<br />RHIZOME DIGEST: April 02, 2004<br /><br />Content:<br /><br />+note+<br />1. Kevin McGarry: posting to Rhizome Raw<br /><br />+announcement+<br />2. Drew Hemment: Futuresonic04 Festival<br />3. McKenzie Wark: Playdate #1: War Games and Game Wars<br />4. M. River: Internet Art Survives, But the Boom Is Over -NY times<br />5. Christina McPhee: Ana Maria Uribe: a tribute<br /><br />+comment+<br />6. t.whid: Subway images<br /><br />+feature+ <br />7. Juliet Davis: "Militantly Marginal": The First IDMAA Conference<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />Date: 3.29.04 <br />From: Kevin McGarry (kevin@rhizome.org)<br />Subject: posting to Rhizome Raw<br /><br />There are two easy ways to distribute messages across the Rhizome<br />community via Rhizome RAW, Rhizome's unfiltered, higher volume email<br />subscription archived on Rhizome.org as 'Fresh Texts'.<br /><br />1) To post by email, simply send a message to list@rhizome.org, and the<br />body of your email will be sent to all subscribers of Rhizome RAW and<br />appear as a text object in Fresh Texts.<br /><br />2) To post online for the same effect, access 'Post a Message' from the<br />'Art + Text' drop down menu at Rhizome.org and complete the posting<br />forms. Online, you're able to provide a date and submission type that<br />pertain to your post. If you include a date your post will be added to<br />our global new media calendar, and a submission type will enable readers<br />to distinguish your post from others as an announcement, opportunity,<br />comment, and so forth.<br /><br />Any post made to Rhizome RAW may be published to Rhizome RARE by<br />superusers, a group of volunteer Rhizome RAW editors. Rhizome RARE is a<br />lower volume email subscription that also appears online on<br />Rhizome.org's front page, along with an image and link relevant to the<br />text.<br /><br />A selection of posts to Rhizome RAW will also be published in Rhizome's<br />weekly DIGEST sent to subscribers.<br /><br />To add or modify your email subscriptions you can access 'Email<br />Subscriptions' under the 'Community' drop down menu at Rhizome.org and<br />check and uncheck the boxes denoting your current subscriptions.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />Date: 3.29.04 <br />From: Drew Hemment (drew@futuresonic.com)<br />Subject: Futuresonic04 Festival<br /><br />Futuresonic04<br />April 27th-May 8th 2004<br />Urbis and city wide<br />Manchester UK<br /><br />A festival of electronic music and media arts<br />Featuring 250 artists & 50 projects and events<br />Est. 1995<br /><br />——————————————————————-<br />Futuresonic04 programme<br />——————————————————————-<br />view in html | www.futuresonic.com/email<br />view website | www.futuresonic.com<br /><br />——————————————————————-<br />Futuresonic live<br />——————————————————————-<br /><br />Tuesday April 20th<br />The Matthew Herbert Big Band<br />A pre-festival special event - Pioneer of electronic music Matthew<br />Herbert (UK) performs live with a full 20-strong band, stunning vocals<br />and live sampling. With Bugge Wesseltoft (NO).<br />____________________<br /><br />Saturday May 1st<br />Free outdoor May Day event Unite and Love Music Hate Racism present<br />Dizzee Rascal stablemate Wiley (UK), former N.A.S.T.Y. MC D Double E<br />(UK), Metz & Trix (UK) and Virus Syndicate (UK) showcasing the cutting<br />edge new urban sound of Grime.<br />____________________<br /><br />Sat May 1st<br />Location live Live sound art in the unique surroundings of a<br />fifteenth-century hall including Glide by Echo and the Bunnymen's Will<br />Sergeant (UK), Mathew Gregory (UK), Vergil Sharkya' (UK), Phil<br />Mouldycliff (UK) and Colin Potter (UK). Curated by Colin Fallows.<br />____________________<br /><br />Saturday May 8th<br />Arrange and Process Basic Channel live Closing party and profile club<br />event of Futuresonic04 - a rare UK live set and Futuresonic04 exclusive,<br />Scion (DE) plays re-arranged and re-worked tracks from the back<br />catalogue of the legendary German techno outfit Basic Channel (Moritz<br />von Oswald and Mark Ernestus). Plus very special guests.<br /><br />——————————————————————-<br />Turntable re:mix<br />——————————————————————-<br /><br />Celebrating 25 years of the Technics 1200MK2 with a series of events<br />featuring pioneers of turntable music and looking at the past and future<br />of the DJ with artists detonating the art of playback by using Phono<br />Fiddles and laser harps.<br />____________________<br /><br />Tuesday April 27th<br />noiseDJ<br />Pioneer of turntable noise Philip Jeck (UK) alongside Aleks Kolkowski<br />(DE) and Matt Wand (UK) performing with 78 cutting machines, old wax<br />cylinder players and Phono Fiddles.<br />____________________<br /><br />Thursday April 29th<br />mobileDJ+liveDJ<br />Part One: First ever scratch team outing for Finga Thing's Peter Parker<br />(UK), World ITC Scratch Champion DJ Woody (UK) and G-Kut (UK) - WITH A<br />TWIST: they will be cutting up vocal fragments and short stories<br />commissioned by the-phone-book Limited for mobile phones!<br />Part Two: Sirconical (UK) performs live with his band comprising of DJ<br />Woody (ITC World Scratch Champion/UK), live drums and bass. With Twisted<br />Nerve head honcho Andy Votel (UK) in support.<br />____________________<br /><br />Friday April 30th<br />scratchDJ with C'mon Feet<br />Hip hop and next-level turntablism with D-Styles (Invisibl Skratch<br />Picklz) presents Gunkhole (four person DJ set including live drums/US),<br />Tigerstyles (DMC World Supremacy Champion/UK), DJ Homebrew (UK), Angry P<br />(UK).<br />____________________<br /><br />Saturday May 1st<br />futuresonicDJ with Music Is Better<br />Detonating the art of playback by DJing with Kaoss pads, Theremins and<br />laser harps. An all-star international line up includes Daniel Wang<br />(Metro Area collaborator/US), Ann Shenton and Pierre Duplan (Large<br />Number/Add N to X/UK), electro-funk pioneer Greg Wilson (Wigan<br />Pier/Legends/Hacienda/UK), Danny Webb (UK), Bonnie & Clyde (UK), Solid<br />State (UK) & Roger (special futureDJ set/UK/ FI). Also celebrating the<br />first birthday of Mancunian/Finnish electronic innovators Music Is<br />Better. Technology curated by Alchemy Audio Lab.<br />9.30pm - Demo of Final Scratch, and your chance to learn about the<br />advanced technology used in this event.<br /><br />——————————————————————-<br />Mobile Connections<br />——————————————————————-<br /><br />Exploring new horizons in wireless and mobile and the diverse ways in<br />which artists and DIY technologists are pushing the limits, and<br />soliciting unexpected or unforeseen results from communication media<br />past and present.<br />____________________<br /><br />April 30th<br />Mobile Connections live<br />Renegade rollergirls from RICHAIR2030 (UK+++) patrolling the city in<br />search of wireless hotspots and SIGNAL_SEVER! (SLO/US/UK/FR/DE/RA)<br />surfing the radio zones of the electromagnetic spectrum<br />____________________<br /><br />April 30th to May 2nd<br />Mobile Locations - Interactive experiences in the city streets<br />Set off into the city with InterUrban (US) to uncover an interactive<br />story. Try to make sense of a world in which you hear things 10 seconds<br />after they happen with Sonic Interface (JP). Text the numbers on the<br />(area)code (UK) signposts that have sprung up around Manchester to<br />discover secret histories or leave your own digital graffiti. Put on a<br />pair of Aura (UK) headphones and navigate the virtual sound environment<br />in Cathedral Gardens.<br />____________________<br /><br />April 28th to May 8th<br />Mobile Connections exhibition<br />Trace a journey in sound through Tokyo's bustling streets with<br />Streetscape (JP). Explore the immersive environment of Come Closer (UK).<br />Play Schminky (UK) while sat at the bar. Remix the city with The Central<br />City (UK). Listen to Disembodied Voices (US) plucked from the air. Let<br />Auto Mobile (IN) zip you through the streets of Bangalore mobile in hand<br />in. Be a Wifi-Hog (US). Just say Telenono (UK).<br />____________________<br /><br />April 28th to May 8th<br />Location installations<br />Sound installations curated by Colin Fallows. With John J. Campbell<br />(UK), Max Eastley (UK), Colin Fallows (UK), Lee Ranaldo (US), Russell<br />Mills and Ian Walton (UK)<br />____________________<br /><br />April 30th to May 2nd<br />Mobile connections workshops<br />Create your own animations and ringtones for mobile phones with<br />the-phone- book Limited (UK). Collaborate in close-proximity network<br />communication through Oscillating Windows (US). Build your own wireless<br />network with Consume (UK). Explore the interactive creative<br />possibilities of the Soundbeam (UK) sensing technology. Road test<br />cutting edge location aware technologies with Locative Media Lab<br />(CA/UK/US).<br /><br />——————————————————————-<br />Conference<br />——————————————————————-<br /><br />The Mobile Connections conference at Urbis explores how geographical,<br />cultural and perceptual space are being reconfigured by wireless and<br />mobile media. Specific focus on the interventions of the freenetworks,<br />how locative media opens up new ways of experiencing the city, and how<br />sound artists explore space and the urban environment.<br />____________________<br /><br />Friday April 30th<br />Introduction Drew Hemment (Futuresonic/UK)<br />Keynote Sadie Plant (UK)<br />Network Commons with Armin Medosch (AT), Jonah Brucker-Cohen (US),<br />TAKE2030 (UK+++).<br />Locative Media with Anthony Townsend (US), Marc Tuters (CA), Ben Russell<br />(UK), Anne Galloway (CA) - In association with Locative Media Lab<br />Creative Crossings with Tapio Makela (Programme Chair, ISEA2004/Vice<br />Chair, m-cult/FI), Susan Kennard (Executive Producer, Banff New Media<br />Institute/CA), Derek Freeman (UK) - Followed by reception. In<br />association with Banff New Media Institute, ACE and ISEA2004<br />____________________<br /><br />Saturday May 1st<br />Keynote Matt Adams/Blast Theory (UK)<br />Wireless Interface with Marko Peljhan (Projekt Atol/Makrolab/SLO), Fee<br />Plumley (the-phone-book Limited/UK), Tom Melamed (Mobile Bristol/UK),<br />Zoe Irvine (UK). Sonic City with Christa Sommerer (AT) and Laurent<br />Mignonneau (FR), Tom Wallace (resonance.fm/UK), Steve Symons (UK).<br />Location with Colin Fallows (Chair, UK), Tim Cole (SSEYO/Tao Group UK),<br />Hugh Davies (UK), Max Eastley (UK), Russell Mills (UK)<br /><br />——————————————————————-<br />Workshops & Talks<br />——————————————————————-<br /><br />Free Audio/DJ workshops and talks presented by Technics DJ Academy and<br />School of Sound Recording. www.s-s-r.com/sonic<br />____________________<br /><br />Tuesday April 27th<br />ProTools<br />An overview of Digidesign's ProTools system with authorised instructors<br />____________________<br /><br />Wednesday April 28th<br />Computer Music Production<br />Interactive workshop hosted by Elliot Eastwick and Steinberg's Neil<br />Cooper. Based around Cubase SX2 and Reason. Advanced level.<br />____________________<br /><br />Thursday April 29th<br />Electro-Funk: The missing link in the evolution of UK Dance Culture<br />Artist talk by Greg Wilson, DJ at Wigan Pier and Legends, promoter of<br />the first dance event at Hacienda, and pioneer of UK electro<br />____________________<br /><br />Thursday April 29th<br />DJ technique workshop<br />Basic level mixing through to the most advanced scratch and<br />beat-juggling techniques. Hosted by DJs Masta Wong & G-Kut.<br />____________________<br /><br />Saturday May 1st<br />DJ workshop: Final Scratch<br />Real-time manipulation and scratching of digital music files using<br />time-coded vinyl and a hardware interface.<br /><br />——————————————————————-<br />Futuresonic City<br />——————————————————————-<br /><br />Celebrating Manchester's new cutting edge with a city wide programme of<br />affiliated live music and club events plus a special event in Liverpool<br />to coincide with the festival launch. See www.futuresonic.com for full<br />listings. Futuresonic City events are not included in festival pass.<br />____________________<br /><br />Tuesday April 27th<br />Hive at FACT<br />Kaffe Matthews & Riz Maslen play live, plus Futuresonic-commissioned<br />films by Coldcut, Ultra Red, Battery Operated.<br />____________________<br /><br />Wednesday April 28th<br />Blood And Fire Sound System<br />Live from Jamaica, Dancehall DJ Legend U Brown, plus selector Steve<br />Barrow & Dom on dex & fx.<br />____________________<br /><br />Thursday April 29th<br />Life Begins when You're Ready to Face it<br />Snazzy Records Showcase with Doublejo(H)ngrey, Viva Stereo, Cholo,<br />Testrack vs Protoplasm Daddy, IZU and the A La Mode resident DJs, Dylan,<br />Goon, Betty Botic and Nigel Anlaog. Visuals by Dot matrix, Betty Botic &<br />Rubber Ghandi.<br />____________________<br /><br />Friday April 30th<br />Joe Zawinal<br />The legend of frontier music with Graham Massey's Toolshed (7 piece) in<br />support.<br />____________________<br /><br />Friday April 30th<br />Phush & Hippocamp - Joint Birthday<br />Moodsaver, DNCN, Maurofleur, Batfinks, Domestication of the Dog. DJs<br />Xander & Neemo. Phush TV, Artwork and installations by RTFM & friends.<br />____________________<br /><br />Friday April 30th<br />Club Suicide presents Spektrum<br />With Gabriel Olegavich (Medasyn/Non-Stop/The Sweatshop).<br />____________________<br /><br />Friday April 30th-Saturday May 15th<br />Perfect<br />A New York-Manchester multimedia theatre collaboration by the award<br />winning Contact - a tale of cyber crossed lovers.<br />____________________<br /><br />Saturday May 1st<br />Beans on Toast Phonic Art<br />Anomali, Human, Bot, Gate 33, DKD Girl, Formula Ghost.<br />____________________<br /><br />Saturday May 1st<br />Friends & Family<br />With very special guests.<br />____________________<br /><br />Sunday May 2nd<br />aLECTRO_eCOUSTIC<br />Daniel Weaver, Lee Patterson and Owl Project<br />____________________<br /><br />Sunday May 2nd<br />Valentine Records present Dark Shores<br />Helen Lagoe, Triclops, Lynskey and The Roar of the Guns.<br />____________________<br /><br />Sunday May 2nd<br />Alison Crockett live<br />The Brooklyn based diva with DJs Kelvin Brown and Jon-K (Eyes Down).<br />____________________<br /><br />Sunday May 2nd<br />The Beards at the Bearbash<br />The Beards (Homo Electric) vs Matt Rothery and friends present electro-<br />klash, glitch and micro house at a gay event for large, hirsute, bigger<br />built men, their partners and their admirers by the new queer creatives.<br />____________________<br /><br />Wednesday May 5th<br />Cut n Paste<br />With very special guests<br />____________________<br /><br />Sunday May 9th<br />Burst Couch # 11<br />Post-festival special event and Lotta Continua label showcase with<br />Illuminati, Unplugboy Meets Disco Operating System, DOS. Visuals by VJ<br />Fusion.<br /><br />——————————————————————-<br />Satellites<br />——————————————————————-<br /><br />International taster events leading up to Futuresonic04 in Berlin and<br />San Francisco plus the Broken Channel tour featuring Kaffe Matthews and<br />Riz Maslen plus films by Coldcut, Ultra Red and Battery Operated in<br />Bristol, Birmingham and Liverpool.<br />____________________<br /><br />February 2nd, 2004<br />MobiloTopia @ transmediale04. Berlin<br />Exploring the emerging field of 'Locative Media' and the utopian hopes<br />generated by location aware media. www.transmediale.de<br />____________________<br /><br />April 21st, 2004<br />MobiloPhobia @ CFP2004. San Francisco<br />The panacea of openness and accessibility has not arrived and<br />MobiloPhobia looks at the dystopian vision of a future in which our<br />every move is monitored and tracked.<br />www.cfp2004.org<br /><br />——————————————————————-<br />Broken Channel tour<br />——————————————————————-<br /><br />Noises of dissent and visions from the shattered lens of CCTV and<br />surveillance.<br />____________________<br /><br />April 17th, 2004 Cube - Bristol<br />Kaffe Matthews & Riz Maslen live. Films by Coldcut, Ultra Red,<br />Battery Operated.<br />Tickets/Info +44(0)1179299008<br />____________________<br /><br />April 23rd, 2004 Feed Festival - Birmingham<br />Kaffe Matthews & Riz Maslen live. Films by Coldcut, Ultra Red,<br />Battery Operated.<br /><a rel="nofollow" href="http://www.wayahead.com">http://www.wayahead.com</a><br />____________________<br /><br />April 27th, 2004 Hive @ FACT - Liverpool<br />Kaffe Matthews & Riz Maslen live. Films by Coldcut, Ultra Red,<br />Battery Operated.<br /><br />——————————————————————-<br />Tickets and Info<br />——————————————————————-<br /><br />Ten events are free and tickets are available individually. But if you<br />are planning to make the most of Futuresonic04, we recommend you buy a<br />Festival Pass, which at £40 (£32.50 concs) will save you £52.50 if you<br />go to all events.<br />Festival Pass covers all Futuresonic<04> events except The Matthew<br />Herbert Big Band and Futuresonic City events (some discounts may apply)<br /><br />Book online…<br /><a rel="nofollow" href="http://www.futuresonic.com/futuresonic/tickets_and_info/">http://www.futuresonic.com/futuresonic/tickets_and_info/</a><br /><br />Festival/Day Pass Tickets only. +44 (0)161 605 8200. Booking fees apply.<br /><br />Individual event and Festival Passes: Piccadilly Box Office. +44 (0)161<br />832 1111. Booking fees apply.<br /><br />——————–<br />ends<br />——————–<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />Date: 3.31.04 <br />From: McKenzie Wark (mw35@nyu.edu)<br />Subject: Playdate #1: War Games and Game Wars<br /><br />Dear friends, please come if you can, and pass the invite along.<br />– Ken Wark<br />Playdate #1: War Games and Game Wars<br />Friday 9th April 1-3pm Wolff Conference Room<br />The New School 65 5th avenue (at 14th st)<br />Free. All welcome. Lunch provided.<br /><br />Ed Halter, War Games: Digital Gaming and Military Culture An<br />audio-visual presentation on the interconnected histories of computer<br />gaming and the culture of war, including the military prehistory of<br />video games, how real wars have been depicted in games, and new ways<br />in which the US military is working with commerical gaming companies.<br /><br />Ed Halter is a regular contributor to the Village Voice and other<br />fine publications. He has organized the New York Underground Film<br />Festival since 1995, and has curated film, video and media<br />exhibitions for various other events and spaces.<br /><br />Alex Galloway, Social Realism in Gaming On March 21, 2003, a day into<br />the war in Iraq, Sony filed a trademark application for the phrase<br />"shock and awe," apparently for future use as a PlayStation game<br />title. The phrase, and the American military strategy it describes,<br />was in fact not such an unlikely candidate for the PlayStation. The<br />console system has long flirted with game formats based in realistic<br />scenarios, from Sony's own SOCOM: U.S. Navy Seals to Electronic<br />Arts' Madden NFL. A month later, responding to criticism, Sony<br />dropped the application, stating they did not intend to use the<br />expression "shock and awe" in any upcoming games. But they have<br />not dropped their fetish for realistic gaming scenarios This talk<br />will examine the possibility of true realism in gaming, with<br />reference to current global geopolitics.<br /><br />Alexander R. Galloway is assistant professor of media ecology at New<br />York University. Galloway previously worked for six years as Director<br />of Content and Technology at Rhizome.org. He is a founding member of<br />the software development group RSG, whose data surveillance system<br />"Carnivore" was awarded a Golden Nica in the 2002 Pri x Ars Electronica.<br />Galloway's first book, "PROTOCOL: How Control Exists After<br />Decentralization," is published by The MIT Press.<br /><br />Playdate is an occasional seminar series sponsored by Eugene Lang<br />College and organized by McKenzie Wark<br /><br />McKenzie Wark ~~~~~~~A Hacker Manifesto version 4<br /><a rel="nofollow" href="http://subsol.c3.hu/subsol_2/contributors0/warktext.html">http://subsol.c3.hu/subsol_2/contributors0/warktext.html</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering organizational subscriptions, memberships<br />purchased at the institutional level. These subscriptions allow<br />participants of an institution to access Rhizome's services without<br />having to purchase individual memberships. (Rhizome is also offering<br />subsidized memberships to qualifying institutions in poor or excluded<br />communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more<br />information or contact Jessica Ivins at Jessica@Rhizome.org.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />Date: 4.01.04 <br />From: M. River (mriver102@yahoo.com)<br />Subject: Internet Art Survives, But the Boom Is Over<br /><br />In a small article in the New York Times this morning (sorry, it does<br />not seem to be online) entitled "Internet Art Survives, But the Boom Is<br />Over", Cory Arcangel, Rachel Greene, Jonah Peretti, Mark Tribe and<br />Lawrence Rinder talk about the death of Net Art. Yup, that's right, it's<br />now officially officially, officially over and dead.<br /><br />Or, as Mark Tribe calls it and MTAA officially agrees, "Undead".<br /><br />So, let's all get together tonight to celebrate Undead Net Art at the<br />Drinkin and Drawin? Championship, 2004<br /><br /><a rel="nofollow" href="http://tinjail.com/drinkAndDraw/">http://tinjail.com/drinkAndDraw/</a><br /><br />+editor's note+<br />article url (registration required):<br /><a rel="nofollow" href="http://www.nytimes.com/2004/03/31/arts/artsspecial/31SISA.html">http://www.nytimes.com/2004/03/31/arts/artsspecial/31SISA.html</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />Date: 4.01.04 <br />From: Christina McPhee (christina112@earthlink.net)<br />Subject: Ana Maria Uribe: a tribute<br /><br />—— Forwarded Message<br />From: "Jim Andrews" (jim@vispo.com)<br /><br />This brief on the long life of Argentinian Ana Maria Uribe deserves to<br />be passed along, apologies for cross posting…<br /><br />She was to be our guest on the empyre list in March, but, graciously,<br />told us at the end of February that she could not commit to it. Little<br />did we know how close she was to the end of her life.<br /><br />Christina<br /><br />xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx<br />The Argentine visual poet and web.artist Ana Maria Uribe passed away<br />March 5, 2004.<br /><br />Ana Maria's involvement in visual poetry was an important part of her<br />life for thirty five years. In her first post to the webartery list in<br />May 2001, she said:<br /><br />"I started with visual poetry in the late 60's after seeing some of<br />Apollinaire's poems and Morgenstern's "Night Song of the Fish". Shortly<br />afterwards I met Edgardo Antonio Vigo, who was then editing a magazine<br />called "Diagonal Cero", devoted to visual poetry and mail art, and other<br />poets such as Luis Pazos and Jorge de Lujan Gutierrez. They all lived in<br />La Plata, a town which is 50 km from Buenos Aires, where I live, and we<br />communicated by ordinary mail, either because there was a shortage of<br />telephones at that time or to save costs, I don't remember which. I<br />still keep some of the letters…"<br /><br />She started developing her web site in 1997. At that point, the only<br />other Argentine visual writing site on the net I was aware of was<br />Postypographika by Fabio Doctorovich, which has since gone offline not<br />long after the economic collapse in Argentina during 2001.<br /><br />Ana Maria's web site is divided into "Tipoemas" and "Anipoemas", ie,<br />typographical and animated poems. As she said in an interview by Jorge<br />Luiz Antonio,<br /><br />"Rather than being a source of inspiration, getting to know other<br />digital poets via the Internet has helped me a lot in many ways. My<br />source of inspiration - as I say elsewhere - are the letters themselves.<br />I never participated in a collaborative work, although I made pieces for<br />certain websites, like "Zoo", for "The Banner Art Collective" and "Deseo<br />- Desejo - Desire"<br />(<a rel="nofollow" href="http://www.ce.canberra.edu.au/inflect/01/uribe/eroticos.swf">http://www.ce.canberra.edu.au/inflect/01/uribe/eroticos.swf</a>), for<br />Muriel Frega, who was putting up a page on desire. Exchanges in sites<br />like Webartery taught me many things I might otherwise have missed or<br />never tried."<br /><br />Looking at her work, we see the secret life of letters and their<br />rendering in a style that is much influenced by the concrete work of the<br />fifties and sixties–that was a cultural heritage and way of knowing for<br />Ana Maria from the sixties through the turn of the century. Her web site<br />was not simply a transposition of her earlier work to the new medium,<br />however. The sense of motion and change, and the sense of the<br />carnivalesque, the life of letters, the sense of proceeding via<br />engagement and celebration of life comes into her anipoemas in memorable<br />and exciting ways. As she said, her source of inspiration was the<br />letters themselves, and this gives her work both an international and<br />enduring quality. She was conversant in about seven languages. Language,<br />reading, writing, translation and travelling the world, getting to know<br />it from many perspectives, was a crucial part of her life.<br /><br />I invited Ana Maria to be a featured guest on empyre with Regina, Jorge,<br />and Alexandre some months ago. She had told me earlier of her bad health<br />and surgery, but I was not clear on how bad it was. She did not want<br />others to be told that she was ill, and it seemed by her reticence about<br />her health that it was quite bad indeed. She eventually declined the<br />invitation because of her health and told me that she "could not make<br />plans for March."<br /><br />Ana Maria loved to travel. She spent considerable time in India and<br />travels through Asia and the Americas. I recall that during the time war<br />was widely publicized as an immanent possibility between Pakistan and<br />India over Kashmir, Ana Maria was travelling in or near Kashmir and sent<br />posts to the webartery list describing the holidaying and enjoyment<br />going on in the area where war was apparently the last thing on peoples'<br />minds and considered to be a barely existent possibility. "Things<br />sometimes look worse from far away" she said. Hers was a very close look<br />into poetry.<br /><br />Her poetry, her correspondence, and her massive assistance with<br />translation into Spanish of the entire Paris Connection project we<br />worked on together last year, and her encouragements remain with me amid<br />her extrordinary life of letters. Her work spans thirty five years of<br />thinking and feeling and living through visual and, latterly, digital<br />language and poetry.<br /><br />There is a mirror of her work on my site at <a rel="nofollow" href="http://vispo.com/uribe">http://vispo.com/uribe</a> . I<br />would like to add to this mirror writing about her work and any work<br />that addresses hers. Please contact me if you know of such writing or<br />works or wish to contribute to what will be an ongoing archive in this<br />regard. If you are familiar with her work and would like to write about<br />it on empyre, please do so. As I mentioned, she had been invited to be<br />featured this month with Regina, Jorge, and aLe. It did not become<br />evident to her until February 8 that she could not. One of the last<br />emails I received from her was this:<br /><br />"Jim,<br /><br />Although three days ago I accepted your invitation to the empyre debate,<br />I have had a lot of problems since then, and I will therefore have to<br />decline it.<br /><br />My apologies to you all and I hope we may do some other collaboration in<br />the future.<br /><br />Besos and regards,<br /><br />Ana Maria"<br /><br />My heart goes out to Ana Maria and her family and friends. It is with<br />deep regret that I inform you of her passing which I learned of last<br />week from her brother Diego. Her work and influence remains, though, and<br />it is with respect and admiration that I turn to experience her poetry<br />again.<br /><br />ja<br /><br />********************************<br /><br />Ana Maria's site:<br /><a rel="nofollow" href="http://amuribe.tripod.com">http://amuribe.tripod.com</a><br /><a rel="nofollow" href="http://vispo.com/uribe">http://vispo.com/uribe</a><br /><br />Ana Maria at arteonline.arq.br:<br /><a rel="nofollow" href="http://www.iis.com.br/~regvampi/museu/livros/uribe.htm">http://www.iis.com.br/~regvampi/museu/livros/uribe.htm</a><br /><a rel="nofollow" href="http://www.arteonline.arq.br/museu/poesiadig.htm">http://www.arteonline.arq.br/museu/poesiadig.htm</a><br /><br />Ana Maria at Ubu.com:<br /><a rel="nofollow" href="http://www.ubu.com/contemp/uribe/uribe.html">http://www.ubu.com/contemp/uribe/uribe.html</a><br /><br />Ana Maria at Iowa Review:<br /><a rel="nofollow" href="http://www.uiowa.edu/~iareview/tirweb/feature/uribe/uribe.html">http://www.uiowa.edu/~iareview/tirweb/feature/uribe/uribe.html</a><br /><br />Ana Maria at BeeHive:<br /><a rel="nofollow" href="http://beehive.temporalimage.com/content_apps41/app_c.html">http://beehive.temporalimage.com/content_apps41/app_c.html</a><br /><br />Ana Maria at Inflect:<br /><a rel="nofollow" href="http://www.ce.canberra.edu.au/inflect/01/uribe/eroticos.swf">http://www.ce.canberra.edu.au/inflect/01/uribe/eroticos.swf</a><br /><br />An interview of Ana Maria by Jorge Luiz Antonio<br /><a rel="nofollow" href="http://www.officinadopensamento.com.br/officina/entre-vistas/">http://www.officinadopensamento.com.br/officina/entre-vistas/</a><br />entre-vistas_ana_maria_uribe.htm<br /><br />Ana Maria did all the translations into Spanish of all the work at<br /><a rel="nofollow" href="http://vispo.com/thefrenchartists">http://vispo.com/thefrenchartists</a><br /><br />David Daniels has done a visual poem about Ana Maria at<br /><a rel="nofollow" href="http://www.thegatesofparadise.com/humans/ANA%20MARIA%20URIBE.pdf">http://www.thegatesofparadise.com/humans/ANA%20MARIA%20URIBE.pdf</a><br /><br />_______________________________________________<br />empyre forum<br />empyre@lists.cofa.unsw.edu.au<br /><a rel="nofollow" href="http://www.subtle.net/empyre">http://www.subtle.net/empyre</a><br /><br />—— End of Forwarded Message<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />Date: 3.29.04<br />From: t.whid (twhid@twhid.com)<br />Subject: Subway images<br /><br />Hi Rhizome,<br /><br />I came across this piece on the NYTime's website this morning (reg requ):<br /><br /><a rel="nofollow" href="http://www.nytimes.com/packages/khtml/2004/03/28/nyregion/">http://www.nytimes.com/packages/khtml/2004/03/28/nyregion/</a><br />20040327_SUBWAY_FEATURE_02.html?adxnnl=1&adxnnlx=1080485403-<br />rxHO1Os8+JZ1wF7tnw+Cwg<br /><br />It's an interview and slide show (flash) with the photographer Bruce<br />Davidson regarding his late 70s/early 80s photographs of and in the NYC<br />subway system.<br /><br />It reminded me of David Crawford's 'Stop Motion Studies' series:<br /><a rel="nofollow" href="http://www.stopmotionstudies.net/">http://www.stopmotionstudies.net/</a><br /><br />As some may know, MTAA is interested in 'updates'<br />(<a rel="nofollow" href="http://www.mteww.com/mtaaRR/on-line_art/update_series.html">http://www.mteww.com/mtaaRR/on-line_art/update_series.html</a>) of older<br />art work and it's interesting to read Crawford's work as an update of<br />Davidson (though I'm certain that Crawford didn't intend it to be).<br /><br />If you compare Davidson's photos to Crawford's animations both formally<br />(still photo as opposed to sorta-still) and you compare how the subject<br />has changed over the intervening years, you will see a greater narrative<br />develop which neither of the two projects could achieve on their own.<br /><br />Don't misunderstand, both projects are brilliantly executed on their<br />own, but the comparison creates a historical arc that adds another<br />fascinating layer.<br /><br />(<a rel="nofollow" href="http://www.mteww.com/mtaaRR/news/twhid/Subway_images.html">http://www.mteww.com/mtaaRR/news/twhid/Subway_images.html</a>)<br /><br />–<br />(t.whid)<br /><a rel="nofollow" href="http://www.mteww.com">http://www.mteww.com</a><br />(/t.whid)<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />For $65 annually, Rhizome members can put their sites on a Linux<br />server, with a whopping 350MB disk storage space, 1GB data transfer per<br />month, catch-all email forwarding, daily web traffic stats, 1 FTP<br />account, and the capability to host your own domain name (or use<br /><a rel="nofollow" href="http://rhizome.net/your_account_name">http://rhizome.net/your_account_name</a>). Details at:<br /><a rel="nofollow" href="http://rhizome.org/services/1.php">http://rhizome.org/services/1.php</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />Date: 4.02.04<br />From: Juliet Davis (juliet.davis@verizon.net)<br />Subject: "Militantly Marginal": The First IDMAA Conference<br /><br />"Militantly Marginal": The First IDMAA Conference<br />by Juliet Davis and Suellen Regonini<br />____________________________________________________________________________<br /><br />Gather 25 digital media educators into a room and urge them to confess<br />their secret doubts: that they might be marginalized in their<br />departments; that people "don't really get" what they do; that<br />administrators aren't sure how to assign value to their work; that<br />curriculum changes so fast that the catalogs are out of date as soon as<br />they're printed; that their field harbors an uncertain intellectual<br />core. Then, watch these same people brainstorm, collaborate, mutate<br />across disciplines, seek common ground, and strive to legitimize. If<br />this sounds as much like a support group as a conference workshop, then<br />you've already grasped an unusual aspect of the new International<br />Digital Media and Arts Association (IDMAA) and its first conference,<br />held in Orlando March 10-12. "It's about support," says Ray Steele, the<br />Director of the Center for Media Design at Ball State, who started the<br />association with part of a grant from the Lilly Foundation and<br />sponsorship from such industry notables as Electronic Arts and Pearson<br />Prentice Hall. It's also undeniably political (conference title: "For<br />the Militantly Marginal"). One gets the sense that this group is going<br />to move and shake this field with or without you.<br /><br />This impression might be owed in part to a list of founding members that<br />seems anything but marginal, including Ball State, Bowling Green State<br />University, Columbia College, Florida State, Stetson, SUNY, Union, and<br />the Universities of Central Florida, Denver, Florida, Georgia, Montana,<br />Warwick, and Wisconsin. Furthermore, IDMAA officers and board members<br />come from leading-edge positions in their fields<br />(<a rel="nofollow" href="http://www.idmaa.org/board.htm">http://www.idmaa.org/board.htm</a> ).<br /><br />"We're really an odd bunch."<br />The term "militantly marginal" could appeal on many levels to people in<br />digital media and art. It acknowledges rebellion against tradition,<br />giving a nod to digital dilettantes who have crossed disciplines, broken<br />with academy traditions, and reinvented themselves as rogues of raster,<br />vagabonds of vector. "We're really an odd bunch", Steele commented in<br />his closing statements. At the same time, the term suggests a movement<br />toward institutionalizing the future. As all good students of revolution<br />know, today's militantly marginal are tomorrow's monoliths; fortunately,<br />this irony was not lost on the IDMAA group, which seems to embrace<br />disparate voices and be wary of quick solutions.<br /><br />IDMAA acknowledges that the digital media and art programs created by<br />universities and colleges around the world involve diverse and<br />ever-changing technologies, markets, values, and goals; and that these<br />programs tend to emerge more organically than strategically from<br />partnerships of Art, Communications, Science, English, Music, Theater,<br />Film, Journalism, and other disciplines. The IDMAA web site furthermore<br />points out that "these programs often don't fit within the neat and tidy<br />confines of traditional university structures–their creators and<br />champions often forge interdisciplinary partnerships to create<br />opportunities, attract money, and stimulate explosions of creativity.<br />The International Digital Media & Arts Association was organized by and<br />for people working in these margins. Margins are frontiers, but they are<br />also uncertain places. Marginal people upset the establishment, take<br />risks and make new things happen."<br /><br />Sue Regonini and I have had the opportunity to develop (or help develop)<br />seven digital media arts programs since 1997, yet we still feel at times<br />as though we're operating on the fringe-and perhaps we're not alone in<br />this feeling. Approximately 200 people attended this conference to<br />access its 30 workshops, three presentations by industry and academic<br />leaders, gallery exhibit of experimental digital work, new peer-reviewed<br />journal, and array of networking opportunities. Differences in this<br />conference from SIGGRAPH or similar gatherings became obvious. Rather<br />than sitting in a big hall, absorbing information being disseminated by<br />the speaker/panel in a (mostly) one-directional outpouring of content,<br />the IDMAA conference participants became part of a mE9lange of<br />discussions, mediated by workshop leaders, on a wide range of topics,<br />from funding for digital media projects, to game technology and theory;<br />curriculum design to interactive performance. For a complete list of<br />workshops (summaries of which will soon be posted to the IDMAA web<br />site), see <a rel="nofollow" href="http://www.idmaa.org/idmac2004/workshops.html">http://www.idmaa.org/idmac2004/workshops.html</a> .<br /><br />Call for Standards?<br />If the conference was "designed to answer the key questions for faculty<br />and administrators building Digital Media and Digital Arts academic<br />programs around the world," it probably asked more questions than it<br />answered. While we were not able to get around to all 30 workshops in<br />the two-and-a-half days, we did notice some common themes among those we<br />did attend. "Who are we?" was a question that arose many times. "What do<br />we call what we do?" Terms such as "new media" and "digital media" seem<br />to fall apart under scrutiny, as they are based on specific and changing<br />technologies. And what of the diplomas we hand out to our students that<br />say "M.F.A. in New Media" today, only to sound old tomorrow? Jan<br />Cannon-Bowers, mediator of the workshop entitled "Graduate Programs in<br />DM&A", reported that USC is working with the term "Dynamic Media", which<br />ironically seems to fix, by means of terminology, a state of continuous<br />and energetic change. "Convergent media" has become a popular term as<br />well.<br /><br />Perhaps even more important is the question of what we should be<br />teaching-for example, in associate, bachelor, master, and doctoral<br />programs. How do we incorporate the teaching of technology, project<br />management, aesthetics, critical theory? Or, as one participant put it:<br />"How do you teach Flash without, well, teaching Flash?" Is it even<br />appropriate to incorporate the teaching of technologies per se at the<br />university level, or should it be relegated to workshops outside of<br />class meetings? And what should we expect students to teach themselves?<br />At what level? When we develop graduate programs, what foundations<br />should we assume students to have when they enter? While some workshop<br />participants seemed to feel that a call for standards is needed to<br />legitimize digital media/arts in the academy, others felt that the<br />protean and interdisciplinary nature of the field was essential to its<br />nature, and that the field should stay in flux. Can a room full of<br />programmers, artists, and social scientists really agree on these<br />issues? Should we really be able to?<br /><br />Having recently returned from visits to two universities that are<br />collapsing the walls of departments in an effort to encourage<br />interdisciplinary work, I have observed an interesting movement toward<br />fluidity. Michigan State University has newly established its C.A.L.M.<br />department (Communication, Arts, Letters, and Music), which merges<br />previously sectioned-off departments such as Telecommunications, Art,<br />Theater, Music, English, and Journalism. At University of Texas at<br />Dallas, the School of Arts and Humanities, under the leadership of Dean<br />Dennis Kratz, has collapsed its walls so that it has no departments per<br />se. A dance professor teaches animation because she understands how the<br />body moves. An artist shows students how to slosh paint on a digital<br />scanner. A philosopher teaches a video class, emphasizing critical<br />theory. It's every accreditation team's nightmare (a thought<br />delightfully subversive in and of itself). While we think of knowledge<br />as becoming more and more specialized, we also see a trend toward<br />generalizing and "cross-pollinating."<br /><br />What Employers Want<br /><br />"We aren't even looking for specialists who know specific technologies<br />any more; we're looking for artists." -Jim Spoto, Computer Graphics<br />Supervisor for Electronic Arts (EA)<br /><br />>From the opening plenary session of the conference, it was obvious that<br />major concerns of participants included the increasing speed of<br />technological change and the cultivation of curricula and methodologies<br />that allow students to become creative thinkers and problem-solvers,<br />rather than software specialists. Art David of Wave Light Digital<br />Images, Inc., who has worked in compositing and digital shot clean-up on<br />several major motion pictures such as The Matrix, Judge Dredd, Contact,<br />and Starship Troopers, said in his presentation that "students need to<br />develop problem-solving skills" in order to be competitive in a rapidly<br />shifting technological environment. David illustrated the challenges of<br />the digital effects industry by discussing the dramatic changes in<br />staffing at ILM and other digital effect houses worldwide over a period<br />of just eight years. He also emphasized that the workload is being<br />redistributed to smaller firms and to various locations worldwide, and<br />that students must be willing to adapt to the industry if they want to<br />remain viable.<br /><br />Jim Spoto, Computer Graphics Supervisor for Electronic Arts (EA), the<br />world's largest computer game and electronic entertainment company,<br />brought a similar message. "You can't commodify creativity," said Spoto,<br />as he described the profile of workers that EA wants to attract.<br />Technical jobs, he explained, can be shipped overseas. Creativity can't<br />be. Art can't be. Storytelling can't be. Spoto believes that we are<br />seeing a shift from an "information economy" to a "creative economy" as<br />information technologies become commodified. EA is seeking to enhance<br />customer experience by developing new game designs, genres and models;<br />developing greater immersion in virtual experiences through more<br />meaningful and emotional interaction with "digital humans"<br />(photorealistic characters with sophisticated artificial intelligence);<br />designing more complex interfaces that allow users wider ranges of<br />interaction; and promoting more convergence with film to create higher<br />overall production values.<br /><br />"We Tell Stories"<br />Perhaps one of the most resonant moments we witnessed came with a<br />comment from Jeff Rush, Senior Associate Dean for Academic Affairs in<br />the School of Communications and Theater at Temple University, who<br />suggested that what we all have in common is that "we tell stories." The<br />popularity of workshops involving narrative theory and gaming seemed to<br />suggest a lot of excitement about the future of digital story-telling.<br />We even met English-professors-turned-experimental-video-game-<br />developers. IDMAA directors have instituted an annual Award for Positive<br />Innovation in Media, which was presented to Joe Lambert and Emily Paulos<br />of the Center for Digital Storytelling at Berkeley, in memory of Dana<br />Atchley, founding Director of the Center. In accepting the award,<br />Lambert discussed the importance of digital media in helping people<br />learn how to present their stories and preserve them for the future. "We<br />address the sunshine as well as the shadow side", said Lambert, "and<br />question where we are going." The presenters of the award, Caroll Blue<br />of the University of Central Florida, and Nancy Carlson of Ball State<br />University, stated that "experience design," as defined in Nathan<br />Shedroff's book of the same name, is a major goal of digital<br />storytelling, in that it allows the author/artist to "capture,<br />objectify, and quantify" experiences and information that would be lost<br />otherwise.<br /><br />The IDMAA Conference started conversations that will undoubtedly<br />continue in future conferences and publications-conversations that<br />promise to take us beyond the dialectical antagonism of statements like<br />"linear narrative is dead" or "video games are evil," to see ourselves<br />as part of an expanding, fluid field that partially defies definitions<br />because it entertains infinite possibilities.<br /><br />Future IDMAA Resources<br />IDMAA promises to provide the following resources to its members in<br />upcoming months:<br /><br />- a forum for sharing sample syllabi and curricula developed for media<br />arts programs.<br /><br />- a master list of graduate programs in digital media and art, and<br />descript ions of content.<br /><br />- summaries of the conference workshops, posted to the web.<br /><br />- the new International Digital Media and Arts Association Journal<br /><br />- ongoing conferences<br /><br />- gallery exhibits of experimental work<br /><br />Links<br />IDMAA Home www.idmaa.org<br />IDMAA 2004 Conference Web Site <a rel="nofollow" href="http://www.idmaa.org/idmac2004/">http://www.idmaa.org/idmac2004/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of<br />the 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<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Feisal Ahmad (feisal@rhizome.org). ISSN:<br />1525-9110. Volume 9, number 14. 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 />Please invite your friends to visit Rhizome.org on Fridays, when the<br />site is open to members and non-members alike.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
