RHIZOME DIGEST: 06.23.06

discussion

Posted June 22 2006 20:00

RHIZOME DIGEST: 06.23.06

RHIZOME DIGEST: June 23, 2006 Content: +opportunity+ 1. Doug Easterly: Book Opportunity - Artists Working With Flash 2. noell@wisc.edu: Call for Proposals, TRANS Visual Culture Conference at UW-Madison, Oct. 19-22, 2006 3. imboden@stanford.edu: ASSISTANT PROFESSOR (tenure track) SEARCH EXTENDED 4. Marisa Olson: Fwd: BNMI Announces International Co-production Labs +announcement+ 5. joy.garnett@gmail.com: Newly Launched: The Fair Use Network 6. sachiko hayashi: Hz #8 - new media articles and net art 7. Leonardo/ISAST: Sean Cubitt Named New Editor-in-Chief of Leonardo Book Series 8. eric_bury@hotmail.com: Implant Matrix 9. Franco Mattes: The Influencers festival / Barcelona 6-7-8 july 2006 +Commissioned by Rhizome.org+ 10. silva.luis: Review of Curating Immateriality by Luis Silva + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Doug Easterly <playfight@mac.com> Date: Jun 16, 2006 Subject: Book Opportunity - Artists Working With Flash I am doing a book project with Thomson Press, consisting of about 12-14 chapters, where each chapter will highlight an artist doing interesting work with Flash. I'm especially trying to find contributors who have engaging content in their work. Preferably, you produce good work AND know your way around Flash. The process will require some interview sessions via email, where I will collect some notes for writing out the chapter. I will also need some high-res images, and some screen caps, as well as possible code-views. The main format of the chapter will be something like this: 1) introduction of the artist(s) and background 2) creative process / inspirations / working methods 3) how/why flash is used 4) introduction of a particular work 5) step though a technical detail in the work The book is to be produced over the course of 2006, with the release being in January 2007. I still need about 6-8 artists. It is important that you have a body of work utilizing Flash (at least 3 or 4 projects). While the chapter will have a breakdown of some technical process using Flash, my real passion for creating the book resides in the first part of each chapter, where the ideas and concepts are fully explored. If interested, send an email with "Flash Book Inquiry" in the subject line - and in the body of your email have a URL that showcases your work. Doug Easterly playfight@mac.com _____________________________________ D o u g l a s E a s t e r l y Assoc. Professor of Computer Art Syracuse University / Transmedia swamp.nu playfight@mac.com ——————————– + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: noell@wisc.edu <noell@wisc.edu> Date: Jun 19, 2006 Subject: Call for Proposals, TRANS Visual Culture Conference at UW-Madison, Oct. 19-22, 2006 What happens in an exhibition where the traditional boundaries-between art and activism, theory and practice, origin and diaspora, science and aesthetics-are not an organizational theme, but a point of departure? Imagine a space that takes us beyond the 'in-between' and toward the generation and practice of viable integrations of art, history, math, science, theory, practice and activism. We are seeking submissions of visual and performance-based work that complicates, negates, exceeds, or reflects the gray areas between and within academic disciplines, theoretical models, and methods of creative production. Submissions from a variety of disciplines and areas of study/practice are encouraged. For instance, consider collaborations across disciplines, aesthetic forms that blur boundaries between art and science or text and image, or projects that transcend or transmute the limitations of our individual senses. The exhibition will be an integral part of the TRANS: Visual Culture Conference at the University of Wisconsin-Madison, from October 19-22, 2006. A diverse array of panels, workshops, and breakout sessions will showcase papers, demonstrations, and performances on dozens of 'trans'-interpretations. The Conference will also include keynote speakers Nicholas Mirzoeff, Olu Oguibe, Sue Golding, and the performance team of Leslie Hill and Helen Paris. Before submitting your work to the exhibition team, be sure to consult the Conference's website for more information: <a rel="nofollow" href="http://www.visualculture.wisc.edu/Conference/call.htm">http://www.visualculture.wisc.edu/Conference/call.htm</a> Although you are not limited to any specific topics, we encourage you to review the titles of the Conference's working 'sub-themes' to help brainstorm possible submissions. The exhibition venue is a former ironworks facility with up to 20,000 square feet of raw industrial space, as well as significant adjoining outdoor space available for the exhibition. You can see images of Ironworks on the Conference's website. To submit your work to the TRANS exhibition, please send the following electronically to visualculture@education.wisc.edu by August 15, 2006: 1.A description or proposal of approximately 250 words 2.Image(s) of your work; either for the TRANS exhibition or similar work 3.Any necessary requirements for space and supporting technologies 4.An attached CV (one for each project participant, if working in collaboration) Please note: Funding for the TRANS exhibition is limited. While the curatorial committee will make every effort to meet all of your technological needs, please consider that you may be responsible for the transportation and support of any unconventional technology that you may require. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: eimboden@stanford.edu <eimboden@stanford.edu> Date: Jun 19, 2006 Subject: ASSISTANT PROFESSOR (tenure track) SEARCH EXTENDED Stanford is seeking to hire a practicing sculptor, preferably with expertise in areas such as installation, site-specific practices, or advanced fabrication technologies, to start September 2007 with the rank of Assistant Professor. The ideal candidate will possess a record of important exhibitions, a studio practice that will attract gifted graduate students, and a strong commitment to teaching and advising. An M.F.A. (or equivalent) and college-level experience in teaching sculpture are required along with a demonstrated ability to engage graduate students at a high level. Responsibilities will include the teaching of sculpture classes for majors and non-majors and the teaching and advising of M.F.A. students. We are seeking someone eager to participate fully in a dynamic studio art program that grants B.A. and M.F.A. degrees in the Fine Arts, an M.F.A. in Documentary Film, and an M.F.A. degree in Product Design (in cooperation with the Department of Mechanical Engineering). Application deadline: October 1, 2006. Please send a letter of introduction, a statement of artistic and academic goals, a c.v., a record of teaching experience, and 20 slides labeled with slide script, video documentation on DVD (as applicable), and a SASE for return of slides and/or DVDs. In addition, please provide three confidential letters of recommendation. Application materials should go to: Search Committee in Sculpture, Stanford University, Department of Art and Art History, Stanford, CA 94305-2018. Stanford University is an equal opportunity, affirmative action employer. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Marisa Olson <marisa@rhizome.org> Date: Jun 19, 2006 Subject: Fwd: BNMI Announces International Co-production Labs ———- Forwarded message ———- From: Ceperkovic, Slavica <Slavica_Ceperkovic@banffcentre.ca> Date: Jun 19, 2006 3:40 PM Subject: BNMI Announces International Co-production Labs To: NEW-MEDIA-CURATING@jiscmail.ac.uk BNMI Announces International Co-production Labs BNMI has just launched its new co-production residency model which includes three exceptional programs led by three peer advisors per lab. Apply today for one of these outstanding opportunities! Co-production Lab: Almost Perfect Program Dates: November 5 - December 2, 2006 Application Deadline: July 1, 2006 Tuition: $1,850 Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest (DK, UK) Almost Perfect is a rapid prototyping lab that explores the creation of pervasive mobile media in the Banff region. With the dedicated support of peer advisors, technicians, and production facilities, participants can develop basic to advanced level prototypes in the areas of locative media, telematics, audio art, and responsive environments. This residency will also explore the political and social economic contexts of locative media. Almost Perfect is a joint venture between BNMI and HP Bristol. Prototype development will be realized through the use of GPS enabled HP iPAQs and software developed by HP Research Labs Bristol. Co-production Lab: Liminal Screen Program Dates: March 5 - March 30, 2007 Application Deadline: October 2, 2006 Tuition: $1,722 Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih) Liminal Screen examines the ambiguity, openness, and indeterminacy of cinema in current new media practice. Working with peer advisors and technicians, participants are invited to work independently or collaboratively to focus on questions of screen-based work that is in transition. Co-production Lab: Reference Check Program Dates: June 24 - July 21, 2007 Application Deadline: December 1, 2006 Tuition: $1,850 Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj (Sa/UK) Reference Check invites post-graduate students and researchers whose work connects to new media, to come to Banff to develop concepts, create prototypes, have group discussions and realize projects. Reference Check welcomes applications for both theoretical and applied research at all stages. BNMI's Co-production program is devoted to the production and presentation of the work of new media practitioners. The connections between art, technology, media, and cultures are continuously explored, by bringing together interdisciplinary participants in intensive co-production media lab residencies. The residencies support individuals and teams in the creation of new works, knowledge, and technology. The program is international in scope, accepting applications on a tri-annual basis. The BNMI is committed to equal opportunity and access to all programs for artists of diverse cultural and regional communities. Applications are peer adjudicated. For more information and to apply visit: www.banffcentre.ca/bnmi/coproduction. Banff New Media Institute Email: bnmi_info@banffcentre.ca www.banffcentre.ca/bnmi The Banff Centre Box 1020, Station 40 Banff, Alberta T1L 1H5 Canada + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: joy.garnett@gmail.com <joy.garnett@gmail.com> Date: Jun 16, 2006 Subject: Newly Launched: The Fair Use Network from: NEWSgrist - where spin is art - June 16, 2006 Newly Launched: The Fair Use Network <a rel="nofollow" href="http://newsgrist.typepad.com/underbelly/2006/06/newly_launched_.html">http://newsgrist.typepad.com/underbelly/2006/06/newly_launched_.html</a> THE FAIR USE NETWORK: INFORMATION & RESOURCES FOR FREE EXPRESSION <a rel="nofollow" href="http://fairusenetwork.org">http://fairusenetwork.org</a> This is the site we've all been waiting for, the hub of "all things fair use", a newly launched online resource tailored for artists, scholars and creative people that includes practical resources, reference guides and glossaries, a budding attorney network, and a nifty newsfeed in the left sidebar generated by their internal blog…. brought to you by the folks at the Free Expression Policy Project @ the Brennan Center for Justice, NYU School of Law. ……………………………………………………… via their homepage: <a rel="nofollow" href="http://fairusenetwork.org">http://fairusenetwork.org</a> About Us The Fair Use Network provides information to activists, artists, scholars, and anyone else who has questions about "IP" (intellectual property) law. Our basic purpose is to support fair use and other free expression safeguards within the law, because free expression is essential to creativity, culture, and a healthy democracy. The Fair Use Network is part of the Free Expression Policy Project (FEPP), a program of the Brennan Center for Justice at NYU School of Law. It grew out of the findings and recommendations in FEPP's 2005 report, Will Fair Use Survive? Free Expression in the Age of Copyright Control. The report found massive confusion among artists, scholars, and others about fair use, and a need for pro bono legal help and comprehensible resource materials. Staff The Fair Use Network staff are: Laura Quilter, Coordinator, Fair Use Network. Marjorie Heins, Coordinator, Free Expression Policy Project. Neema Trivedi, Research Associate. Evan Hill-Ries, Legal Intern. A Bit of Background In the last few decades, the rights of copyright and trademark owners to control the use of their works has increased dramatically. Corporations have lobbied successfully for longer copyright terms and expanded their control over trademarks through legal doctrines such as "trademark dilution." They also have used cease and desist letters and section 512 takedown notices to try to stop legitimate, fair uses of copyrighted materials, or well-known trademarks, for such purposes as criticism and parody. The enhancement of IP owners' powers has come at the expense of those who build upon, critique, or make other creative, scholarly, or political uses of existing works. The wholesale shift of rights from the public's to the owner's side of the scale has fundamentally changed the delicate balance in IP law that makes creativity and informed political debate possible. The combination of rapidly shifting laws and new technologies has left many people uncertain about their rights as users. In the face of uncertainty, many individuals and groups have understandably steered a conservative path around possible legal landmines. Unfortunately, this response fails to take advantage of significant rights that users retain, even today ? first and foremost, the rights to fairly use trademarks or copyrighted material. Why the Fair Use Network? How much can you borrow, quote or copy from someone else's work? What happens if you get a "cease and desist" letter from a copyright owner? These and many other questions make "intellectual property," or "IP," law, a mass of confusion for artists, scholars, journalists, bloggers, and everyone else who contributes to culture and political debate. The Fair Use Network was created because of the many questions that artists, writers, and others have about "IP" issues. Whether you are trying to understand your own copyright or trademark rights, or are a "user" of materials created by others, the information here will help you understand the system ? and especially its free expression safeguards. If you have received a "cease and desist" letter from a copyright or trademark owner, or a notice from your Internet service provider about a "takedown" letter, you'll also find useful information on this site. read more at <a rel="nofollow" href="http://fairusenetwork.org">http://fairusenetwork.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Exhibitions The GIF Show, open May 3-June 3, at San Francisco's Rx Gallery, takes the pulse of what some net surfers have dubbed ?GIF Luv,? a recent frenzy of file-sharing and creative muscle-flexing associated with GIFs (Graphic Interchange Format files). Curated by Rhizome Editor & Curator at Large, Marisa Olson, the show presents GIFs and GIF-based videos, prints, readymades, and sculptures by Cory Arcangel, Peter Baldes, Michael Bell-Smith, Jimpunk, Olia Lialina, Abe Linkoln, Guthrie Lonergan, Lovid, Tom Moody, Paper Rad, Paul Slocum, and Matt Smear (aka 893). GIFs have a rich cultural life on the internet and each bears specific stylistic markers. From Myspace graphics to advertising images to porn banners, and beyond, GIFs overcome resolution and bandwidth challenges in their pervasive population of the net. Animated GIFs, in particular, have evolved from a largely cinematic, cell-based form of art practice, and have more recently been incorporated in music videos and employed as stimulating narrative devices on blogs. From the flashy to the minimal, the sonic to the silent, the artists in The GIF Show demonstrate the diversity of forms to be found in GIFs, and many of them comment on the broader social life of these image files. Become MySpace friends with the exhibit! <a rel="nofollow" href="http://www.myspace.com/gifshow">http://www.myspace.com/gifshow</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: sachiko hayashi <look@e-garde.com> Date: Jun 19, 2006 Subject: Hz #8 - new media articles and net art <a rel="nofollow" href="http://www.hz-journal.org">http://www.hz-journal.org</a> Hz #8 presents: [Articles] AUGMENTED BODY AND VIRTUAL BODY by Suguru Goto Composer Suguru Goto's "Augumented Body and Virtual Body" is a combination of his previous project "BodySuit" utilising 12 censors on a human performer and his new project "Robotic Music," in which 5 robots performs following percussions: Gong, Bass Drum, Snare Drum, Tom-Tom, and Cymbal. FLOATING POINTS: LOCATIVE MEDIA, PERSPECTIVE, FLIGHT AND THE INTERNATIONAL SPACE STATION by Jeremy Hight Jeremy Hight has developed an experiment for the International Space Station that questions all the current notions of location in locative media by the inclusion of perspective: he proposes a new field of art to trigger above cities and the landscape at various altitudes. GLOBAL vs. LOCAL: THE ART OF TRANSLOCALITY by Ewa Wojtowicz "The Internet-based culture has a global impact although its origin is blurred. Is it local? Are there any tendencies of locality visible in the world of net art?" Ewa Wojtowicz, theoretician/historian of art & culture and new media, examines the present net art practice from the perspective of locality and gloval networked community. TECHNOLOGY AS IF by Annika Olofsdotter Bergstrom Annika Olofsondotter Bergstrom discusses three New Media performances in which all use technology as body's extension: Troika Ranch's "Future of memory", Stelarc's "Ping Body" and Laetitia Sonami's "Lady?s Glove" MAN MACHINE by Bjorn Norberg New Media Art Curator Bjorn Norberg leads us through the back-stage of the exhibition "Man Machine" shown at the National Museum of Science and Technology in Stockholm, February this year. "WHERE ARE YOU FROM?": THE NETWORKED APHERE by Pat Badani Interviews in 6 cities (Montreal, Toronto, Chicago, Mexico City, Buenos Aires and Paris) are compiled in Pat Badani's net art project "Where Are You From" to reveal the dynamics between the notions of "place" and "belonging." [Hz Net Gallery] THE PROSTHETIC COMPONENT INTERFACE SERIES or PCI by Andrew Bucksbarg CONTINUUM by Tom Badley SEARCHING IN THE BOX by Francesca Roncagliolo THEUSE.INFO by Chris Mann ZINHAR by Babel Hz is an on-line journal published by the non-profit art organization Fylkingen in Stockholm. Established in 1933, Fylkingen is the oldest forum for experimental music and intermedia art in Sweden. Throughout its history Fylkingen has been known to be a driving force in the Swedish art scene to introduce and promote yet-to-be-established art forms, the examples of which include the music of Bartok, the video works of Nam June Paik, Electro-Acoustic music during the '50s as well as the New Media performance of Stelarc in recent years. Our members are leading composers, musicians, dancers, performance artists and visual artists in Sweden. For more information on Fylkingen, please visit www.hz-journal.org/n4/hultberg.html. Sachiko Hayashi/Hz + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Leonardo/ISAST <isast@leonardo.info> Date: Jun 22, 2006 Subject: Sean Cubitt Named New Editor-in-Chief of Leonardo Book Series For immediate release June 2006 Contact: isast@leonardo.info Sean Cubitt Named New Editor-in-Chief of Leonardo Book Series "The 21st century will be a period of intense exploration in the sciences, arts and technology. We can expect unseen beauty and unheard-of ideas; but we know that we will face unheralded risks and unprecedented ethical dilemmas. Leonardo authors are at the forefront of these new frontiers and challenges. Today wireless is having the effect that the Internet had 15 years ago. Biomedia, genomics, nano and the new brain science will undoubtedly re-forge what we think we know about human, natural and technological creativity, and beyond them new slopes will rise. Leonardo Books will be there to document, to predict, to comment, to critique and to send intelligence back from the places where the future is emerging." —Sean Cubitt Leonardo/ISAST is pleased to announce the appointment of Sean Cubitt as the new Editor-in-Chief of the Leonardo Book Series. Established in 1994 by Leonardo and the MIT Press, the Leonardo Book Series publishes texts by artists, scientists, researchers and scholars that present innovative discourse on the convergence of art, science and technology. The Leonardo Book Series includes such seminal titles as Information Arts, by Stephen Wilson; The Language of New Media, by Lev Manovich; The Visual Mind, edited by Michele Emmer; and The Robot in the Garden, edited by Ken Goldberg. Cubitt's duties as Editor-in-Chief include soliciting and reviewing manuscripts submitted for inclusion in the series as well as administrative oversight of the series in collaboration with the MIT Press and the Leonardo/ISAST Governing Board. The Leonardo Book Series Advisory Board, appointed by Cubitt in June 2006, includes Annick Bureaud, Laura Marks, Anna Munster, Michael Punt, Sundar Sarukkai, Joel Slayton and Eugene Thacker. Biographical Information Sean Cubitt is Director of the Program in Media and Communications at the University of Melbourne. Among his publications are Digital Aesthetics, The Cinema Effect and EcoMedia. His research interests are in media arts, the history and philosophy of media and globalization. Annick Bureaud lives and works in Paris. She is a critic and theoretician of new-media and techno-science art. Bureaud is the director of Leonardo/OLATS, the French sister organization of Leonardo (<a rel="nofollow" href="http://www.olats.org">http://www.olats.org</a>). Her main research interests are in space art, biotech art and communication and network art. Laura Marks, a citizen of both Canada and the U.S., began as a journalist and is now a scholar and curator of independent and experimental media arts. Currently she is working on contemporary Arab cinema, and Islamic genealogies of computer-based art. She teaches at Simon Fraser University in Vancouver. Anna Munster is a writer, artist and senior lecturer at the College of Fine Arts, University of New South Wales, Australia. Her latest book is Materializing New Media: Embodiment in Information Aesthetics. Her research interests include new-media arts and theory, science, art and politics, especially bioart, and network and mobile media and theory. Michael Punt is Editor-in-Chief of Leonardo Reviews. He is Reader in Art and Technology at the University of Plymouth, where he is Director of Trans-technology Research. The key concern of his research is the understanding of science and technology as a manifestation of a range of human desires and cultural imperatives. A full list of his current projects, recent publications, films and exhibitions can be found at <www.trans-techresearch.net>;. Sundar Sarukkai is a professor at the Centre for Philosophy, National Institute of Advanced Studies, Bangalore, India. His research interests are in the areas of philosophy of science, philosophy of mathematics, phenomenology and philosophy of language, drawing upon both Indian and Western traditions. He is the author of Translating the World: Science and Language; Philosophy of Symmetry; and Indian Philosophy and Philosophy of Science. Joel Slayton is a professor and director of the CADRE Laboratory at San Jose State University. He is the founder of C5 Corporation <<a rel="nofollow" href="http://c5corp.com">http://c5corp.com</a>>. His artworks involving networks and information visualization have been exhibited internationally. He was formerly Editor-in-Chief of the Leonardo Book Series and is Chairperson of ISEA2006/ZeroOne San Jose. Eugene Thacker teaches in the School of Literature, Communication and Culture (LCC) at Georgia Institute of Technology. He is the author of Biomedia and The Global Genome: Biotechnology, Politics, and Culture, and co-author with Alex Galloway of The Exploit: A Critique of the Network Form. He has also collaborated with art collectives such as Fakeshop and Biotech Hobbyist. His current book-project is Necrologies: Bare Life and the Body Politic. Titles published in the Leonardo Book Series to date: The Leonardo Almanac, edited by Craig Harris The Visual Mind, edited by Michele Emmer Designing Information Technology in the Postmodern Age, by Richard Coyne Immersed in Technology, edited by Mary Anne Moser and Douglas MacLeod Technoromanticism, by Richard Coyne The Digital Dialectic, edited by Peter Lunenfeld Art and Innovation, edited by Craig Harris The Robot in the Garden, edited by Ken Goldberg The Language of New Media, by Lev Manovich Metal and Flesh, by Ollivier Dyens Information Arts, by Stephen Wilson Virtual Art, by Oliver Grau Uncanny Networks, by Geert Lovink Women, Art and Technology, edited by Judy Malloy Windows and Mirrors, by Diane Gromala and Jay Bolter Protocol, by Alex Galloway At a Distance, edited by Norie Neumark and Annmarie Chandler Visual Mathematics II, edited by Michele Emmer CODE, edited by Rishab Aiyer Ghosh The Global Genome, by Eugene Thacker Media Ecologies, by Mathew Fuller Aesthetic Computing, edited by Paul Fishwick More information can be found on the Leonardo Book Series website: <lbs.mit.edu>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: eric_bury@hotmail.com <eric_bury@hotmail.com> Date: Jun 22, 2006 Subject: Implant Matrix Philip Beesley and Will Elsworthy's Implant Matrix [<a rel="nofollow" href="http://www.philipbeesleyarchitect.com/sculptures/0610implant_matrix/implant.html">http://www.philipbeesleyarchitect.com/sculptures/0610implant_matrix/implant.html</a>] is an interactive sculptural installation currently on exhibition in Toronto. The piece uses purpose programmed micro-controlled sensors and actuators that provide a mechanical response to user stimuli. Arrays of shape memory alloy (SMA or 'muscle wire') driven pores open and close as people touch sensors that are suspended from the matrix. Despite being digitally manufactured of acrylic and mylar, the piece becomes an organic, living entity. >From the gallery text: Implant Matrix Interaccess Gallery June 1-29, 2006 Philip Beesley and Will Elsworthy with Robert Gorbet and Steven Wood Implant Matrix is an interactive geotextile that could be used for reinforcing landscapes and buildings of the future. The matrix is capable of mechanical empathy. A network of mechanisms react to human occupants as erotic prey. The structure responds to human presence with subtle grasping and sucking motions, ingesting organic materials and incorporating them into a new hybrid entity. Implant Matrix is composed of interlinking filtering 'pores' within a lightweight structural system. Primitive interactive systems employ capacitance sensors, shape-memory alloy wire actuators and distributed microprocessors. The matrix is fabricated by laser cutting direct from digital models. The project is supported by the Daniel Langlois Foundation for Art, Science and Technology, the Ontario Arts Council and the University of Waterloo School of Architecture. Assistant Designers: Eric Bury Liana Bresler Miriam Ho Desmond Shum Philip Beesley is an experimental architect and artist who often collaborates with artists, performers and engineers. Textile-like 'field' installations have characterized his work in the past decade. His work has been recognized by the Prix de Rome in Architecture for Canada. Implant Matrix: <a rel="nofollow" href="http://www.philipbeesleyarchitect.com/sculptures/0610implant_matrix/implant.html">http://www.philipbeesleyarchitect.com/sculptures/0610implant_matrix/implant.html</a> Other sculptural works: <a rel="nofollow" href="http://www.philipbeesleyarchitect.com/sculptures/sculptures.html">http://www.philipbeesleyarchitect.com/sculptures/sculptures.html</a> on exhibition until June 29th at InterAccess gallery: <a rel="nofollow" href="http://interaccess.org/exhibitions/index.php">http://interaccess.org/exhibitions/index.php</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Franco Mattes <Propaganda@0100101110101101.org> Date: Jun 23, 2006 Subject: The Influencers festival / Barcelona 6-7-8 july 2006 Eva and Franco Mattes aka 0100101110101101.ORG and Bani present: THE INFLUENCERS Festival of media action and radical entertainment ————————————————– *July 6 7 8 - 2006* Center of Contemporary Culture Barcelona <a rel="nofollow" href="http://d-i-n-a.net/influencers">http://d-i-n-a.net/influencers</a> ————————————————– with VUK COSIC, PAUL D. MILLER / DJ SPOOKY, MOLLEINDUSTRIA, IRWIN / NEUE SLOWENISCHE KUNST, VINCENZO SPARAGNA, OSCAR BRAHIM, CHICKS ON SPEED ————————————————– program: <a rel="nofollow" href="http://d-i-n-a.net/influencers/06/en">http://d-i-n-a.net/influencers/06/en</a> ————————————————– Welcome to episode three of The Influencers series, the live talk show you won't see on TV! With us tonight, we have media pranksters, star remixers of ideas, saboteurs of academic categories and reality agitators of every stripe. Over the next three days, our 7 guests will present their work and discuss it with us. They will take us into stories of collective hallucinations that turn into reality and vice versa, like the time a Nazi icon was used to celebrate the patron-hero of a socialist state, or that fun time we spent bribing scientists and crushing workers so that our junk food company would come out on top (at least in a videogame). And more: porn movies transformed into sequences of letters and numbers, fake newspapers announcing the end of the Polish communist regime and a new king Wojtyla, stolen web pages, an apologia for copying, DIY artists who have cracked the top ten, masked insects hanging from the billboards of corrupt presidents… Our 7 guests will talk about the origins of their projects, their challenges and objectives, giving us all the dirt on the strategies that work while suggesting clues we can use to explore subterranean affinities through different periods, disciplines and cultural contexts. Acquisition of other identities on a mass scale and a trip through the turbulences of information flows are our recommended remedies to July sunburn and other nuisances. ————————————————– press office: Monica Muñoz, premsa AT cccb.org / +34 933064100 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: silva.luis <silva.luis@netcabo.pt> Date: Jun 23, 2006 Subject: Review of Curating Immateriality by Luis Silva +Commissioned by Rhizome.org+ Review of Curating Immateriality (Autonomedia, 2006, edited by Joasia Krysa) by Luis Silva Curating Immateriality: the work of the curator in the age of network systems is the third volume of Autonomedia?s DATA browser series, after Economizing Culture and Engineering Culture. Edited by Joasia Krysa, co-editor of the book series, curator, and teacher at the Faculty of Technology, University of Plymouth in the United Kingdom, Curating Immateriality features texts that are to a large extent based on the papers presented at Curating, Immateriality, Systems, an event held at Tate Modern in June 2005, but re-edited for the purpose of publication. The book features articles by Joasia Krysa, Tiziana Terranova, Marina Vishmidt, Grzesiek Sedek, Geoff Cox, Christiane Paul, Eva Grubinger, Jacob, Lillemose, Josephine Berry Slater, 0100101110101101.org & [epidemiC], Alexander R. Galloway & Eugene Thacker, Franziska Nori, low-fi, Trebor Scholz, Beryl Graham, Piotr Krajewski, Olga Goriunova & Alexei Shulgin and Matteo Pasquinelli. At the Curating, Immateriality, Systems event, the debate was centered around how curators can respond to new forms of self-organizing and self-replicating systems, databases, programming, net art, software art and generative media, and in general to systems of immaterial cultural production and what new models of curatorial practice are needed to take account of shared, distributed, and collaborative objects and processes. Curating Immateriality not only follows this line of investigation, but also tries to go deeper in exploring some of the critical ideas that were central to the conference. As Krysa stated in her introduction to the book, "The site of curatorial production has been expanded to include the space of the Internet and the focus of curatorial attention has been extended from the object to processes to dynamic network systems. As a result, curatorial work has become more widely distributed between multiple agents including technological networks and software. This book reflects on these changes and asserts that the practice of curating cannot be dissociated from social and technological developments." One of the ideas put forward in this volume, giving it its critical structure and theoretical framing, is one derived by Italian autonomists, linking immateriality–seen as a response to the changes undergone by labour in post-Fordist or networked societies, and curating. Immateriality (or immaterial labour) is a Marxist concept that redefines labour in the age of general intellect. Lazzarato and Negri identified how labour, control, and power relations have changed and are currently structured, due to the ever-growing importance of communication technologies and distributed production. Curating, seen through this perspective, cannot be dissociated from these changes and can be thought of as their reflection. Besides investigating the notion of immateriality, the book also introduces the concept of a distributed curatorial practice, or put in other terms, the action of curation within the context of networked systems. This vast exercise addresses issues of what can be curated and what challenging new possibilities for curating itself may arise from such a systemic point of view. Once again the political context in which these changes occur is taken in consideration and control and power relations are examined. For instance, in Pasquinelli?s article, the end chapter of the book, free software is seen as something other than simply liberating. It is seen, like other cultural products, as symptomatic of the new immaterial conditions discussed previously. Practice is an important part of the book. If some very interesting articles constitute the theoretical backbone of this collection of contributions, examples are by no means reduced to a simple illustrating role. If different forms of curatorial practice are discussed, and Christiane Paul?s text is a good overview of the multitude of possibilities within new media curating, the concept of distributed curating, presented and debated, is extended by the introduction of the idea of software curating–that is, online curatorial systems that incorporate software and networks in the curatorial process itself. Two examples deserve a closer look, kurator and the better-known runme.org. The kurator project is a free software application programmed to curate source code. After being submitted the code is made available for further processing through a set of modules. It actively tries to reconfigure curatorial practice in line with the curatorial object. The interest lies in the fact that both the practices and their framing adhere to the same principles, the organization of data. It transforms curating into a generative experiment about social relations, distributing the curatorial activity over a network of people and thus breaking the domain of the curator as a single individual. Also, it deletes, to a certain extent, the issue of the importance of taste, by partially automating activities associated to the curator. According to Vishmidt?s text, "kurator deploys opens source programming technology to distribute the function and de-privilege the figure of the curator as specialized subject of institutional power." She later writes, "By displacing the curatorial function from abstract subjective potential to binary code, it reproduces the singular curator as a collective executable. In this way it preserves the curator by exceeding the curator, the perfectly consistent paradox that any art practice grounding its critique (…) is structurally bound to enact." Runme.org, the software repository emerged out from the Readme software art festival, is a system of dynamic data storage and a presentation tool. Its curatorial process is based on an open system, but with moderation and a database allowing for the self-submission of works. Not quite as radical as kurator, runme.org shifts the emphasis on the curatorial role in different ways. After the broad initial filtering caused by the moderated submission procedure, additional filtering happens in the classifying and labeling of work, through the project?s "taxonomical" system. Software submitted may be classified according to a list of software art categories and a keyword cloud, describing the projects and allowing navigation. It is the interaction between the processes of filtering, categorizing, and labeling, with their imposition of boundaries and the democratic possibilities of an open repository and database, that makes this project curatorially interesting. In these two examples, and all of the others presented throughout the book, there is a more general acknowledgment of software curating, which seems to place the strength and validity of Curating Immateriality in the context of politics of curating. This act is portrayed as both a critical and a creative practice and much connected to a wider socio-economical system beyond the traditional art system. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 24. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +