<br />RHIZOME DIGEST: May 05, 2006<br /><br />++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++<br /><br />Content:<br /><br />+note+<br />1. Patrick May: Commission Voting: Finalist Ranking<br />2. Lauren Cornell: JODI - Max Payne Cheats Only: Demo and Q & A, May 10th<br /><br />+opportunity+<br />3. Gregory Trefry: Come Out & Play Street Games Festival - Call for<br />submissions<br />4. Alexander Galloway: Summer Internship (paid)<br />5. {videoART}: Call for videos/films: image vs music<br />6. geoffrey thomas: Visiting Assistant Professor in New Media Production,<br />Florida Atlantic University<br />7. grover@aurorapictureshow.org: Call for Entries in Film/Video/New<br />Media, Aurora Picture Show<br />8. genomic_art@hotmail.com: SUBMISSIONS WANTED for genomic art show<br />+work+<br />9. Yael Kanarek: Bit by Bit, Cell by Cell<br /><br />+announcement+<br />10. Kenneth Newby: Invitation to a Computational Poetics Gathering<br />11. Lauren Cornell: PORTA2030 by TAKE2030<br />12. Aron Namenwirth: Tom Moody at artMovingProjects<br /><br />+Metadata Thread - Part 2+<br />13. Lauren Cornell <laurencornell@rhizome.org>, Sal Randolph<br /><salrandolph@gmail.com>, Pall Thayer <p_thay@alcor.concordia.ca>, Richard<br />Rinehart <rinehart@berkeley.edu>, Rob Myers <rob@robmyers.org>, G.H.<br />Hovagimyan <ghh@thing.net>, Edward Picot <edwardpicot@beeb.net>: Metadata<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: Patrick May <patrick@rhizome.org><br />Date: May 5, 2006<br />Subject: Commission Voting: Finalist Ranking<br /><br />Hello,<br /><br />The finalists for the Rhizome Commissions have now been chosen. Once<br />again, we had a 3 way tie for 25th place, giving us 27 finalists for the<br />second year in a row. You can see the full list of finalists here:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/all_finalists.rhiz">http://rhizome.org/commissions/all_finalists.rhiz</a><br /><br />You can submit your votes for the final stage here:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/voting/ranking/">http://rhizome.org/commissions/voting/ranking/</a><br /><br />In this final stage, the top voted proposal will be awarded one of the<br />commissions; the other awards will be decided by our jury. This second<br />stage of voting will last until Wednesday, May 31, 2006. More information<br />about the voting process is available here:<br /><br /> <a rel="nofollow" href="http://rhizome.org/commissions/voting/">http://rhizome.org/commissions/voting/</a><br /><br />Cheers,<br /><br />Patrick<br /><br />–<br />Patrick May<br />Director of Technology<br />Rhizome.org<br />phone: (212) 219-1288 x202<br />AIM: cyclochew<br />+ + +<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org><br />Date: May 3, 2006<br />Subject: JODI - Max Payne Cheats Only: Demo and Q & A, May 10th<br /><br />Hi all,<br /><br />If you'll be in NYC on the night of May 10th, please join us at a<br />presentation of Max Payne Cheats Only – a new work by artist duo JODI.<br /><br />This event is FREE and co-presented by Rhizome and Electronic Arts<br />Intermix (EAI). All details can be found at the following link:<br /><br /><a rel="nofollow" href="http://rhizome.org/events/JODI/">http://rhizome.org/events/JODI/</a><br /><br />You can view the work here: <a rel="nofollow" href="http://maxpaynecheatsonly.jodi.org/">http://maxpaynecheatsonly.jodi.org/</a><br /><br />Best,<br />Lauren<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: Gregory Trefry <gtrefry@iamtheeconomy.com><br />Date: May 2, 2006 7:30 AM<br />Subject: Come Out & Play Street Games Festival - Call for submissions<br /><br />TURN THE STREETS INTO A PLAYGROUND BY RUNNING A GAME IN THE FIRST ANNUAL<br />COME OUT & PLAY FESTIVAL SEPTEMBER 22-24<br /><br />THE MISSION<br />———<br />The Come Out & Play Festival seeks to provide a forum for new types of<br />public games and play. We want to bring together a public eager to<br />rediscover the world around them through play with designers interested in<br />producing innovative new games and experiences.<br /><br />ABOUT THE FESTIVAL<br />———<br />Come Out & Play is the first festival dedicated to street games. It is<br />three days of play, talks and celebration, all focused on street games.<br />The festival will have a headquarters in downtown Manhattan where<br />participants can learn about upcoming games and see documentation of<br />completed games. The games themselves will be run in a variety of public<br />locations around New York City. From massive multi-player walk-in events<br />to carefully constructed play performances, there will be something for<br />every type of player. Throughout the festival players and designers will<br />have the chance to interact during games and panels and jointly conceive<br />the future of this growing form.<br /><br />Street games is an inclusive term for real world games and game-like<br />performances that transform urban public spaces in meaningful ways. Games<br />played in public spaces are an increasingly popular phenomenon and often<br />mix performance art and urban play, inviting players and spectators to<br />re-examine the tapestry of the city. From city-wide scavenger hunts to<br />the real-life games of Pac-Man played around Washington Square Park, these<br />games invite participants to collaboratively re-imagine their surroundings<br />through a set of simple rules. Players begin to see the very layout of<br />the streets as a game board and never look at the city grid quite the same<br />way again.<br /><br />The festival will feature roughly 15 official events from September 22-24,<br />2006. Events will take place throughout New York City at a variety of<br />locations and times.<br /><br />Come Out & Play will enable artists and game designers to exchange ideas<br />and work in front of and with a diverse audience. During the three-day<br />festival, New Yorkers will engage with playful art pieces and games,<br />discovering meaningful and emergent ways to interact in the public spaces<br />of New York City. This festival will provide a unique opportunity for<br />artists and game designers to meet and create engaging experiences for the<br />public.<br /><br />For more information visit:<br />comeoutandplay.org<br /><br />SUBMIT TO THE FESTIVAL<br />———<br />Have you got a game? We want to include as many different types of games<br />as possible in the festival schedule.<br /><br />We are looking specifically for games with defined goals and interesting,<br />meaningful choices for the players. These games should be interactive and<br />directly engage the participants. Your game can have a technology<br />component or it can be old school with absolutely no tech; to us, it's<br />much more important that the game produce an interesting experience for<br />the players. We will be reviewing submissions focusing on these criteria<br />when we select games for the schedule.<br /><br />The festival will largely be centered in lower Manhattan, so we encourage<br />designers to utilize that area as a base for their games. But it is by no<br />means a requirement. The whole city is fair game.<br /><br />Most importantly, your game must be playable in New York City during the<br />festival.<br /><br />Your submission will be reviewed by a panel of experienced designers of<br />street games including PacManhattan, B.U.G., Conqwest, and Seasons of<br />Darkness. We really like playing in fun games. So make sure your game<br />sounds fun and interesting. We like innovative use of public space. We<br />like games which make people interact in new ways. We like games that<br />alter your perception of your surroundings.<br /><br />APPLICATION<br />To apply, visit www.comeoutandplay.org/submit.php and fill out an<br />application form.<br /><br />SUBMISSION DEADLINE<br />June 30, 2006<br /><br />NOTIFICATION<br />We will notify you by e-mail if your game has been accepted into the<br />festival schedule by July 14 2006.<br /><br />We look forward to reading your proposal.<br /><br />SCHEDULE<br />Submission deadline: June 30<br />Notifications: July 14<br />Festival: September 22-24<br /><br />INQUIRIES?<br />Email us at info@comeoutandplay.org<br /><br />PLAY or VOLUNTEER<br />Don't have a game, but still want to play or be involved? Visit<br />comeoutandplay.org to sign up for alerts about the festival.<br /><br />URL<br />comeoutandplay.org<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: Alexander Galloway <galloway@nyu.edu><br />Date: May 2, 2006<br />Subject: Summer Internship (paid)<br /><br />Summer Internship (paid)<br /><br />RSG is looking for a summer intern with experience coding in Java.<br />Projects may include working in OpenGL, working with Quicktime for Java,<br />and maintaining the Carnivore codebase. Must be motivated and able to work<br />independently. Intern will receive an honorarium of $200 per month based<br />on a minimum committement of 10 hours per week.<br /><br />Send work samples and resume to: Alex Galloway (galloway@nyu.edu)<br /><br /><a rel="nofollow" href="http://itserve.cc.ed.nyu.edu/RSG/carnivore/">http://itserve.cc.ed.nyu.edu/RSG/carnivore/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: {videoART} <virtu@kulturserver-nrw.de><br />Date: May 2, 2006<br />Subject: Call for videos/films: image vs music<br /><br />Call for propsals<br />Deadline 1 July 2006<br />#<br />VideoChannel<br /><a rel="nofollow" href="http://videochannel.newmediafest.org">http://videochannel.newmediafest.org</a><br />organiser of<br />Cologne Online Film Festival (CologneOFF)<br /><a rel="nofollow" href="http://coff.newmediafest.org">http://coff.newmediafest.org</a><br />is looking for digital videos/films on the theme "image vs music"<br />for the inclusion in<br />2nd Cologne Online Film Festival (CologneOFF)<br />to be launched in October 2006 online and<br />in the framework of KlangDrangfestival - a festival of sonic art<br /><a rel="nofollow" href="http://www.klangdrang.org">http://www.klangdrang.org</a><br />#<br />The theme "image vs music" dealing with the interaction of image &<br />music/sound,<br /> is referring to the musical character of this festival<br />#<br />Film and video are basically visual media.<br />Even if used and recognized as an important component,<br />has music in this context mostly rather a colorizing and atmospheric<br />character.<br />The films/videos VideoChannel is looking for<br />should give image & music an equal or music even a dominating status,<br />which may be worked out in most different ways, for instance—><br />music as the theme of the story, films reflecting music through images and<br />viceversa,<br />the visalization of music, and much more.<br />#<br />There are no restricting categories, the submission of experimental works<br />is encouraged.<br />The call is inviting artists to submit up to three proposals.<br />The deadline is 1 July 2006<br />#<br />Please find the entry rules and submisssion form on<br /><a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=8&cat=54">http://netex.nmartproject.net/index.php?blog=8&cat=54</a><br />or download the entry information as PDF<br /><a rel="nofollow" href="http://downloads.nmartproject.net/videoCHANNEL_call_image_vs_music.pdf">http://downloads.nmartproject.net/videoCHANNEL_call_image_vs_music.pdf</a><br />#<br />more info: videochannel (at) newmediafest.org<br />————————————————————-<br />Since 11 April 2006, 1st edition of<br />Cologne OFF - Cologne Online Film Festival - is online<br /><a rel="nofollow" href="http://coff.newmediafest.org">http://coff.newmediafest.org</a><br />festival theme: "identityscapes" - including 40 shortfilm & videos -<br />an online catalogue is available as PDF fro free download<br />————————————————————-<br />Released by<br />NetEX - networked experience<br /><a rel="nofollow" href="http://netex.nmartproject.net">http://netex.nmartproject.net</a><br />powered by<br />[NewMediaArtProjectNetwork]:||cologne<br />www.nmartproject.net -<br />the experimental platform for art and New Media<br />operating from Cologne/Germany.<br />.<br />info& contact<br />info (at) nmartproject.net<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Exhibitions<br /><br />The GIF Show, open May 3-June 3, at San Francisco's Rx Gallery, takes the<br />pulse of what some net surfers have dubbed ?GIF Luv,? a recent frenzy of<br />file-sharing and creative muscle-flexing associated with GIFs (Graphic<br />Interchange Format files). Curated by Rhizome Editor & Curator at Large,<br />Marisa Olson, the show presents GIFs and GIF-based videos, prints,<br />readymades, and sculptures by Cory Arcangel, Peter Baldes, Michael<br />Bell-Smith, Jimpunk, Olia Lialina, Abe Linkoln, Guthrie Lonergan, Lovid,<br />Tom Moody, Paper Rad, Paul Slocum, and Matt Smear (aka 893). GIFs have a<br />rich cultural life on the internet and each bears specific stylistic<br />markers. From Myspace graphics to advertising images to porn banners, and<br />beyond, GIFs overcome resolution and bandwidth challenges in their<br />pervasive population of the net. Animated GIFs, in particular, have<br />evolved from a largely cinematic, cell-based form of art practice, and<br />have more recently been incorporated in music videos and employed as<br />stimulating narrative devices on blogs. From the flashy to the minimal,<br />the sonic to the silent, the artists in The GIF Show demonstrate the<br />diversity of forms to be found in GIFs, and many of them comment on the<br />broader social life of these image files.<br /><br />Become MySpace friends with the exhibit!<br /><a rel="nofollow" href="http://www.myspace.com/gifshow">http://www.myspace.com/gifshow</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: geoffrey thomas <thomas@fau.edu><br />Date: May 2, 2006<br />Subject: Visiting Assistant Professor in New Media Production, Florida<br />Atlantic University<br /><br />FLORIDA ATLANTIC UNIVERSITY, School of Communication & Multimedia Studies,<br />is seeking a Visiting Assistant Professor in New Media Production, to<br />teach undergraduate courses in interactive multimedia as part of its BA in<br />Multimedia Studies. The School seeks a scholar of digital art and new<br />media practice with expertise in new media as art and communication. <br />Ideal candidates will cross media platforms and have experience in<br />creating and analyzing multimedia texts. Applicants should possess<br />practical skills in more than one of the following media platforms:<br />digital photography, computer-based imaging technologies, web and graphic<br />design, and multimedia authoring. Applicants must also be proficient in<br />Adobe Photoshop and Macromedia Studio, and have experience in scripting. <br />The position is a non-renewable nine-month appointment beginning August<br />2006. MFA or Ph.D. All candidates must have an active production record;<br />preference will be given to candidates with teaching experience. <br />Application deadline: June 16, 2006. Send letter of application, cv,<br />letters of recommendation, and samples of creative work to: Dr. Eric<br />Freedman, Chair, New Media Search Committee, School of Communication &<br />Multimedia Studies, Florida Atlantic University, 777 Glades Road, Boca<br />Raton, FL 33431-0991. E-mail (for questions only): efreedma@fau.edu. <br />For detailed information on our program, visit our web site at:<br /><a rel="nofollow" href="http://www.communication.fau.edu">http://www.communication.fau.edu</a>. Florida Atlantic University is an Equal<br />Opportunity/Equal Access Institution.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<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 />7.<br /><br />From: grover@aurorapictureshow.org <grover@aurorapictureshow.org><br />Date: May 3, 2006<br />Subject: Call for Entries in Film/Video/New Media, Aurora Picture Show<br /><br />Now in its ninth year, Aurora Picture Show's "Extremely Shorts Festival"<br />features adventurous three-minute or shorter films and videos from a<br />global constituency of moviemakers, artists, culture jammers. students,<br />moms, bus boys, and anyone with a camera and a vision. Send us your<br />mini-masterpiece! NEW AND IMPROVED POSTMARK DEADLINE: MAY 12, 2006. Go to<br /><a rel="nofollow" href="http://www.aurorapictureshow.org">http://www.aurorapictureshow.org</a> to download an entry form, or call<br />713-868-2101 to receive one by mail or fax.<br /><br />Extremely Shorts 9 takes place June 24-25, 2006. Three cash prizes will be<br />awarded by audience choice.<br /><br />Past Extremely Shorts have included works by The Art Guys, Roger Beebe,<br />Jim Finn, Louise Bourque, Brian Frye, John Sears, Jenny Stark, Eileen<br />Maxson, Sandra Gibson, Robert Smith, Aaron Valdez, Enid Baxter Blader,<br />Shizuko Tabata, Gregg Biermann, Laura Harrison, Doug Michels, Dolan Smith,<br />Bill Davenport, Vanessa Renwick, Bill Daniel, Kate Haug, Takahiko Iimura,<br />and YOUR NAME HERE (maybe, if you submit an entry by May 12).<br /><br />About the Juror<br />Juror Kevin Everson is an artist and filmmaker who has made two feature<br />films and over twenty-five short 16mm, 35mm and digital films about the<br />working class culture of Black Americans and other people of African<br />descent.<br /><br />About Aurora Picture Show<br />Founded in 1998, the Aurora Picture Show is a nonprofit experimental<br />cinema. The only facility of its kind in the Southwest. Art in America has<br />called it "one of the most interesting and unusual new spaces in Houston."<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: genomic_art@hotmail.com <genomic_art@hotmail.com><br />Date: May 4, 2006<br />Subject: SUBMISSIONS WANTED for genomic art show<br /><br />SUBMISSIONS WANTED for genomic art show being organizing in collaboration<br />with Outworks Gallery in Winnipeg, Manitoba Canada (see link and<br />information below).<br /><br />The main objective of this show is to initiate dialogue and debate about<br />genetics/genomics related issues. We would like to have a number of<br />different artistic points of views represented. There is also a<br />possibility that we may do a similar show in Vancouver, British Columbia<br />Canada and compare the responses of the two Canadian audiences (prairie<br />vs. coastal folk).<br /><br />I am looking for an additional 8-10 emerging or established artists in the<br />field using any medium. If you are interested in this opportunity, please<br />email genomic_art@hotmail.com for submission information.<br />Information:<br />The space: 2500 square feet, 12 feet high ceilings.<br />Link to gallery site: <a rel="nofollow" href="http://www.outworksgallery.com/">http://www.outworksgallery.com/</a><br />Tentative date of Winnipeg show: February, 2007<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: Yael Kanarek <yael@treasurecrumbs.com><br />Date: May 4, 2006<br />Subject: Bit by Bit, Cell by Cell<br /><br />After five years in the making, the first World of Awe Enhanced CD is<br />released by Innova label.<br /><br />"Bit by Bit, Cell by Cell"<br />Yoav Gal & Yael Kanarek<br />Music for Soprano and Atari 800XL<br />with dancefilm by Evann Siebens<br />Designed by Mushon Zer-Aviv from Shual Studio<br /><br />Artists' page on Innova website:<br /><a rel="nofollow" href="http://innova.mu/artist1.asp?skuID=258">http://innova.mu/artist1.asp?skuID=258</a><br /><br />The CD will be in stores by May 23 and is already available at Eyebeam's<br />bookstore.<br /><br />best,<br />Yael<br /><br />:: World of Awe = <a rel="nofollow" href="http://www.worldofawe.net">http://www.worldofawe.net</a><br />:: Upgrade! = <a rel="nofollow" href="http://www.theupgrade.net">http://www.theupgrade.net</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />From: Kenneth Newby <knewby@sfu.ca><br />Date: Apr 28, 2006<br />Subject: Invitation to a Computational Poetics Gathering<br /><br />Please consider attending any or all of our four days of workshops and<br />presentations on Computational Poetics: media performance, installation<br />and diffusion. The events are all free but pre-registration is required.<br /><br />For registration please contact Aleksandra Dulic, adulic@sfu.ca<br /><br />Vancouver, BC, May 17 to 20, 2006<br />Conference Centre<br />The Great Northern Way Campus<br />555 Great Northern Way, Vancouver, BC, Canada<br /><br />A partial list of participant/presenters:<br /><br />Kenneth Newby<br />Aleksandra Dulic<br />Martin Gotfrit<br />Pierre Hebert<br />Julie Andreyev<br />Leslie Bishko<br />Ben Nevile<br />John Crawford<br />Stefan Smulovitz<br />Greg Corness<br />Henry Daniel<br />www.eciad.ca/~knewby/CP_Gathering.pdf<br />_______________________________<br />Kenneth Newby, Assistant Professor<br />C o m p u t a t i o n a l P o e t i c s<br />School for Interactive Art & Technology<br />S i m o n F r a s e r U n i v e r s i t y<br />Film Video & Integrated Media<br />Emily Carr Institute of Art Design & Media<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />11.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org><br />Date: May 1, 2006<br />Subject: PORTA2030 by TAKE2030<br /><br />New project by Shu Lea Cheang. Details follow, Lauren<br /><br />PORTA2030 by TAKE2030<br /><br />You are the Net. You are Porta-porter.<br />Towards a portable and responsive social network.<br /><br />www.porta2030.net<br /><br />Broadway Market (E8, London)<br />April 24 - May 1, 2006<br /><br />April 29<br />Press conference, 1-3 pm<br />Outside Fabrications, 7 Broadway Market<br />Porta-porter relay network performance, 2-5 pm<br />Wifizone Broadway Market<br /><br />May day, 8pm<br />Public media at Broadway Market.<br /><br />PORTA2030 locates Broadway Market, a racially mixed urban regeneration<br />street, as the site for its week long performative urgency network<br />exercise. PORTA2030 deploys 10 porta-packs, each a mobile network unit, to<br />10 porta-porters residing and working on Broadway Market. This net version<br />of porta-pack with webcam and click button communicative device connects<br />10 Porta-porters in a playful public interface.<br /><br />JOIN US @ Broadway Market<br />Run Porter Run<br />10 porta-porters on the run<br />Samantha Jayne Hulston, Hasan Chetin, Spirit and Rebecca Grant, Barley<br />Massey, Magdalena Lemanczyk, Louise Brewood, Jay J Sayshun, Vanessa<br />Wildman, Arthur Shuter, The Eel fanzine.<br /><br />Plasma screen with live network transmission Fabrications, 7 Broadway<br />Market.<br /><br />PORTA2030 documents can be viewed at<br />Broadway Fish Bar, F.Cooke Live Eels, Broadway Gents Hair Styling,<br />Broadway Wines, Broadway Cafe , Blooming Weezie, The film shop, H. Tidiman<br />Butchers, Gossip, Off Broadway, Nutricious Food Gallery, SevenSeven,<br />Bradbury Hardware.<br /><br />now@take2030.net<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />12.<br /><br />From: Aron Namenwirth <aronnamenwirth@yahoo.com><br />Date: May 3, 2006<br />Subject: Tom Moody at artMovingProjects<br /><br />We invite you to aMP artMovingProjects<br /><br />166 N. 12th St, between Bedford and Berry Sts., Williamsburg<br />(917-301-6680, 917-301-0306). Subway: L to Bedford Ave. Thu- Sun, 1pm - 6<br />pm<br />www.artmovingprojects.com<br />info@artmovingprojects.com<br />Opening 7-9 May 5th through June 25th 2006 Music Performance/Lecture May<br />19th 8.00P.M.<br />Closed June 8-11th<br /><br /> Tom Moody: Room Sized Animated GIFs<br /><br />Tom Moody, a central figure in the New Media arena, hypnotizes at<br />artMovingProjects.<br /><br />Animated GIFs, the tiny, blinking, often annoying image files that draw<br />your eye to particular parts of a Web page, have been around since the<br />Net's early days. There is a sizeable do-it-yourself culture built up<br />around them, which now includes a second generation of Web and gallery<br />based art using them ironically and/or proactively.<br /><br />For the past several years, Moody has been drawing GIFs in a simple paint<br />program and posting them on his blog at<br /><a rel="nofollow" href="http://www.digitalmediatree.com/tommoody">http://www.digitalmediatree.com/tommoody</a>. The gallery will project two of<br />these pulsing, but defiantly lo-fi animations huge on opposing walls of<br />the space. Others will be displayed on monitors scattered on the floor.<br /><br />The gallery will also feature a lecture/performance by Moody where he will<br />present some of his music. These catchy compositions, made with a<br />combination of old computers such as the Macintosh SE as well as more<br />current soft synths and samplers, have a punchy concision similar to his<br />GIFs. The styles range from videogame Electro to a string quartet piece<br />written for a softsampler.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />13.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org>, Sal Randolph<br /><salrandolph@gmail.com>, Pall Thayer <p_thay@alcor.concordia.ca>, Richard<br />Rinehart <rinehart@berkeley.edu>, Rob Myers <rob@robmyers.org>, G.H.<br />Hovagimyan <ghh@thing.net>, Edward Picot <edwardpicot@beeb.net><br />Date: April 29 - May 5, 2006<br />Subject: Metadata<br />+ Sal Randolph posted: +<br /><br />On Apr 29, 2006, at 6:00 AM, Lauren Cornell wrote:<br />><br />> 1) Sal: By members tagging the ArtBase, were you thinking that the<br />> tags of both artist and audience would be reflected on an individual<br />> ArtBase page?<br /><br />[?.] Yes, this is exactly what I had in mind. They could be presented<br />separately, but both on the page (this can be pretty discreet, design<br />wise, on opsound the tags are almost invisible until you mouse over them -<br />or little ajax windows could open). The reasons to keep them on the<br />ArtBase page are twofold. One, it can help someone to get a feel for what<br />kind of piece it is, as they're browsing through – this is a rather<br />modest benefit, I think. More importantly, though, a visitor can use<br />these tags as links to wander through the ArtBase and discover other works<br />which they might not have found – the more paths through the forest the<br />better, imho. Also, I think the community-created folksonomy tags are<br />potentially quite useful for research in the future. If you add a<br />date_tagged field, for instance, someone could use the database to map the<br />evolution of terms and ideas in new media art during a particular period.<br />> Just a note: This would also mean that tagging ? besides<br />> being a part of the artbase/ text submission process ? would<br />> become a Member benefit which is a good thing in<br />> my mind.<br /><br />Yes! I thought this too. I like it as a benefit of membership. Helps<br />build the idea of a community.<br /><br />> Do we add words through research/ conversations with these<br />> constituencies within the Rhizome community, or do we rely on pre-<br />> existing vocabularies or our own knowledge. What do people think?<br />If it's combined with a free-form tagging system, I'm pretty comfortable<br />with just using your own knowledge and common sense, building from the<br />keyword/genre system that's in place – it might be nice to present the<br />list to the list (so to speak) and get a little feedback first, and to<br />other curators etc. as well. Some provision (at least in the form of<br />acknowledgment) should be made for adding new terms as new forms and ideas<br />develop over time. Letting the Artbase curators add the controlled<br />vocabulary seems natural – and a good use for the curators ;-)<br /><br />Also, of course it's pretty easy to combine tags and rss feeds. This<br />means you could potentially subscribe to a feed for let's say 'animation'<br />or 'database' and keep tabs on what's coming in (great for curators!).<br /><br />You could also consider offering an API to the rhizome ArtBase database,<br />so anyone could configure their own presentation of it. This way, you<br />could give people access to data that you don't necessarily want to<br />display on the page (for clutter reasons perhaps) – for instance the<br />date_tagged type of data I mentioned above. Someone could use the API to<br />extract that data and present it (possibly, of course, as an artwork,<br />Rhizome beginning to eat itself).<br />+ Sal Randolph added: +<br /><br />a brief follow-up….<br /><br />Just poking around the existing ArtBase for a moment, I see that the<br />existing genres etc are presented as links, but not links to a list of<br />ArtBase pieces using that particular genre or keyword, instead you are<br />given a search result page which also includes the TextBase, Member<br />Directory, and ReBlog – so clicking on the genre "conceptual" gave me a<br />full page of results with no ArtBase pieces at all – this doesn't make<br />navigating the ArtBase particularly fluid or conducive, imho. I'd rather<br />see a page full of ArtBase pieces in the conceptual genre…..<br />+In response to Pall Thayer… [Repeat from Metadata Thread #1]+<br /><br />< < >><br />At 11:30 PM -0400 4/25/06, Pall Thayer wrote: Hi Richard, The suggestion<br />generated a bit of discussion and the thread is available here:<br /><a rel="nofollow" href="http://rhizome.org/thread.rhiz?thread=20893&page=1#40140">http://rhizome.org/thread.rhiz?thread=20893&page=1#40140</a><br />The suggestion was just for open-sourced code and didn't address<br />proprietary software at all. The idea is that if the need or desire arises<br />to reconstruct the work when technology has changed then the<br />reconstruction could be based on the functionality of the original code<br />rather than being based on some vague memories and screenshots.<br />Pall<br />< < >><br />+ …Richard Rinehart replied:+<br /><br />Ah yes, capital idea. It's a little off the vocabularies discussion, but<br />well-worth folding in.<br /><br />Source code will be, of course, probably the most useful thing to preserve<br />from the original digital work, other than perhaps specific instructions<br />on how to re-construct the work. Perhaps, as a first step, artist<br />submitting cloned work to the ArtBase could just include their source code<br />as one of the files they send. It's not exactly the model of a sharable<br />code-archive that is itself open-source (in the sense that anyone could<br />download and share code), but it's at least an important piece of the<br />preservation puzzle, and once the practice is begun, then one can always<br />build the other services (shareable, tagging the code itself, etc) on top<br />of say the ArtBase.<br />You bring up an interesting point in your original Rhizome post about how<br />it gets complicated when the work uses several pieces of code for<br />different components. I had proposed a ways back a metadata model for<br />describing digital works in such a way that they could be re-created (the<br />Media Art Notation System -see<br /><a rel="nofollow" href="http://www.bampfa.berkeley.edu/about_bampfa/formalnotation.pdf">http://www.bampfa.berkeley.edu/about_bampfa/formalnotation.pdf</a>). This<br />model argues that you do indeed need a more granular level of description<br />of the multiple components of works if you are going to try to preserve<br />them for the long-term. In my mind, a simpler, overall description of<br />works results in a Registry of works as opposed to a long-term<br />Preservation Repository, for which more in-depth metadata is just<br />necessary. In that way too, one can connect relevant bits of code (or<br />other media files) to the appropriate component of the work, along with<br />descriptions.<br />The Media Art Notation System is my attempt to formalize the model<br />developed in the Variable Media questionnaire and projects. It occurs to<br />me too that Jon Ippolito has been working in the context of the Open Art<br />Network (three.org/openart/) and with Creative Commons to address how to<br />license open-source components of art works. That may apply here too.<br /><br />So, there is a line to think about: is the ArtBase a registry or a true<br />preservation repository, and if the latter, what metadata *minimally* is<br />required to support that? The metadata in the ArtBase right now (the whole<br />ball of wax, not just the vocabularies now) is actually fairly simple and<br />short. One upside to that is that like simple standards such as HTML, it<br />actually gets used, whereas there are plans for much more complex<br />repositories that never get built. I would suggest that the ArtBase<br />probably does need a more complex metadata schema (at least for cloned<br />works) in the long-term, but for now, it's good to start simple and grow.<br />So, two good areas that might be improved soon could be the inclusion of<br />source-code in cloned objects (optional) and the improvement of the<br />vocabularies (as we've been discussing on-list). After that; Rhizome could<br />perhaps build in a) more preservation metadata (via something like the<br />Media Art Notation System) and b) a way to actually open up and share<br />collected code (via Open Art Network license, etc). But simplicity means<br />feasibility and early buy-in, then one can build complexity over time.<br />+In response to Rob Myers… [Repeat from Metadata Thread #1]+<br /><br />< < >><br />At 12:51 PM +0100 4/26/06, rob@robmyers.org wrote:<br />Quoting Richard Rinehart <rinehart@berkeley.edu<br />>I'm curious about the statement you made below Rob, that any<br />>folksonomy can be made compatible with standards using a good<br />>thesaurus. Do you have an example of this?<br /><br />I don't have an example I'm afraid. It's more a strategy I had in mind for<br />paintr (<a rel="nofollow" href="http://paintr.robmyers.org/">http://paintr.robmyers.org/</a>). Folksonomies and taxonomies are both<br />formalisations of human language, so if my RDF doesn't contain the word<br />"blue" but it does contain the word "color" I can locate my tag in the RDF<br />using wordnet or a thesaurus.<br /><br />>Your note on the AAT is very (VERY) well taken. Yes, the AAT is not<br />>yet a good resource for terms for new media art, yet it is the<br />>single standard used most by museums and other organizations<br />>collecting new media art. So, one strategy would be to ignore the<br />>AAT as irrelevant; but another might be to work with the Getty to<br />>update and improve the AAT with relevant terms so that (digital)<br />>community-specific practice becomes (museum) community specific<br />>practice rather than creating a ghetto (though I'm not sure which<br />>is the ghetto of the other here :) In the past, the Getty unit that<br />>had maintained the AAT had expressed interest in updating the AAT<br />>based on feedback from the relevant community (us).<br /><br />Yes I think that might be a very good project.<br /><br />Possibly collaborating to make AAT net.art aware and having a process to<br />add more terms relatively quickly as they come up? So in artbase have a<br />list of terms you can choose followed by an "other" checkbox that people<br />could add terms they felt weren't in the taxonomy. We (the Rhizome<br />community) could then keep an eye on those and see if they should go into<br />AAT.<br /><br />A folksonomy might be more democratic & easier to implement though. :-)<br /><br />On the subject of proprietary software it might be an idea for Rhizome to<br />get licenses for Windows, ASP, IIS and so on so that software<br />unfortunately written for them can still be run in the future. In a few<br />years time having this stuff available for galleries to hire might<br />actually provide a revenue stream. ;-)<br /><br />< < >><br />+ …Richard Rinehart replied:+<br /><br />Yes, perhaps a hybrid model would work. Actually, I think that<br />technically, the folksonomy/ tagging bit might be the hardest to implement<br />(but worth it), whereas also having the AAT/etc terms in a list is a<br />pretty easy and fairly static entity to include.<br /><br />You mention an interesting note about ArtBase including licenses for<br />commercial software as having the original software (or better yet, source<br />code, see previous post) is helpful for preservation. I do rememeber that<br />Howard Besser at NYU had mentioned a couple years ago the idea of<br />convincing Congress to give software companies a tax break to release<br />their old software into the public domain because it has little value for<br />them, but great value for preservation. Does anyone else know about this<br />project and what became of it. It might be relevant here……<br />+In response to G.H. Hovagimyan?s off-list reply… +<br /><br /><< >><br />>I just did a search on the Getty for digital art. It has no such<br />>category. I then did a search on Wikipedia and got a fairly concise<br />>definition page for digital art. I would suggest that you look at<br />>wikipedia as one source for a search taxonomy. They are real good at<br />>this. Definitions for art works are always tricky. For example,<br />>animation art is a good term. It can cover a really broad category<br />>that goes from animated photography to cartoons. Here's a quick<br />>rumination on animation ;-)<br />><br />>Animation:<br />>paper<br />>flip book<br />>zoetrope<br />>cartoon<br />>digital<br />>vector<br />>photo<br />>morph<br />>hand made<br />>illustration<br />>Disney<br />>commercial<br />>Flash<br />>early<br />>story board<br />>artists<br />>performance<br />><br />>I could go on…<br /><br /><< >><br />+ …Richard Rinehart replied:+<br /><br />This is very helpful. It makes me think that perhaps Rhizome could (with<br />all of your help :) compile a list of relevant terms from a variety of<br />sources, include that in a new metadata model and submission form (terms<br />along with sources are listed as options), and then add on a dynamic<br />folksonomies function. I don't want to speak for what Rhizome could do,<br />but it seems to make sense.<br />+Edward Picot replied: [Changing the subject line to ?MataData?]+<br /><br />How about breaking down the definition of any given work into a number of<br />separate stages?<br /><br />1. What are the file formats? HTML, XHTML, .swf, .mov, .mpg, .jpg,<br />.gif etc., or combinations thereof.<br /><br />2. Any additional information about viewing requirements:<br />Windows-only, Mac-only, JavaScript required, popups used, etc.<br /><br />3. Content: audio, animation, text, images, interactive elements,<br />generative elements, etc.<br /><br />4. Mode of presentation: CD, DVD, online, installation, via mobile<br />phone, etc.<br /><br />5. General description of the work, including genre: this would<br />include the "folksonomy" terms such as "web.art" which may or may not mean<br />anything ten years from now.<br /><br />6. Maybe some technical information about how it was produced, ie.<br />what coding language was used? I'm not sure if answers to this question<br />are 100% implied by answers to questions 1 and 2.<br />+ Richard Rinehart replied: +<br /><br />Hi Edward, all,<br /><br />You propose a mouthful (is that a terribly mixed metaphor?). Anyway, I<br />wouldn't break it down quite that way; I'd break a work down according to<br />levels of description from conceptual to functional to technical in that<br />order. But I won't belabor that issues when I've got a 44 page paper to do<br />that for me (see<br /><a rel="nofollow" href="http://www.bampfa.berkeley.edu/about_bampfa/formalnotation.pdf">http://www.bampfa.berkeley.edu/about_bampfa/formalnotation.pdf</a>) and if you<br />don't like the model proposed in this paper, you can always use it to swat<br />really big flies.<br />I was very piqued by your comment number 5., that 'genre' may or may not<br />be remembered for ten years. Much as I hate to admit this (because I hate<br />thinking about my own work being remembered as a watered-down stereotype),<br />I actually think that genre may be one of the most memorable elements of<br />metadata about art. Think about it in terms of painting; few of us might<br />now that a particular 19th century painting was painted with a new form of<br />synthetic cobalt or ultramarine blue invented only a few years prior<br />(technical metadata), but we all know it's "impressionist" (genre). We may<br />not recall even the artist on first view (Jacques Braque? Georges Braque?)<br />but we can tell it's "cubist" from across the room.<br /><br />Like I said, part of me resists the idea that my own work, or any art, can<br />be reduced down to a one-word term, and I hope that we're building more<br />robust metadata systems than they used in the past, but this thought would<br />seem to underscore the importance of the Rhizome metadata/vocabulary<br />project.<br />+ Richard Rinehart posted: +<br /><br />Hi everyone,<br /><br />The tagging sounds very interesting indeed. Would this be the same as the<br />folksonomy or parallel to it (same system)? I could see the two types of<br />terms living in the ArtBase easily: controlled vocabularies and the<br />folksonomic terms. On the former, controlled vocabularies, Lauren's<br />question is important: who is it for? I have found that controlled<br />vocabularies are mainly for "professionals" in the field as they are more<br />precise terms (ie. the AAT prefers 'serigraph' instead of 'silkscreen'),<br />but the main benefit of controlled vocabs are manifold. First, they can,<br />if done well (AAT does this, and Rhizome's hybrid model could too) provide<br />a mapping between the "popular" and "professional" versions of a term (the<br />thesaurus model), they provide a consistency that allows for consistent<br />results during machine manipulation of the data (ie searching), and<br />perhaps more importantly they provide a standard so that the any<br />particular data-set that uses them can be shared and transported between<br />systems.<br /><br />In the cultural heritage field there's been increasing emphasis on broad<br />sharing of data; we all know that our data needs to live on our own<br />websites, yes, and we can provide great functionality with that, but we<br />need to be able to share the data-source in such a way that it can be<br />incorporated into other systems too. For instance, I can easily see in the<br />future, that Rhizome might want to export the entire ArtBase and allow the<br />records to be used inside another portal/system such as one of the<br />following: Univ. of California Digital Library<br />(<a rel="nofollow" href="http://www.oac.cdlib.org/">http://www.oac.cdlib.org/</a>),Univ. of Michigan OAIster<br />(<a rel="nofollow" href="http://oaister.umdl.umich.edu/o/oaister/">http://oaister.umdl.umich.edu/o/oaister/</a>), or the Library of Congress'<br />American Memory (<a rel="nofollow" href="http://memory.loc.gov/ammem/index.html">http://memory.loc.gov/ammem/index.html</a>). Additionally,<br />some might want to incorporate the ArtBase terms (rather than the<br />records/data) in software tools like the Variable Media Questionnaire<br />(<a rel="nofollow" href="http://variablemedia.net">http://variablemedia.net</a>). To achieve any of these, there has to be some<br />structure to the ArtBase that others will understand (ie. shared<br />standards). The benefits of this sharing include: new functionality, new<br />data-contexts, new audiences and uses. Some of this sharing can be<br />achieved via dynamic linking/API's while other forms require static record<br />export/import. This does not prohibit local practices or folksonomies, but<br />it argues for a hybrid system.<br />Terms for the ArtBase could come from two streams. First is the<br />folksonomies/tagging aggregated by the ArtBase from us. The second could<br />be existing controlled vocabularies (such as the AAT) that are mined for<br />appropriate terms and incorporated into a list for the ArtBase (Rhizome<br />members could suggest sources). Submitters of new works to the ArtBase<br />could be encouraged to both choose a "controlled" term or two, some<br />previously "tagged" terms, or a new term.<br /><br />Whew…what do you all think?<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 17. 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 />
