RHIZOME DIGEST: 03.12.06

discussion

Posted March 11 2006 19:00

RHIZOME DIGEST: 03.12.06

RHIZOME DIGEST: March 12, 2006 ++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++ ++ Note: With apologies, the Digest is being sent on Sunday, rather than Friday, because the Editor unplugged to install Rhizome's exhibition, "All Systems Go," at the Scope-NY Fair. ++ Content: +opportunity+ 1. juha huuskonen: Pixelache 2006 Helsinki - preliminary program info! 2. mez breeze: *RADICAL SOFTWARE* PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS 3. Gail Priest: Unnatural Selection - New Media Art in Regional Australia 4. Gail Priest: What Survives: Sonic Residues in Breathing Buildings +announcement+ 5. queries@darklight-filmfestival.com: Darklight Festival Call For Entries 6. anita preischek: CFP: Octopus (A Visual Studies Journal): Volume 2 7. James: Call to Artists 8. sachiko hayashi: Call for Participation: CHINA GATES + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: juha huuskonen <juhuu@juhuu.nu> Date: Mar 8, 2006 Subject: Pixelache 2006 Helsinki - preliminary program info! Here is some preliminary program information about Pixelache Helsinki… More details will be announced soon! Also check out www.malaupixel.org for info about the Mal au Pixel Paris… * * * PixelACHE 2006 30 March - 2 April, Helsinki Kiasma, Museum of Contemporary Art www.pixelache.ac Mal au Pixel 2006 19 - 29 Avril, Paris Ars Longa, Confluences, Mains d'Ouvres www.malaupixel.org * * * PIXELACHE 2006 HELSINKI PROGRAM OVERVIEW VJ culture & audiovisual performances section features MiniMovies, a brand new project by AGF & Sue Costabile (US + Germany). AGF and Sue Costabile are both young multi-disciplinary creators with their activities extending from conceptual art to establishing independent record labels. MiniMovies is their first large scale collaboration, 'a collection of mini-lives in an urban and political context'. "Everybody is a disaster. Let's make our own movies." www.minimoviemovement.com To celebrate our French connection with Mal au Pixel Paris, we present two projects from France: a abstract audiovisual performance ChDh (Cyrille Henry & Nicolas Montgermont) and Grenze (Patrick Fontana & Pierre-Yves Fave & Emeric Aelters), an audiovisual journey through the book 'Das Kapital' by Karl Marx. Pixelache 2006 also premieres Peurakaira vs. Päätehakkuu by Kangastus collective (Finland), commenting the current struggle between the forest industry and reindeer herding co-operatives in Northern Finland. www.chdh.net www.grenze.org www.peurakaira.fi Pixelache 2006 is very happy to present a concert by Vladislav Delay, a rare performance in his home country. Other music acts this year include Aelters (France), Forss (Sweden) and several others. Full Pixelache club/music program will be announced soon! www.vladislavdelay.com www.ski-pp.com/aelters.html www.forss.to Experimental mobile / locative projects are presented in the context of Locative media workshop: Rautatieasema returns, organised by Andrew Paterson (Finland) & Meiju Niskala (Finland). The workshop brings together a group of performance artists and artist/researchers interested in mobile/locative media. The group will spend one week at the Helsinki Railway station, beginning with 'something' which are placed in the station lockers. The workshop process/results are summarised in public events, featuring presentations by Ben Russell (www.headmap.org, UK), Angela Piccini (University of Bristol, UK), Richard Widerberg (IMPROVe project, University of Art and Design Helsinki) and many more. www.pixelache.ac/locative Pixelache 2006 is also collaborating with Nokia Connect to Art and Sulake Ltd. Nokia Connect to Art is an initiative by Nokia to explore the possibilities to present art on mobile devices and Sulake is the company behind the popular Habbo Hotel online chat environment. Pixelache presents new work commissioned by Connect to Art (Jollaskoti project and a new piece by Sari Kaasinen) and organises a special seminar on experimental mobile projects. More information coming soon! www.nokia.com/art www.sulake.com www.jollaskoti.com www.sarikaasinen.com www.habbohotel.com Dot Org Boom, the grassroot non-profit new media 'boom' has been the main theme for Pixelache 2005 & 2006. Dot Org Boom theme is expored in Dot Org Tournament organised by Kai Kuikkaniemi (HIIT, Finland) and Petri Lievonen (Pixelache, Finland). Dot Org Tournament invites local multi-disciplinary teams to participate in a competition where the task is to come up with an innovative community concept within a 24-hour timeframe. The winner of the Dot Org Tournament will be presented on the last day of the Pixelache festival. Open products and hardware concepts are explored in both Pixelache Helsinki and Mal au Pixel Paris. Pixelache Helsinki features open game platform TileToy (Daniel Blackburn & Tuomo Tammenpää, UK + Finland), open product code initiative ThingLinks (Jyri Engeström & Ulla-Maaria Mutanen, Finland) and a presentation of Orgsmobile showroom (Erik Sandelin & Magnus Torstensson, Sweden). Orgsmobile is a project to build an 'open source vehicle' which will be realised at Mal au Pixel in Paris. www.tiletoy.org www.thinglinks.com www.unsworn.org/om Protolab is a presentation/discussion forum for new and on-going projects, chosen from the annual Pixelache Call for Projects. The projects featured in Protolab 2006 are: loopArena (Jens Wunderling, Germany), Roermond-Ecke-Schönhauser (Markus Kison, Germany), Follow Machine 1.2 (Ruben Coen Cagli, Italy) and Midipoet (Eugenio Tisselli, Mexico/Spain). More to be confirmed! Pixelache 2006 Helsinki warm-up event: Pixelache 2006 Helsinki kicks off with the opening of an exhibition by Kristian Simolin (Finland), organised in collaboration with MUU artist association. Opening at 7 pm on Thursday 2 March at MUU Gallery! www.muu.fi/simolin More details about Pixelache program will be updated at www.pixelache.ac during the next weeks, meanwhile if you have any questions please send an e-mail to contact {{at}} pixelache.ac. Looking forward to seeing you in Helsinki at Pixelache 2006! (and at Mal au Pixel in Paris!) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: mez breeze <netwurker@hotkey.net.au> Date: Mar 9, 2006 Subject: *RADICAL SOFTWARE* PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS —– Forwarded message from domenico quaranta <qrndnc@yahoo.it> —– Date: Wed, 8 Mar 2006 11:02:15 +0100 (CET) From: domenico quaranta <qrndnc@yahoo.it> *RADICAL SOFTWARE* a cura di / curated by *Domenico Quaranta* —————————————————- PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS TORINO, ACCADEMIA ALBERTINA, 08.03.2006 - 12.03.2006 web. <a rel="nofollow" href="http://www.toshare.it/">http://www.toshare.it/</a> - mail. info@toshare.it —————————————————- ENGLISH VERSION BELOW —————————————————- ][MEZ][ _[net]blog to log][ah!rhythm][_, 2006 - <a rel="nofollow" href="http://www.livejournal.com/users/netwurker/">http://www.livejournal.com/users/netwurker/</a> [EPIDEMIC] AntiMafia, 2003 - <a rel="nofollow" href="http://epidemic.ws/antimafia/">http://epidemic.ws/antimafia/</a> AMY ALEXANDER Scream, 2005 ? <a rel="nofollow" href="http://scream.deprogramming.us/">http://scream.deprogramming.us/</a> CORY ARCANGEL (BEIGE) + PAPER RAD Super Mario Movie, 2005 - <a rel="nofollow" href="http://beigerecords.com/cory/">http://beigerecords.com/cory/</a> MARKETA BANKOVA Scribble, 2005 - <a rel="nofollow" href="http://www.initialnews.com/scribble">http://www.initialnews.com/scribble</a> WAYNE CLEMENTS un_wiki, 2006 - <a rel="nofollow" href="http://www.in-vacua.com/un_wiki.html">http://www.in-vacua.com/un_wiki.html</a> GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT Where-next, 2005 - <a rel="nofollow" href="http://www.where-next.com/">http://www.where-next.com/</a> PETER LUINING Window, 2005; Giant Cursor, 2005; 100 windows, 2005 - <a rel="nofollow" href="http://works.ctrlaltdel.org/">http://works.ctrlaltdel.org/</a> K-HELLO Wasteoftime, 2003 - <a rel="nofollow" href="http://www.k-hello.org/wasteoftime/itindex.htm">http://www.k-hello.org/wasteoftime/itindex.htm</a> MOLLEINDUSTRIA.IT McDonalds Videogame, 2006 ? <a rel="nofollow" href="http://www.molleindustria.it/">http://www.molleindustria.it/</a> ROVEBOTICS Bush Bot 0.4, 2004 - <a rel="nofollow" href="http://www.bushbot.ath.cx/">http://www.bushbot.ath.cx/</a> UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO CIRIO GWEI [Google Will Eat Itself], 2005 ? <a rel="nofollow" href="http://www.gwei.org/">http://www.gwei.org/</a> —————————————————- If we leave aside its historical precedents, Software Art, in its classical definition formalized by the Jury Statement of ?Transmediale 2001? [1] and extended by Florian Cramer [2], saw the light in 1997 with The Web Stalker of the English Group I/O/D and with the theoretical speculation started by one of the software authors, Matthew Fuller. Right from this first example and definitions, Software Art reveals its radical nature. The fact itself of transforming software from a mere instrument into ?subject? and ?contents? of a cultural and artistic reflection represents a Copernican revolution liable to be considered as heresy. Similarly heretic is the idea of adopting a language (HTML), a protocol of communication (HTTP) and the whole system of cultural objects (the web) and make them visible in a form that contrasts with their own original function. Software Art is radical even in its most harmless and politically neutral manifestations; when, in addition, it overturns the structure of the browser in controversy with the standardization of its interfaces, and when it adopts a slogan that sounds like: ?software is mind control, get some?, then the controversy turns into poetics, the prime mover of a creative process. RADICAL SOFTWARE is an exhibition including some recent examples of radical software. The name pays explicit homage to the magazine founded by Ira Schneider and Beryl Korot in 1970, that had the merit to combine, for the first time, political considerations and use of the media (in that case mainly video and television). But, if the deep nature of these projects is political, the initial target of the subversion they put into effect is rarely so; and, even when it is, the blow it receives is never direct, but it is the ultimate consequence of an attack directed elsewhere, similar to a bullet hitting the mark after being diverted by a series of obstacles that are as many primary targets. This is the case, for example, of Bush Bot 0.4, of the ROVERBOTICS Group: which, after insinuating doubts ? with the support of manipulated images ? that George W. Bush may be a cyborg, demolishes his politics, creating the software that nourishes his totally artificial intelligence, allowing people to talk to him and even dictate his new speeches, through a simple chat system. No doubt Bush is the target, but the blow is struck by drawing on a by now classic story ? Simulacres by Philip K. Dick ? and by parodying artificial intelligence algorithms. In the same way, Mc Donald?s Videogame, of the Italian game factory Molleindustria, attacks the famous fast food chain, by subverting the form, by now highly widespread, of advertising videogames. Where Next, realized by the same Molleindustria in collaboration with the advertising agency Guerrilla marketing, attacks the spectacular way adopted by the media when presenting terrorism and their ferocious abuse of forms of betting games and the most common advertising tactics as well as that extraordinary instrument of location that is Google Earth, with a type of political incorrectness that is directly proportional to the implications of what it reports. Both these products are very distant from Software Art from a formal point of view and yet they are very close to it from a conceptual point of view. Different is the case of GWEI (Google Will Eat Itself), realized by UBERMORGEN.COM in collaboration with Italian Alessandro Ludovico and Paolo Cirio, that takes to the extreme consequences the algorithm of capitalism entirely adopted by Google, but it does that to induce one of the powerful companies in the world to devour itself in an extreme form of digital cannibalism. The critical scope of Software Art doesn?t even spare the culture of shared knowledge based on hacker culture and the activism of the media. Un wiki, by Wayne Clements is a very simple software that limits itself to retrieving and making visible the log file with contents refused by the open and democratic community of Wikipedia: a crafty speculation on the paradoxes of a system that matches the maximum opening made possible by the software and a substantially oligarchic structure as the only guarantor of the contents quality. Antimafia (2003), of the Italian group [epidemic] is instead software that automates and coordinates collective actions. Based on a ?peer to peer? action, it makes it possible to share hacking actions without any intervention from the user ? apart from the activation of the programme ? and without a leader that coordinates the action. It might seem the definitive solution to the problem of the effectiveness of protests online, the ?killer application? of net activism; in reality, the first victim of this programme is activism itself, deprived of any human components and above all of leadership. Which justifies the strange story of this project, rejected and censored by the same community it was meant for. A censorship which was actually caused by an error of perspective: if Floodnet, software made available to a community for a collective action online, was in every respect a work of net.art, Antimafia, read in that light, failed miserably; if it is re-read as Software Art, instead, it hits the mark splendidly, showing that ?the code is not harmless? and revealing the weak point of activism that withdraws when it discovers that it can be really dangerous. If Antimafia is a subversive interface disguised as commercial software, emulating the ?packaging? of famous security software, most Software Art projects make the interface the object of subversion. This is an attitude inherited from the first net.art. from JoDi which tears the browser to pieces in controversy with corporative hi-tech. The premise is that standard interfaces convey a specific ideology, and that defacing, violating, reconstructing them in new forms can be a form of re-appropriation and liberation. I/O/D?s motto, ?software is mind control, get some? very well explains both Peter Luining and Italian K Hello?s formal games as absolutely harmless conceptual experiments in practice, yet capable of pulling down in a moment the castle of metaphors on which the graphic interface with windows is based. In the same way Scream by Amy Alexander manages at last to give us the satisfaction of a physical outlet (in this case, a scream) that can produce immediate repercussions on the stability of the interface. Others contest the surface, the froth of the data, like Slavic Marketa Bankova with Scribble, software that superimposes ?graffiti? to the CNN homepage, with the same pleasure as a child destroying the Lego castle he has just built. This is the case of Super Mario Movie, where Cory Arcangel breaks the world of Super Mario into pieces and follows its fall with satisfaction, turning the horizontal flow into an endless vertical collapse, and depriving the game of any possible interaction. A subtle subversion, that disguises itself behind the pleasure of fruition but isn?t less radical for that. Finally, entirely focused on language is the operation carried out by ][MEZ][, one of the best heirs of the code poetry tradition. For ][MEZ][ language, even the usually immediate language of a blog is a programming code that can be disassembled and reconstructed, being aware that if the Net has something to share with Babel, this is the confusion of languages. For this reason her ?mezangelle?, an idiom that merges natural language with IT code, becomes part, on one side, of the great tradition of language experimentation going from Dante to Joyce, and, on the other side, picks up a great lesson from Dada and Surrealism, i.e: discussing a society means firstly to attack its logical and rational structure, exactly embodied by the language. [1] ?…software art has the potential to make us aware that digital code is not harmless, that it is not restricted to simulations of other tools, and that is itself a ground for creative practice.? In F. Cramer, U. Gabriel, J.F. Simon Jr., ?Jury Statement?, 2001, reperibile online all'indirizzo <a rel="nofollow" href="http://www.transmediale.de/01/en/s_juryStatement.htm">http://www.transmediale.de/01/en/s_juryStatement.htm</a> [2] ?… software art could be generally defined as an art: - of which the material is formal instruction code, and/or - which addresses cultural concepts of software…? In Cramer, Florian, ?Concepts, Notations, Software, Art?, 23 marzo 2003, reperibile online all'indirizzo <a rel="nofollow" href="http://userpage.fu-berlin.de/~cantsin">http://userpage.fu-berlin.de/~cantsin</a> ][MEZ][ _[net]blog to log][ah!rhythm][_, 2006 - <a rel="nofollow" href="http://www.livejournal.com/users/netwurker/">http://www.livejournal.com/users/netwurker/</a> ][Mez][ presents her blog as ?a reverse-engineered weblog - read: _bio_log_ as opposed to a standardized weblog?. In order to read it, you?ll need the ?mezangelle?, which is the polysemic idiom that ][mez][ employs by adjusting her natural language into a hybrid form through remixing code. She began this process with e-mail art in the early 90s. [EPIDEMIC] AntiMafia, 2003 - <a rel="nofollow" href="http://epidemic.ws/antimafia/">http://epidemic.ws/antimafia/</a> It appears as commercial software for Windows, with a GPL licence. It is based on the ?peer to peer? programme, but instead of sharing files, its users share protest actions. WSomebody launches a campaign, the others join it, the programme does the rest, in a form of direct democracy bypassing any mediation or leadership. AMY ALEXANDER Scream, 2005 ? <a rel="nofollow" href="http://scream.deprogramming.us/">http://scream.deprogramming.us/</a> Small software that, when activated, introduces in the application bar an icon modelled upon the Scream by Munch. It stays quietly there until the machine, for some reason, makes us angry. And we scream. Then the machine echoes our rage or our anguish and, as it happens with the masterpiece of Symbolism, our scream ?pervades the whole nature?. CORY ARCANGEL (BEIGE) + PAPER RAD Super Mario Movie, 2005 - <a rel="nofollow" href="http://beigerecords.com/cory/">http://beigerecords.com/cory/</a> Super Mario falls endlessly into a world broken in a thousand pieces by a few code: Cory Arcangel tunes up his electronic swan song to the landscape of our childhood, accompanying it with an 8 bit sing-song and giving at the same time a lesson on can produce a 15 minute video without wasting more than 40 kb of space. MARKETA BANKOVA Scribble, 2005 - <a rel="nofollow" href="http://www.initialnews.com/scribble">http://www.initialnews.com/scribble</a> An ironical defacement of the CNN homepage, Scribble superimposes on it are half way between urban graffiti and scribbles we draw absent-mindedly, them in real time according to the contents of the news. The project uses a drawings that are picked up according to the key words offered by the news, be further extended, thanks to new drawings proposed by the users. WAYNE CLEMENTS un_wiki, 2006 - <a rel="nofollow" href="http://www.in-vacua.com/un_wiki.html">http://www.in-vacua.com/un_wiki.html</a> Software that retrieves and visualizes the log file containing inclusions ?rejected? by the democratic system of Wikipedia: a consideration on the contradictions existing between the apparent democratism of the software, that allows everybody to load contents, and the substantial oligarchy of the community. GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT Where-next, 2005 - <a rel="nofollow" href="http://www.where-next.com/">http://www.where-next.com/</a> A web page that makes it possible to bet on the place of the next terrorist attack, locatable through a service of Google Earth. The winner is awarded with a T-shirt with a photo of the attack and the caption ?I PREDICTED IT!?. A strong reaction to the spectacular representation of terrorism and expectation of new attacks, induced by the media. PETER LUINING Window, 2005; Giant Cursor, 2005; 100 windows, 2005 - <a rel="nofollow" href="http://works.ctrlaltdel.org/">http://works.ctrlaltdel.org/</a> Window opens a transparent window, through which one can see what is underneath and work on it; Giant Cursor installs a cursor-pointer of abnormal size, but perfectly working; opens about a hundred empty pages in sequence. Three minimal software products that can be immediately de-coded, absolutely useless: but capable of revealing, like few others, the conventional metaphors that curb our experience about digital space. K-HELLO Wasteoftime, 2003 - <a rel="nofollow" href="http://www.k-hello.org/wasteoftime/itindex.htm">http://www.k-hello.org/wasteoftime/itindex.htm</a> Author of disrespectful and paradoxical conceptual software, K-hello invites us to an unjustified waste of time (and space): fragmenting a text that we inserted into hundreds of Web pages. The text is legible only by putting the pages into a grid but our computer was not up to understanding it: an experiment of extreme dissociation between form and content, but also in codifying the message in a form whose key to decrypting is just one: patience. MOLLEINDUSTRIA.IT McDonalds Videogame, 2006 ? <a rel="nofollow" href="http://www.molleindustria.it/">http://www.molleindustria.it/</a> A Flash Videogame Sim City Style, where the video player plays the role of the manager of McDonald?s, busy with the management of the whole ?assembly line? of the multinational, from production, to sales and marketing. An overturn of the logic of videogames used for advertising purposes. ROVEBOTICS Bush Bot 0.4, 2004 - <a rel="nofollow" href="http://www.bushbot.ath.cx/">http://www.bushbot.ath.cx/</a> For who might have been impressed by Bush?s ?cyborg-like? behaviour, this is the programme governing actions and speeches. Based on an old chatvsystem, the software makes it possible to chat with Bush as well as to offer him new material for his speeches. UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO CIRIO GWEI [Google Will Eat Itself], 2005 ? <a rel="nofollow" href="http://www.gwei.org/">http://www.gwei.org/</a> Or: how to buy oneself Google with its own publicity. GWEI is an organization that avails itself of the support of a series of sites, subscribers of the Google service Adsense (advertising links where the subscriber earns a sum for each link clicked by its users) and of software that manipulate the programme to increase the number of clicks received by Google. The money is reinvested in Google shares, bought and then distributed among the users, after subscribing to GTTP Ltd. (Google To The People Public Company) In other words, Google is becoming slowly but relentlessly devoured by its users, who take the money paid for advertising. ::::::::::::::::::::::::::::::::::::::::::::::::::: Domenico Quaranta mob. +39 340 2392478 email. qrndnc@yahoo.it home. via x giornate 41 - 25030 brandico (BS) web. <a rel="nofollow" href="http://xoomer.virgilio.it/mimmo40/">http://xoomer.virgilio.it/mimmo40/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Gail Priest <snagglepussy@snagglepussy.net> Date: Mar 9, 2006 Subject: Unnatural Selection - New Media Art in Regional Australia Unnatural Selection An exhibition of sculpture and installation driven and inspired by technology, re-creating and re-interpreting natural elements and environments. Unnatural Selection challenges the crude capitalist mutation of Darwin's 'survival of the fittest' by creating a safe ecosystem for delicate technological hybrids to thrive. The works offer inspiration as well as insights into the mutualism of nature, the technological tools of our creation, and ourselves. This is the first large scale new media art exhibition to take place at the Manning Regional Gallery, Taree (5 hours north of Sydney). Artists: Melanie Foster - Moving to the Virtual Matrix Matt Gardiner - Oribotics [Atom Generation] Daniel Green - Experiments in Self Amusement - Level 1, I, Toy Robin Petterd - Moments of Grey Jasper Streit - Perceptual Screening III Curated by Gail Priest <a rel="nofollow" href="http://www.snagglepussy.net/unnaturalselection">http://www.snagglepussy.net/unnaturalselection</a> March 17 - April 16, 2006 Manning Regional Art Gallery 12 Macquarie St Taree, NSW, Australia + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Gail Priest <snagglepussy@snagglepussy.net> Date: Mar 10, 2006 Subject: What Survives: Sonic Residues in Breathing Buildings WHAT SURVIVES: SONIC RESIDUES IN BREATHING BUILDINGS Consisting of three major gallery-based sound installations and a program of commissioned works for two sound stations in the building, WHAT SURVIVES explores the real and imagined remnants of human presence in architecture. The structures we build bear silent witness to our human behaviour?what have the walls, beams and girders absorbed and what sonic secrets can be coaxed back out of them? Does this ephemeral material influence the energy of the spaces we inhabit? Taking inspiration from Rilke, WHAT SURVIVES conveys the indestructibility of energy and its subsequent transformations and manifestations. GALLERY ARTISTS: Nigel Helyer, Jodi Rose, Alex Davies SOUND STATION ARTISTS: Garry Bradbury, Joyce Hinterding, Aaron Hull, Somaya Langley, Sumugan Sivanesan, Amanda Stewart CURATOR: Gail Priest OPENING: 24 March 2006, 6-8pm EXHIBITING: 25 March - 22 April 2006, Wed - Sat 12- 6pm ARTIST'S TALK: Sat 25 March 2006 2-4pm GUEST SPEAKER: Densil Cabrera, Co-ordinator of The Graduate Audio Design Program in the Faculty of Architecture, University of Sydney PERFORMANCE SPACE 199 Cleveland St Redfern, Sydney, Australia 2012 <a rel="nofollow" href="http://www.performancespace.com.au">http://www.performancespace.com.au</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition on the politics of internet appearances, guest-curated by Marina Grzinic from the Rhizome ArtBase. <a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: queries@darklight-filmfestival.com <queries@darklight-filmfestival.com> Date: Mar 6, 2006 Subject: Darklight Festival Call For Entries CALL FOR ENTRIES DARKLIGHT 2006 WE WANT YOUR FILMS! DARKLIGHT ARE NOW ACCEPTING ENTRIES FOR FESTIVAL 2006 Go to <a rel="nofollow" href="http://www.darklight.ie">http://www.darklight.ie</a> for full criteria, terms and conditions and application form. ———————————————– DEADLINE FOR SUBMISSIONS MONDAY 20th MARCH 2006 ———————————————– DARKLIGHT FESTIVAL is Ireland?s premier festival for filmmakers, animators and artists whose work explores the convergence of art, film and technology. Digital filmmaking techniques have become increasingly universal, they have revolutionised contemporary filmmaking practice and contributed hugely to the liberation of animation. In response to this the Darklight programme has become focused on work that challenges; concepts, visual aesthetic, narrative, access, methods of production and dialogue through these contemporary filmmaking techniques. Darklight exhibits work that pushes these boundaries and displays creative excellence. Our mission is to nurture new talent and to create new possibilities for the imagination. SELECTION CRITERIA Eligible for entry are feature films, documentaries, all CG animation (Flash, 3D etc.), experimental works, music videos, commercial work, motion graphics, game sequences, live action shorts, student work, films shot on camera phones and films from outreach and community projects. There are no restrictions on genre, length or number of submitted works. For full criteria go to <a rel="nofollow" href="http://www.darklight.ie">http://www.darklight.ie</a> OTHER PROGRAMMES STRAYLIGHT is a visual art exhibition whose curatorial vision promotes work that connects with us on levels that represent technology?s wide influence on our culture. DARKLIGHT SYMPOSIUM series is a forum for filmmakers and artists, informing and initiating debate on all aspects of contemporary art and filmmaking, from practice and technology to copyright, distribution and education. DARKLIGHT FESTIVAL 2006 IS RETURNING TO AN EARLY SUMMER DATE June 22nd - June 25th, Temple Bar, Dublin, Ireland *Please forward or post the following information to interested parties, news groups, Blogs or websites* If you have any questions please contact us by email at: ?queries at darklight-filmfestival.com? + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: anita preischek <hotmlsucks@hotmail.com> Date: Mar 6, 2006 Subject: CFP: Octopus (A Visual Studies Journal): Volume 2 Call for Papers: "The Dark" Octopus (Volume 2) Fall 2006 www.octopusjournal.org Deadline for Submissions: April 3, 2006. We are pleased to announce the topic of our second issue ? ?The Dark.? Concepts of ?light? and ?dark? have currency as a metaphorical referent?to illuminate, cast a shadow on, to set in contrast to, as markers of knowledge or obfuscation. Exemplified by one of the dominant philosophical regimes in the Western tradition?emerging from the ?Dark Ages? and into the ?Enlightenment?? this metaphor assumes a position as a structuring matrix, a system of oppositions or relativities used to work through historical moments and objects of study. Because cultural conventions often set light (active/positive/presence) and dark (passive/negative/absence) against each other, the incorporation of these ubiquitous concepts manifests itself in a broad range of cultural concerns including aesthetics, politics, ethics, gender, race and ethnicity, technology, religion, and the media, and has itself a legacy of warranted critical attention. The idea of ?the dark? occupies a particularly critical position within the emerging field of Visual Studies. For this issue we present the question of ?the dark? as an analytical tool, a historical concept, and as a limit or end of visual studies itself. The second issue of Octopus invites manuscripts that engage with ?the dark? from a wide-range of perspectives. Possible lines of inquiry include but are not limited to: 1) Photography?s light and dark: polychromy, monochromy, being photogenic, the space of the darkroom 2) Cinema?s light and dark: flicker, the space of spectatorship, Noir, horror 3) Darkness and light as absence and presence; invisibility, avisuality, disappearance, negation, blind spots 4) Gender, race, and ethnicity 5) ?Intelligence? and its connection to metaphors of ?illumination? 6) The politics of ?dimness? 7) Philosophy, theosophy, hermeneutics 8) Literature, linguistics 9) Architecture, shadow 10) Material lightness and darkness; technologies of light 11) Military stealth/night vision 12) Self-awareness, epiphanies, criticism 13) Minimalism, Post-Minimalism. 14) Plato?s cave/ shadowplay/ camera obscura/ chiaroscuro 15) Rhetorics of good and evil 16) Aesthetics and spirituality Deadline for Submissions: April 3, 2006. Submission Guidelines: www.octopusjournal.org Octopus Journal is a publication of the graduate students in the Program of Visual Studies at the University of California, Irvine. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: James <rhizome@factorynoir.com> Date: Mar 11, 2006 Subject: Call to Artists Ars Virtua Gallery and New Media Center is looking for works for our inaugural show. The theme of this show is "The Real" and will be exhibited on the grounds of Ars Virtua which is located on the border of Butler and Dowden (<a rel="nofollow" href="http://slurl.com/secondlife/Dowden/41/58/52/">http://slurl.com/secondlife/Dowden/41/58/52/</a>) in Second Life (<a rel="nofollow" href="http://www.secondlife.com">http://www.secondlife.com</a>) We are looking for 2D media, video and sculpture (including scripts) produced within the 3D engine. All representable media will be accepted for consideration but artists are cautioned to be economical with the number of prims used in sculpture. For too long "the virtual" has been supplanted by "the real" in the realm of communication and entertainment. We recognize that there is no need for replacement, but for extension. We see that 3D game engines are creating new environments with new rules that are just as tangible as the old ones, but on new terms. Education and art have been waking up to value of simulation as it relates to and does not relate to campus and museum life. The value of simulation or perhaps the threat of it occurs when simulation begins to trump that which it is simulating. That is the purpose of this exhibit, and though it does not make every exhibit in space-time useless or passé it does attempt to offer a wholly electronic alternative, an "other" real. "The Real" will be juried by a group of artists from the CADRE Laboratory for New Media. Please submit files via email in the following formats: jpeg - no larger than 400x300; mp4 - no larger than 1mb; descriptions- no more than 250 words All submissions and requests for more information should be sent to gallery@ArsVirtua.com Letter of interest due: March 14 Opening: April (TBA) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: sachiko hayashi <look@e-garde.com> Date: Mar 12, 2006 Subject: Call for Participation: CHINA GATES CHINA GATES Call for Participation Mobile Music Performance Zurich, Switzerland The Digital Art Weeks 2006, organized by members of the Computer Science Department of the ETH Zurich, is looking for up to twelve persons who are interested in contemporary music and art who would be interested in participating on a voluntary basis for the performance of a new Mobil-Music work under the direction of Sound Artist, Art Clay using GPS and mobile computer technologies. Aesthetically, the work China Gates for tuned gongs and Wrist Conductor is rooted in works for open public space and belongs to a series of works, which celebrate the use of innovative mobile technologies to explore public space and audience. The work is technically based on possibilities of synchronizing a group of performers using the clock pulse emitted by satellites. The GPS Wrist Conductor signals each player when to hit the gong. An intense rippling effect results as the players gradually move around the park and the music of the gongs shift back and fourth from intense chords to exotic melodies. The preparation for the event will take place in the form of a mini-workshop on mobile music and sound in open space. Persons interested in participating are asked to apply by sending a message to the below stated email address. Please include a short biography (50 words) telling us about yourself and why you would you like to participate. Selected players will receive a festival pass for all Digital Art Weeks 06 events. arthur.clay@inf.ethz.ch More information concerning the Digital Art Weeks is obtainable here: www.digitalartweeks.ethz.ch + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 9. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +