humanities and social sciences related to French and francophone cultures.<br /> Residencies ar one semester (either early-September to mid-December or<br />mid-January to the end of May) and are accompanied by a stipend of $3500. <br />The Foundation's campus includes thirteen furnished apartments, a<br />reference library, and three art/music studios.<br /><br />Applicants from all countries are welcome to apply. The application<br />deadline is January 12 for either semester of the following academic year.<br /><br />For more information and to apply, please consult our website at<br /><a rel="nofollow" href="http://www.camargofoundation.org">http://www.camargofoundation.org</a> or write to apply@camargofoundation.org.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: atimko@graystoneadv.com <atimko@graystoneadv.com><br />Date: Oct 17, 2006<br />Subject: New Media Position SUNY Oswego<br /><br />SUNY Oswego's Communication Studies Department has a tenure track position<br />at the assistant professor rank in the area of New Media. The ideal<br />candidate would teach a combination of undergraduate and graduate courses,<br />which will not only develop both beginning and advanced practical skills,<br />but will also examine the theoretical dimensions of New Media. Committee<br />work and advisement is expected.<br /><br />The successful candidate's degrees might be in any number of fields, but<br />at least one degree should reflect a solid grounding in communication<br />theory. A terminal degree is required. Successful candidates must be<br />committed to teaching diverse students in a multicultural environment. <br />The ideal candidate would have several years of teaching experience and a<br />record of successful grant administration are desirable.<br /><br />For complete information about this position and application procedures,<br />please go to: www.oswego.edu/vacancies. SUNY Oswego is an affirmative<br />action, equal opportunity employer.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: Drew Hemment <drew@futuresonic.com><br />Date: Oct 17, 2006<br />Subject: Lecturer posts<br /><br />I have been asked to forward details of 2 x Lecturer posts at Lancaster<br />University, closing date 27 October.<br /><br />Imagination@Lancaster, a new Design and Innovation Futures Laboratory<br />within Lancaster University's Institute of Contemporary Arts, have<br />advertised some new posts. The aim is to build an entire team of research<br />active individuals.<br /><br />With the 2 x Lecturer posts they are looking broadly at the boundaries of<br />design and innovation, which could include social technologies / media art<br />/ locative media.<br /><br />Drew<br /><br />Organisation: Imagination@Lancaster, LANCASTER UNIVERSITY<br />Location: Lancashire<br />Closing date: 27 Oct 2006<br /><br />Lecturer (x2)<br />£28,010 - £38,772 p.a.<br /><a rel="nofollow" href="http://www.personnel.lancs.ac.uk/vacancydets.aspx?jobid=A738">http://www.personnel.lancs.ac.uk/vacancydets.aspx?jobid=A738</a><br /><br />Design and Innovation Futures Laboratory<br /><br />Lancaster University is investing significantly in a new centre,<br />Imagination@Lancaster: a research laboratory using design and innovation<br />to stimulate and enable interdisciplinary research into products, places<br />and systems for the future. We are building an entire team of research<br />active individuals to work with us in order to drive this initiative.<br /><br />We aim to recruit a dynamic design team who can use design and innovation<br />to link across discipline boundaries and undertake research into products,<br />places and systems for the future. We are looking for academics working in<br />a design and innovation field including but not restricted to:<br />architecture, built environment, smart materials and fashion, product<br />design and development, digital design and visualisation and ICT from a<br />design/arts perspective.<br /><br />Aiming for Greater Diversity<br /><br />The Bowland Charitable Trust has generously donated £5million to Lancaster<br />University. This major gift is being used to develop activities in design<br />and innovation, health, medicine and education. The University is now<br />recruiting key post in these areas.<br /><br />Lancaster University is a dynamic institution committed to building on the<br />reputation it has developed during its first forty years for pioneering<br />innovation and excellence in teaching and research.<br /><br />Salary will depend on qualifications and experience.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: Anne-Marie <opensorcery@opensorcery.net><br />Date: Oct 14, 2006<br />Subject: Riot Gear for Rollartista: Mobile Gaming Performance<br /><br />Riot Gear for Rollartista *Version en español abajo*<br /> A blog and mobile gaming performance project by Anne-Marie<br />Schleineropensorcery@opensorcery.net and Talice Lee talice@talicelee.net<br /><br />This blog is for posting information about a performance action we are<br />doing in Castellon, Spain on Saturday October 21, 2006 as part of an<br />exhibition at EACC Espai d?Art Contemporani de Castelló from<br />October-January 2007. It will involve three short Machinima (stories told<br />with video game footage) videos that will be beamed from an ultra-light<br />projector stapped to one of our head helmets. (The videos are now linked<br />from the blog to YouTube.) We sampled the two Playstation games Narc and<br />MechWarrior. It sort of evolved into a violent (break) dance musical and<br />each video is dedicated to an African or Muslim immigrant who was<br />seriously abused by police in Spain or France. We, two American women in<br />padded anime/riot gear/something else inspired moda, will be holding<br />Playstation controllers and rollerskating at the same time, (and sometimes<br />dancing), while we coast around projecting onto surfaces of the city.<br /><br />After the performance/action we will also post documentation videos and<br />photos on the blog at: <a rel="nofollow" href="http://blog.myspace.com/rollartista">http://blog.myspace.com/rollartista</a><br /><br />——–>>Español.Castellano<<——–<br />Riot Gear for Rollartista<br /> Un blog y un projecto de video juegos mobiles por Anne-Marie<br />Schleineropensorcery@opensorcery.net y Talice Lee talice@talicelee.net<br /><br />Este blog es para subir informacíon acerca de una accíon performativa que<br />haremos en Castellon, España el 21 de octubre, 2006 y es parte de una expo<br />en el EACC Espai d?Art Contemporani de Castelló desde octubre hasta enero<br />2007. Tres breves videos de Machinima (historias contadas con video<br />juegos), van a ser transmitidos desde un proyector ultra-ligero agarado a<br />uno de nuestros cascos para la cabeza. (Los videos se encuentran en el<br />blog linkeado a YouTube.) Los dos juegos de Playstation que hemos<br />sampleado son Narc y Mechwarrior. Se ha medio evolucíonado a una violenta<br />"break dance musical" y cada video es dedicado a un inmigrante africano o<br />islamico quien era seriamente maltrado por policia en España o en Francia.<br />Nosotras, dos mujeres Americanas, vestidas en ropa acolchonada para<br />motines inspirada en el anime y otras cosas que inspiraron nuestra moda,<br />vamos a estar manejando controladores de Playstation y estar patinando, (y<br />a veces bialando), mientres flotamos por la ciudad y projectamos en sus<br />superficies.<br /><br /> Despues de la performance accion vamos a subir videos y fotos de<br />documentaccíon al blog en: <a rel="nofollow" href="http://blog.myspace.com/rollartista">http://blog.myspace.com/rollartista</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via<br />panel-awarded commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Cathy Davidson <cathy.davidson@duke.edu><br />Date: Oct 14, 2006<br />Subject: Laurie Anderson|Antonio Damasio Simulcast Oct 21,<br /><br />Artist Laurie Anderson|Neuroscientist Antonio Damasio<br />Simulcast Live at www.hastac.org<br />Sat Oct 21<br />11 pm-Midnight EDT (8 pm PDT)<br />www.hastac.org<br /><br />——————————————————<br />In Southern California: This simulcast conversation follows a multimedia<br />lecture by Anderson at USC's Norris Theater at 7 p.m. (PDT). The lecture<br />is free and open to the public.<br /><br />——————————–<br /><br />Laurie Anderson will present an audio-visual lecture exploring the<br />intersections of art, science and creativity. One of the permier<br />performance artists in the world, Ms. Anderson has consistently intrigued,<br />entertained and challenged audiences with her multimedia persentations.<br />Following her presentation, Ms. Anderson will be joined in conversation by<br />neuroscientist Antonio Damasio, director of the USC Brain and Creativity<br />Institute and a leading researcher of cognition, emotions, and neural<br />systems.<br /><br />This special presentation is part of the HASTAC In|Formation Year, devoted<br />to twelve months of public programming from universities across the<br />country meant to promote the human and humane dimensions of technology and<br />to encourage conversation and exchange between humanists, artists,<br />technologists, and scientists (www.hastac.org).<br /><br />——————————————————————–<br />This event is made possible by the USC School of Cinema-Television, the<br />Institute for Multimedia Literacy, the USC Arts and Humanities<br />Initiative,MOCA, and the Annenberg Center for Communication, among others.<br />For more information, see<br /><a rel="nofollow" href="http://www-cntv.usc.edu/resources/events/events.cfm">http://www-cntv.usc.edu/resources/events/events.cfm</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: mez breeze <netwurker@gmail.com><br />Date: Oct 17, 2006<br />Subject: Fwd: live chat with MEZ 10/17 (Leonardo Electronic Almanac<br />Discussion)<br /><br />>>going live in about 40mins<<<br /><br />live chat with MEZ 10/17 (Leonardo Electronic Almanac Discussion)<br /><br />_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_<br /><br />:: Live chat with MEZ about creating the co[de]n.Text and other<br />topics.<br />:: Chat date: Tuesday, October 17.<br />:: 12 midnight West Coast US / 3 am East Coast USA / 9 am Paris FR / 5<br />pm Melbourne AU<br />:: LEAD is an open forum around the New Media Poetics special issue of<br />Leonardo Electronic Almanac.<br /><br />Chat instructions are here:<br /><a rel="nofollow" href="http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp">http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp</a>.<br />PLEASE NOTE: The instructions are intended to apply to all jabber chat<br />clients, but there may be some variation for individual clients. For<br />example, some clients may require the chat room server<br />"conference.jabber.org" and others clients only "jabber.org." Also,<br />please refer to the link for a complete schedule of upcoming chats and<br />for instructions on joining chats.<br /><br />About MEZ: a partial bibliograph can be accessed - with varying degrees<br />of chronology + linearity - from the following. Warning: search.behavior<br />may be required/n.couraged.<br /><a rel="nofollow" href="http://www.hotkey.net.au/~netwurker/nav.htm">http://www.hotkey.net.au/~netwurker/nav.htm</a><br /><a rel="nofollow" href="http://www.hotkey.net.au/~netwurker/resume2d.htm">http://www.hotkey.net.au/~netwurker/resume2d.htm</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />From: juha huuskonen <juhuu@juhuu.nu><br />Date: Oct 20, 2006<br />Subject: Pixelache 2007 events in Finland + France + Colombia: Call for<br />Projects / Participants!!<br /><br />Please join the<br />PIXELACHE 2007 EVENTS<br />in Finland, France and Colombia<br /><br />* Pikseliähky *<br />Electronic art and subcultures festival<br />26 March-1 April, Helsinki<br />www.pixelache.ac<br /><br />* Mal au Pixel *<br />Festival International des Cultures Electroniques<br />16-21 April, Paris<br />www.malaupixel.org<br /><br />* Pixelazo & Selvatorium *<br />13-20 June<br />Medellin, Antioquia, Colombia<br />21-30 June<br />Leticia, Amazonas, Colombia<br /><br />: - -<br /><br />CALL FOR PROJECTS / PARTICIPANTS<br /><br />We are currently looking for both finalized projects as well as<br />concepts/prototypes to be presented in Pixelache events during 2007.<br />We encourage people from all disciplines to participate! Artists /<br />academics / architects / designers / hackers / activists / engineers /<br />VJs / etc, you are all welcome.<br /><br />The special program sections for Pixelache events in 2007 are:<br />* Nordic VJ Meeting (Pikseliähky / Helsinki)<br />* Architecture for Participation Seminar (Pikseliähky / Helsinki)<br />* Democracy: Do It Yourself (Mal au Pixel / Paris)<br />* Pixelazo + Selvatorium (Medellin & Leticia, Colombia)<br /><br />We are also looking for projects related to following themes:<br />* VJ culture and audiovisual performances<br />* Experimental sound, interaction and electronics<br />* Grassroot networks and politics of media / technology<br /><br />The deadline for proposals for the Nordic VJ meeting<br />is 15th of November 2006!<br /><br />The deadline for all other events is 30th of November 2006!<br /><br />More information about the program themes and application process:<br />>> www.pixelache.ac (in English)<br />>> www.malaupixel.org (in French)<br /><br />: - -<br /><br />PRIX MÖBIUS NORDICA<br /><br />In 2007, Pixelache Helsinki is also collaborating with the digital media<br />culture competition Prix Möbius Nordica. More information about the<br />new Prix Möbius Nordica Experimental (focusing this year on VJ<br />practises) at www.pixelache.ac and www.prixmobiusnordica.org.<br /><br />: - -<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the<br />New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the<br />Visual Arts, and with public funds from the New York State Council on the<br />Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 11, number 40. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
