<br />RHIZOME DIGEST: June 16, 2006<br /><br />Content:<br /><br />+opportunity+<br />1. Digital Art Projects: CALL FOR SUBMISSIONS<br />2. christa.sommerer@ufg.ac.at: Interface Culture Master in Linz -<br />accepting applications<br />3. Scott Berry: Images Festival [Toronto] Employment Opportunity<br />4. LEE WELLS: Cinema-Scope Hamptons Last Minute Call for Video and New Media<br /><br />+announcement+<br />5. Christiane Paul: intelligent agent Vol. 6 No. 1 - interfacing | free<br />radical | reviews<br />6. mbslaats@hotmail.com: Augmented Reality - My Name is Madison<br />7. Greg Smith: announcing vague terrain 03:generative art<br />8. Hans Bernhard: Heath Bunting: ?Cutting, Climbing, Crossing? /<br />UBERMORGEN.COM: ?[F]originals. Authenticity as Consensual Hallucination?<br />9. Carlos Castellanos: SWITCH: Issue 22<br /><br />+Commissioned by Rhizome.org+<br />10. Thomas Beard: Review of Alexander R. Galloway's 'Gaming: Essays on<br />Algorithmic Culture'<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: Digital Art Projects <stephan@digitalartprojects.net><br />Date: Jun 12, 2006<br />Subject: CALL FOR SUBMISSIONS<br /><br />>>>>>>> PLEASE MAIL THIS TO A FRIEND >>>>>>>><br /><br />For more information visit <a rel="nofollow" href="http://www.field-of-vision.net/Beijing">http://www.field-of-vision.net/Beijing</a><br /><br />The Gao Brothers invite you to collaborate in<br /><br />FIELD OF VISION : BEIJING<br /><br />A joint venture between Beijing New Art Projects / China, the Institute<br />for New Media, Frankfurt a.M. / Germany and Digital Art Projects / UK<br /><br />@ BEIJING NEW ART PROJECTS<br />The Factory 798 Art District, 4 Jiuxianqiao Road, Chaoyang District,<br />Beijing / China<br /><br />1 ? 16 September 2006 >>>>>> DEADLINE 15 August 2006<br /><br />DESCRIPTION<br />Following the success of FIELD OF VISION : NEW YORK and FIELD OF VISION :<br />EXTREMES, FIELD OF VISION : BEIJING will be the third in this series of<br />combined internet / physical world events. This time the organising<br />artists are asking everyone to submit images and text about China,<br />everything Chinese or influenced by China.<br /><br />CRITERIA<br />The Gao Brothers and artists group Digital Art Projects invite you to<br />submit ANY KIND of images and text showing China AS YOU SEE IT, whether<br />you live there, have been there or not. These could be abstract or<br />figurative. They are particularly looking for images containing the colour<br />red, images of Chinese text in any form and they would be really pleased<br />if you send a short note, comment, statement or even a longer essay<br />accompanying your work. All images are printed out postcard size and a<br />selection of about 500 will be assembled on location into a billboard<br />format collage.<br /><br />MEDIA<br />Photographs, pictures downloaded from the internet or magazine cuttings,<br />small artworks for example paintings, scanned objects, drawings, collages<br />and electronically generated imagery are all acceptable but must be<br />digitised and sent as e-mail attachments or uploaded to our server.<br /><br />GUIDELINES<br />- You can submit as much images and text as you like<br />- Image file formats: .jpeg, .gif, .png<br />- File size: max 1 megabyte per image<br /><br />EMAIL TO beijing@field-of-vision.net<br />OR UPLOAD AT <a rel="nofollow" href="http://www.field-of-vision.net/Beijing/Upload">http://www.field-of-vision.net/Beijing/Upload</a><br /><br />If you wish to be credited include your name, city and country. Successful<br />entries will be notified by e-mail and presented on the project web site.<br /><br />CURATED BY: The Gao Brothers, China / Marcel Hager, Germany / Stephan<br />Hausmeister, Germany, UK<br /><br />ORGANISING ARTISTS: Paul Dacey, USA / Zang Dali, China / Alison Dalwood,<br />UK / Lu Fei Fei, China / Malcolm Ferris, UK / Wang Guofeng, China / Ma<br />Han, China / Jens Heise, Germany / Sybille Hoffter, Germany / Simon Hyde,<br />UK / Sam Jury, UK / Jenny Kao, Taiwan, USA / Sun Lei, China / Fei Liu,<br />China / Helen Marshall, UK / Wang Peng, China / Huang Rui, China / Ji<br />Shengli, China / Michael Wright, UK / Cang Xin,China / Miao Xiaochun,<br />China / Xu Zong, China<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: christa.sommerer@ufg.ac.at <christa.sommerer@ufg.ac.at><br />Date: Jun 12, 2006<br />Subject: Interface Culture Master in Linz - accepting applications<br /><br /> Master Study Interface Cultures at University of Art and Design in Linz<br />Austria<br /> (4 semester)<br /> <a rel="nofollow" href="http://www.interface.ufg.ac.at/">http://www.interface.ufg.ac.at/</a><br /><br /> The Interface Culture masters degree program, founded by media artists<br />Christa Sommerer and Laurent Mignonneau, is an artistic-scientific study<br />to educated media artists and media researchers in creative and<br />innovative interface and interaction design.<br /><br /> The study lasts two years and concentrates on project-oriented and<br />theory-based training in interactive digital media, combining art with<br />research, the development of projects and prototypes with scholarly<br />publication.<br /><br /> Subjects thought include: interactive art, interaction design, game<br />design, tangible interfaces, auditory interfaces, fashionable<br />technologies, wearable devices, intelligent ambiences, sensor<br />technologies, telecommunication and new experimental forms of<br />human-machine, human-human and machine-machine interactions.<br /><br /> Artistic expressions include among others: interactive art, net art,<br />software art, robotic art, sound art, noise art, games and story telling,<br />mobile art as well as new hybrid areas like genetic art, bio art, space<br />art and nano art.<br /><br /> A specialty of the program is its strong collaboration with the Ars<br />Electronica in Linz, where students can show their projects on a yearly<br />basis and thus get in contact with the top experts of the media art and<br />design field. Previous projects of student works at Ars Electronica 2005<br />can be found at: <a rel="nofollow" href="http://www.interface.ufg.ac.at/Ars2005/index.php">http://www.interface.ufg.ac.at/Ars2005/index.php</a><br /><br /> Professors:<br /> Professors Dr. Christa Sommerer and Dr. Laurent Mignonneau, media artists<br />and researchers<br /><br /> Lecturers:<br /> Dipl. Ing. Christopher Lindinger, Computer Scientist / Media Artist,<br />director of research and innovation of the Ars Electronica Futurelab.<br /> Mag. Sabine Seymour, Researcher/Designer in Fashionable Technologies<br /> TIMES UP, media art initiative<br /> Mag. Andreas Weixler, Composer / Media Artist in Audio-visual interaction<br /> Dr. Sabine Payr, Researcher in multimodal interfaces and e-learning<br /> Mag. Gebhart Sengmüller, Artist / Media Archaeologist, Vinyl Video<br /> Dipl.Ing. Martin Kaltenbr, Researcher / Ph.D. candidat<br />Dipl. Ing. Robert Praxmarer, Researcher / Artist,<br /> Mag. Simon Bauer, media technician and developer<br /><br />First Entrance Interview Date:<br /> July 6thand 7th2006<br /> Deadline for Application to First Interview: June 23rd2006<br /><br />Second Entrance Interview:<br />September 4th and 5th (during Ars Eleectronica)<br />Deadline for Application to Second Interview: Sept 12006<br /><br /> Application forms can be downloaded at:<br /> <a rel="nofollow" href="http://www.ufg.ac.at/portal/DE/zum_studium/studienabteilung/238.html">http://www.ufg.ac.at/portal/DE/zum_studium/studienabteilung/238.html</a><br /><br /> Please send your filled in application form & required documents<br />(curriculum vitae & passport copy) by June 23 2006/September 1st to the<br />study department at:<br /><br /> Study Administration<br /> University of Art and Industrial Design, Linz<br /> Hauptplatz 8, first floor, room 1.24<br /> 4010 Linz, Austria<br /> Telephone: 0043/732/7898 Internet: <a rel="nofollow" href="http://www.ufg.ac.at/studienabteilung">http://www.ufg.ac.at/studienabteilung</a><br /> studien.office@ufg.ac.at<br /><br /> Required materials for the entrance examination on July 6thand<br />7th2006/September 4th and 5th 2006<br /><br /> Candidates are asked to bring examples of their digital works and digital<br />productions, for example from their previous studies as well as a copy of<br />their bachelor thesis and any other examples of their practical works as<br />well as an expose (can be in written, image, auditory or interactive<br />form) of what type of work and research they want to conduct during the<br />Interface Culture master study program.<br /><br /> More information about the Interface Culture study at:<br /> <a rel="nofollow" href="http://www.interface.ufg.ac.at">http://www.interface.ufg.ac.at</a><br /> institut-medien.office@ufg.ac.at<br /><br /> Interface Culture Brochure downloadable at:<br /> <a rel="nofollow" href="http://www.ufg.ac.at/files/17282/interface_brochure_6.pdf">http://www.ufg.ac.at/files/17282/interface_brochure_6.pdf</a><br /> =========================================================<br />Dr. Christa Sommerer Professor for Interface Culture<br />Institut for Media University of Art and Design Linz<br />Sonnensteinstrasse 11-13 4040, Linz Austria<br /><a rel="nofollow" href="http://www.interface.ufg.ac.at">http://www.interface.ufg.ac.at</a><br /><a rel="nofollow" href="http://www.interface.ufg.ac.at/christa-laurent">http://www.interface.ufg.ac.at/christa-laurent</a><br />=========================================================<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: Scott Berry <scott@imagesfestival.com><br />Date: Jun 12, 2006<br />Subject: Images Festival [Toronto] Employment Opportunity<br /><br />Position: Artistic Director, The Images Festival, Toronto, CANADA<br /><br />Organization: The Images Festival, entering its 20th year, features<br />Canadian and international film and video, and related new media,<br />installations and performances. This Toronto-based festival combines<br />theatrical exhibition with gallery-based installations and features<br />symposia, artists' retrospectives, special curated programs and<br />publications alongside its annual competition selection of artists' film<br />and video. Images is a dynamic annual forum for excellence and innovation<br />in the media arts.<br /><br />Summary: The Artistic Director of the Images Festival will play a pivotal<br />role in the media arts sector in Toronto and beyond. The AD oversees<br />programming for the Images Festival, working closely with other members of<br /> programming staff.<br /><br />Responsibilities: The Artistic Director's responsibilities include, but<br />are not limited to, the following:<br /><br />Programming:<br />* Establishing the overall programming direction for the Images Festival,<br />in conjunction with, and with the approval of, the Executive Director and<br />the Board;<br />* Researching, soliciting and selecting films, videos, and related works<br />for presentation at the Images Festival (including works in performance,<br />installation and new media);<br />* Writing curatorial statements, program descriptions and descriptions of<br />individual works;<br />* Working with an ad-hoc 20th Anniversary Committee, guest curators,<br />programmers, screening committees, awards juries, writers and/or<br />organizations on specific projects, including publications and<br />commissioning projects, where required;<br />* Arranging (or supervising the arrangement of) bookings, and acting as a<br />liaison with local, national, and international distributors and with all<br />participating artists, directors, producers, etc.;<br />* Arranging rental and negotiating fees with exhibiting artists and/or<br />distributors;<br />* Participating in programming related aspects of Images Festival publicity,<br />i.e. conducting interviews w/print, television, radio & web-based media<br />outlets;<br />* Programming for members screenings, outreach and touring projects.<br /><br />Working in conjunction with the Programmers and other staff to:<br />* Coordinate certain aspects of catalogue production including gathering<br />photo stills and other relevant materials;<br />*Coordinate print traffic prior to and during the Images Festival;<br />*Arrange hospitality, travel, accommodation, and support for guests of the<br />Images Festival;<br />*Host guests during the Festival<br />*Arrange and manage technical and logistical details regarding venue,<br />equipment, projectionists, etc.<br /><br /> Administrative:<br />*Prepare and submit grant requests and grant reports related to programming;<br />*Develop and work within an established programming budget and timeline,<br />develop budgets and timelines pertaining to specific programming projects,<br />and manage expenses and revenue related to programming;<br />*Work with ED and programming staff to ensure that all programming adheres<br />to mandate and organizational priorities of the Images Festival.<br />*Work with the ED and Festival Manager to select the appropriate Images<br />Festival venues;<br />*Ensure that all programming databases are up-to-date.<br /><br />Sponsorship development:<br />* Assist with planning and proposals for aspects of fund development<br />related to Images Festival programming, including special initiatives and<br />focused projects.<br /><br />Publicity:<br />* Assist with creating and maintaining a marketing strategy and timeline;<br />* Service media requests for materials and information (as needed by the<br />Publicist);<br />* Work with the Publicist and staff to develop PR materials, such as press<br />releases.<br /><br />Skills Required:<br />-Extensive experience in media arts programming.<br />-Familiarity with the not-for-profit arts sector.<br />-Strong oral and written communication skills.<br />-Highly organized, able to multitask, work under pressure and meet deadlines.<br />-Computer literacy (word processing, excel, email, web).<br /><br />The following will be considered assets:<br />-Strong interest/experience in media arts study, education and practice.<br />-Experience with critical arts writing, publishing, and related fields.<br />-Fluency in both official languages.<br /><br />Salary and Benefits:<br />-Salary is based on a full-time-equivalent range of $30,000 - $35,000 per<br />annum (commensurate with experience)<br />Health benefits, opportunities for international travel and professional<br />development.<br /><br />Deadline: Friday 07 July 2006, 5:00 pm<br />Start Date: August 2006<br /><br />Apply in writing to: Hiring Committee, The Images Festival,<br />401 Richmond Street West, Suite 448, Toronto, Ontario M5V 3A8 Canada<br />Fax: (416) 971-7412<br />Email: images@imagesfestival.com (With RTF or PDF attachments only)<br />No phone calls please.<br /><br />The Images Festival is an equal opportunity employer. For more information<br />about the festival please visit our website at www.imagesfestival.com<br />We thank all applicants for their interest; however, only those selected<br />for an interview will be contacted.<br />******<br />The Images Festival is made possible thanks to our gracious funders: The<br />Canada Council for the Arts, the Ontario Arts Council, the Department<br />Canadian Heritage, the City of Toronto through the Toronto Arts Council,<br />Telefilm Canada, The Ontario Trillium Foundation and the Department of<br />Foreign Affairs.<br />*******<br /><br />– <br />Scott Miller Berry<br />Executive Director<br /><br />THE IMAGES FESTIVAL<br />401 Richmond Street West, Suite 448<br />Toronto. Ontario M5V 3A8 CANADA<br /><br />(T) 001+ 416.971.8405<br />(F) 001+ 416.971.7412<br /><a rel="nofollow" href="http://www.imagesfestival.com">http://www.imagesfestival.com</a><br /><br />20th Edition ////// 5-14 April 2007<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: LEE WELLS <lee@leewells.org><br />Date: Jun 15, 2006<br />Subject: Cinema-Scope Hamptons Last Minute Call for Video and New Media<br /><br />Cinema-Scope Hamptons Last Minute Call for Video and New Media<br />Deadline: Monday July 3, 2006<br />–<br />(FUTURE PERFECT)<br />The future perfect is used to describe an event that has not yet happened<br />but is expected or planned to happen.<br /><br />"Think of it. We are blessed with technology that would be indescribable<br />to our forefathers. We have the wherewithal, the know-it-all to feed<br />everybody, clothe everybody, and give every human on Earth a chance. We<br />know now what we could never have known before – that we now have the<br />option for all humanity to make it successfully on this planet in this<br />lifetime. Whether it is to be Utopia or Oblivion will be a touch-and-go<br />relay race right up to the final moment."<br />BUCKMINSTER FULLER, Critical Path<br /><br />–<br /><br />This year in the Hamptons we will have an impressive video art complex<br />featuring some really top notch international artists striving to be ahead<br />of the curve.<br />We will also be featuring the 2nd incarnation of the "Perpetual Art<br />Machine" interactive video installation.<br />For more info goto: <a rel="nofollow" href="http://www.perpetualartmachine.com">http://www.perpetualartmachine.com</a><br />(sign up its free)<br /><br />We are looking for additional screen based videos (HD and SD) no longer<br />than 10 minutes and computer based new media projects, websites, vblogs<br />and anything else that you would consider to be art on a computer.<br /><br />All projects must have been created after 2001.<br /><br />Video Requirements<br />Quicktime (.mov) or NTSC video DVD<br /><br />New Media Requirement<br />Internet URL or Stand alone MAC formatted applications<br />(Special thanks to Tekserve NYC for sponsoring us with the<br />Cinema-scope MAC New Media Gallery)<br />–<br />Deadline: All work must arrive by Monday July 3, 2006<br />Late entries will not be accepted<br />–<br /><br />Please send your entry to:<br />Lee Wells / Cinema-scope<br />Scope Art Fair<br />521 West 26th Street<br />New York, NY 10001<br /><br />T: 917 723 2524<br />E: lee@leewells.org<br /><br />Please have disk and materials properly marked with artist name and<br />artwork information.<br /><br />Please include a self addressed stamped envelope if you would like your<br />entry returned.<br /><br />Please contact me for further details by email or by phone at 917 723 2524.<br /><br />All the best,<br />Lee<br />–<br />Lee Wells<br />Cinema-scope<br />Continuing to blur the classic expectations of film and video.<br /><br /><a rel="nofollow" href="http://www.scope-art.com">http://www.scope-art.com</a><br /><a rel="nofollow" href="http://www.leewells.org">http://www.leewells.org</a><br /><a rel="nofollow" href="http://www.ifac-arts.org">http://www.ifac-arts.org</a><br /><a rel="nofollow" href="http://www.perpetualartmachine.com">http://www.perpetualartmachine.com</a><br /><br />Brooklyn 11222<br />917 723 2524<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: Christiane_Paul@whitney.org <Christiane_Paul@whitney.org><br />Date: Jun 10, 2006<br />Subject: intelligent agent Vol. 6 No. 1 - interfacing | free radical |<br />reviews<br /><br />intelligent agent Vol. 6 No. 1<br />Articles now available at<br /><a rel="nofollow" href="http://www.intelligentagent.com">http://www.intelligentagent.com</a><br /><br />Vol. 6 No. 1:<br />// interfacing //<br />// free radical //<br />// book reviews //<br /><br />All content is available in html and as pdf files.<br /><br />//editorial//<br />+ Patrick Lichty, Hello, Katrina! So Much for New Media Art<br />In the context of the techno infrastructure breakdown during hurricane<br />Katrina, Patrick Lichty discusses the (im)possibilities of independence<br />from information grids and the long-term viability of platforms for<br />creating new media art.<br />//interfacing//<br />+ Andruid Kerne, Doing Interface Ecology: The Practice of Metadisciplinarity<br />The interface can be modeled as an ecosystem – connected, dynamic, and<br />characterized by relationships – and can be understood as a border zone<br />between heterogeneous systems of representation. Andruid Kerne uses<br />notions of sensation, embodiment, and semiotics to initiate a process of<br />metadisciplinarity that addresses the range of systems of representation<br />involved in the writing and production of his paper.<br /><br />+ Yuli Ziv, Parallels between Suprematism and the Abstract, Vector-Based<br />Motion Graphics of Flash<br />Yuli Ziv explores parallels between aesthetic concepts surfacing in both<br />the suprematist art movement in the beginning of the 20th century and the<br />abstract, vector-based motion graphics associated with the Macromedia<br />Flash software / authoring environment. The subject of analysis is not the<br />influence of Suprematism on Flash as a tool in general but on the – to a<br />certain degree standardized – abstract forms that the software produces.<br /><br />+ Naoko Tosa, Cultural Computing: ZENetic Computer<br />Through her project ZENetic Computer – which projects the style of<br />communication developed by Zen schools over hundreds of years into a<br />virtual world – Naoko Tosa explores "Cultural Computing" as a form of<br />cultural translation that uses scientific methods to represent aspects of<br />culture.<br /><br />+ Paul Hertz, Drunk on Technology, Waiting for the Hangover: A Test Plot<br />Paul Hertz's structures 16 short texts on topics ranging from "activism"<br />and "network" to "collaboration" and "bandwidth" by means of a<br />Graeco-Latin Square of order 4 – a combinatorial structure frequently<br />used in agricultural test plots, typically for combining plant strains<br />with different fertilizers in such a way that no plants or fertilizers are<br />repeated in any row or column of the square. (Plants: Network,<br />Collaboration, Art, Emergence; Fertilizers: Activism, Bandwidth, Naming,<br />Wildcard)<br /><br />+ Juan Teodosio Pescador, Thirteen Ignodicta About This Art<br />Pescador's thirteen short statements reflect on possible effects of art<br />and suggest appropriate viewer responses. "This art is loaded with<br />cultural values. Fight, run, or surrender."<br />//free radical//<br />+ Andrea Polli, The Sound of Fear<br />Using a frightening experience on a flight from Chicago to São Paulo as a<br />starting point, Andrea Polli discusses the effects of ultrasound and<br />infrasound on the body; the connection between sound and memory points;<br />and whether the emotional, narrative content of sound might enhance the<br />understanding of abstract information.<br />//book reviews//<br />+ Ceri Myers reviews "Carnal Art: Orlan's Refacing" by C.Jill O'Bryan<br />Ceri Myers reviews C. Jill O'Bryan's book on the works of the French<br />artist Orlan and their conceptual foundations.<br /><br />+ Leigh Clemons, "Whale!" by K.L. Evans<br />Leigh Clemons reviews "Whale!," a poetic, intense, and complex reading of<br />Herman Melville's famous tale of obsession and fate through the lens of<br />Wittgenstein's theories. In several ways, "Whale!" relates to concerns of<br />new media practitioners, such as metastructures of subjects, objects,<br />practice, and theory.<br />+++++++++++++++++++++++++++++++++++++++<br />intelligent agent<br />Editor-in-Chief: Patrick Lichty<br />Director: Christiane Paul<br /><br /><a rel="nofollow" href="http://www.intelligentagent.com">http://www.intelligentagent.com</a><br />intelligent agent is a service organization and information<br />provider dedicated to interpreting and promoting art that<br />uses digital technologies for production and presentation.<br />++++++++++++++++++++++++++++++++++++++++<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: mbslaats@hotmail.com <mbslaats@hotmail.com><br />Date: Jun 13, 2006<br />Subject: Augmented Reality - My Name is Madison<br /><br />My Name is Madison<br />Artist - Matthew Slaats<br /><br />Taking Madison, WI as its subject, My Name is Madison is an Augmented<br />Reality Game that allows users to explore and interact with the urban<br />landscape from a multitude of perspectives. This project approachs the<br />city as a layered environment. Players understand the development of<br />place through the eyes of history, culture and fantasy.<br /><br />Using GPS enabled hand held computers, participants take on the roles of <br />both recipient and creator, performance in context. While walking about<br />the streets, they are provided with information that enhances their<br />understanding of the environment and then gives them the tools to create<br />their own interpretations of place. Documentation of these events will be<br />posted to www.mynameismadison.blogspot.com.<br /><br />The project opens as a part of the Games, Learning and Society Conference<br />taking place in Madison, WI June 15-16. www.glsconference.org<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: Greg Smith <smith@serialconsign.com><br />Date: Jun 13, 2006<br />Subject: announcing vague terrain 03:generative art<br /><br />Vagueterrain.net the Toronto-based digital arts quarterly, has just<br />launched its third issue: vague terrain 03:generative art. This issue is<br />dedicated to an exploration of generative art through various texts and<br />multimedia projects which document and illustrate the tools, techniques,<br />and discourse surrounding "automated" production.<br /><br />This diverse body of work contains contributions across multiple mediums<br />from: Ben Bogart, Mantissa, Marius Watz, Meta, Neil Wiernik, Paul Webb,<br />Peter Nyboer, Philip Galanter, Rob Myers, William Farkas and also features<br />an interview with Ben Fry and Casey Reas by Donna Vakalis.<br /><br />To view the journal please visit <a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a><br /><br />,g<br /><br />–<br />greg smith<br /><a rel="nofollow" href="http://www.serialconsign.com">http://www.serialconsign.com</a><br /><a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a><br />416.877.4281<br />smith@serialconsign.com<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Hans Bernhard <play@ubermorgen.com><br />Date: Jun 13, 2006<br />Subject: Heath Bunting: ?Cutting, Climbing, Crossing? / UBERMORGEN.COM:<br />?[F]originals. Authenticity as Consensual Hallucination?<br /><br />OVERGADEN ? Institute of Contemporary Art in Copenhagen<br /><br />OVERGADEN, in collaboration with Artnode ? Independent Centre for<br />Computer-based Art and Culture, Copenhagen, [plug.in], Basel, and Hartware<br />MedienKunstVerein, Dortmund presents:<br /><br />UBERMORGEN.COM: ?[F]originals. Authenticity as Consensual Hallucination<br /><br />Heath Bunting: ?Cutting, Climbing, Crossing?<br /><br />Bunting vs. UBERMORGEN.COM: "dayplandrugblog. two ways to live your life<br />as a (former) net artist?<br />Curated by Jacob Lillemose<br />June 15 ? July 16, 2006<br />Private view: Wednesday June 14, 2006, 5 pm ? 8 pm<br />Hours: Tuesday-Sunday 1 pm ? 5 pm<br /><br />On June 14, 2006 OVERGADEN ? Institute of Contemporary Art in<br />collaboration with Artnode will open two solo exhibitions by Heath Bunting<br />and UBERMORGEN.COM as well as a special exhibition that joins the work of<br />the two artists.<br /><br />Heath Bunting and the duo UBERMORGEN.COM. Two pioneers, rebels and stars<br />of net art. This is the first time they exhibit together. Almost without<br />computers!<br /><br />?Cutting, Climbing, Crossing? will present a number of Heath Bunting?s<br />recent works which deal with issues of borders, identity and physical<br />space. Central to the exhibition will be the world premiere of Bunting?s<br />ongoing project ?The Status Project?, a mapping of the multi-layered logic<br />of the mobility and legal routes of the social system. The work will be<br />presented as wall-mounted diagrams, an interactive database and a<br />4,200-page manual!<br /><br />?[F]originals: Authenticity as Consensual Hallucination? is the third and<br />closing part of an international joint venture between OVERGADEN ?<br />Institute of Contemporary Art /Artnode, [plug.in] and Hartware<br />MedienKunstVerein. The exhibition will be a classical painting show,<br />consisting of 6 large square canvasses with digital prints of the official<br />seals from UBERMORGEN.COM's projects from the last five years. The<br />paintings are ?[F]originals? ? originals and forgeries ? and refer to the<br />ambiguous status of the 'documents' that UBERMORGEN.COM produce through<br />their dealing with issues of our technology-based culture.<br /><br />?dayplandrugblog. two ways to live your life as a (former) net artist?<br />features another world premiere or actually many works that deal with<br />diaries. Heath Bunting will show 365 of his daily what-to-do maps (one for<br />each day of 2005) drawn by hand on paper, while UBERMORGEN.COM will show<br />prints of one month of the online ?drug blog? together with the video<br />?PsychOS?.<br /><br />In connection with the project a number of publications will be available.<br />Heath Bunting will print his ?Day Plan Guide? along with the ?Project<br />Status Manual? and for the UBERMORGEN.COM show a catalogue edited by<br />Alessandro Ludovico (neural.it) will be published in late August.<br /><br />The project is the result of an ongoing collaboration between OVERGADEN ?<br />Institute of Contemporary Art and Artnode with the ambition to bring<br />international computer-based contemporary art to Denmark and to get<br />computer-based contemporary art out of the new media ghetto.<br /><br />The project is generously supported by Pro Helvetia ? Schweizer<br />Kulturstiftung, British Council in Denmark, the Austrian Embassy in<br />Copenhagen and the Danish Arts Council.<br /><br />UBERMORGEN.COM are currently exhibiting at Hartware MedienKunstVerein,<br />Dortmund:<br /><a rel="nofollow" href="http://www.hmkv.de/dyn/d_programm_ausstellungen/detail.php?nr=1050&rubric=ausstellungen&">http://www.hmkv.de/dyn/d_programm_ausstellungen/detail.php?nr=1050&rubric=ausstellungen&;</a>;<br /><br />OVERGADEN<br />Institute of Contemporary Art<br />Overgaden Neden Vandet 17<br />DK-1414 Copenhagen K<br />Phone +45 32 57 72 73<br />Mail info@overgaden.org<br />Web <a rel="nofollow" href="http://www.overgaden.org">http://www.overgaden.org</a><br />Tuesday-Sunday 13-17<br />Hans Bernhard<br />UBERMORGEN.COM / etoy.holding<br /><br />Skype Hans_Bernhard<br />Studio +43 1 236 19 85<br />Mobile +43 650 930 00 61<br />Email hans@ubermorgen.com<br /><a rel="nofollow" href="http://www.ubermorgen.com">http://www.ubermorgen.com</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: Carlos Castellanos <carlos@ccastellanos.com><br />Date: Jun 15, 2006<br />Subject: SWITCH: Issue 22<br /><br />HI everyone. Just wanted to announce the new issue of SWITCH:<br />SWITCH : The online New Media Art Journal of the CADRE Laboratory for New<br />Media at San Jose State University<br /><br /><a rel="nofollow" href="http://switch.sjsu.edu">http://switch.sjsu.edu</a><br />switch@cadre.sjsu.edu<br /><br />SWITCH Journal is proud to announce the launch of Issue 22: A Special<br />Preview Edition to ISEA 2006/ ZeroOne San Jose.<br /><br />As San Jose State University and the CADRE Laboratory are serving as the<br />academic host for the ZeroOne San Jose /ISEA 2006 Symposium, SWITCH has<br />dedicated itself to serving as an official media correspondent of the<br />Festival and Symposium. SWITCH has focused the past three issues of<br />publication prior to ZeroOne San Jose/ISEA2006 on publishing content<br />reflecting on the themes of the symposium. Our editorial staff has<br />interviewed and reported on artists, theorists, and practitioners<br />interested in the intersections of Art & Technology as related to the<br />themes of ZeroOne San Jose/ ISEA 2006. While some of those featured in<br />SWITCH are part of the festival and symposium, others provide a<br />complimentary perspective.<br /><br />Issue 22 focuses on the intersections of CADRE and ZeroOne San Jose/ ISEA<br />2006. Over the past year, students at the CADRE Laboratory for New Media<br />have been working intensely with artists on two different residency<br />projects for the festival ? ?Social Networking? with Antoni Muntadas and<br />the City as Interface Residency, ?Karaoke Ice? with Nancy Nowacek, Marina<br />Zurkow & Katie Salen. Carlos Castellanos, James Morgan, Aaron Siegel, all<br />give us a sneak preview of their projects which will be featured at the<br />ISEA 2006 exhibition. Alumni Sheila Malone introduces ex_XX:: post<br />position, an exhibition celebrating the 20th anniversary of the CADRE<br />Institute that will run as a parallel exhibition to ZeroOne San Jose/ ISEA<br />2006. LeE Montgomery provides a preview of NPR (Neighborhood Public<br />Radio) presence at the festival including a special daily show<br />collaboration<br />with our SWITCH Team. San Jose State University and CADRE are proud to<br />host the Pacific Rim New Media Summit prior to the Symposium on August 7th<br />and 8th.<br /><br />In addition to these special issues, SWITCH will be covering the Festival<br />and Symposium by updating their current issue with fresh content during<br />ZeroOne San Jose/ ISEA2006; providing pod casts of events, interviews, and<br />happenings throughout out downtown San Jose; and working with NPR<br />(Neighborhood Public Radio) to broadcast our own daily news show<br />throughout the week of ZeroOne San Jose/ISEA2006.<br />About SWITCH<br /><br />SWITCH is the new media art journal of the CADRE Laboratory for New Media<br />of the School of Art and Design at San Jose State University. It has been<br />published on the Web since 1995. SWITCH is interested in fostering a<br />critical viewpoint on issues and developments in the multiple crossovers<br />between art and technology. Its main focus in on questioning and<br />analyzing, as well as reporting and discussing these new art forms as they<br />develop, in hopes of encouraging dialogue and possible collaboration with<br />others who are working and considering similar issues. SWITCH aims to<br />critically evaluate developments in art and technology in order to<br />contribute to the formation of alternative viewpoints with the intention<br />of expanding the arena in which new art and technology emerge. SWITCH is<br />overseen by CADRE faculty Joel Slayton and Rachel Beth Egenhoefer.<br /><br />Thanks,<br />Carlos Castellanos<br />SWITCH<br />Managing Editor<br /><br />===========================<br />Carlos Castellanos<br />carlos@ccastellanos.com<br /><a rel="nofollow" href="http://ccastellanos.com">http://ccastellanos.com</a><br />===========================<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />From: Thomas Beard <thomas@ocularis.net><br />Date: Jun 9, 2006<br />Subject: Review of Alexander R. Galloway's 'Gaming: Essays on Algorithmic<br />Culture'<br /><br />+Commissioned by Rhizome.org+<br /><br />Review of Alexander R. Galloway¹s 'Gaming: Essays on Algorithmic Culture'<br />By Thomas Beard<br /><br />The literature of video games is a curious one. Ranging from Martin Amis¹s<br />all but forgotten debut, Invasion of the Space Invaders?a compendium of<br />hot tips for arcade classics like Defender?to the coin-op psychologizing<br />of Charles Bernstein¹s ³Play It Again, Pac-Man² and beyond, it somehow<br />manages to encompass at once the enthusiasms of that British belletrist<br />and analyses from every imaginable clique of critical theory. Different as<br />those two camps might be, a recent addition to this growing body of work,<br />Alexander R. Galloway¹s Gaming: Essays on Algorithmic Culture, has drawn<br />from both. An NYU professor, media theorist, and founding member of<br />Radical Software Group (RSG), Galloway states from the outset that his is<br />a book ³about loving video games,² setting him firmly apart from the more<br />clinically-minded of his peers. That said, the book is hardly the stuff of<br />fanboy effusion, but rather a skillful address to the broad intellectual<br />histories of gaming and a likely source of new debates.<br /><br /> Beginning with the idea that video games are actions, as opposed to<br />traditional forms of image or story, Galloway attempts to outline a<br />poetics for the medium. Much like the film scholars of previous<br />decades, making their case about the unique qualities of the art they<br />treasured, he situates the study of games as needing new conceptual<br />frameworks, new models of thought, presenting a four-part schema to<br />outline the nature of action within them. He claims that the medium¹s<br />most fundamental relationships exist between two axes, that of the<br />operator-machine on the one hand, and the narrative world of a game?its<br />diegesis?and exterior properties, on the other. Simply put, each<br />quadrant translates to one type of action. There are diegetic-machine<br />acts, ambient rustlings where the game is running without operator<br />input (day turns to night, a fireplace crackles), nondiegetic-operator<br />acts like setting preferences or choosing weapons, diegetic-operator<br />acts like moving or firing those weapons, and finally<br />nondiegetic-machine acts, which include both disabling acts like ³game<br />over² and network lags as well as enabling acts like power ups.<br />Structured with an Aristotelian rigor, these categories could prove<br />quite pertinent to the future of video game criticism, accounting as<br />they do for the cybernetic dynamism so basic to the experience of<br />gameplay.<br /><br /> Equally thoroughgoing is Galloway¹s history of the first-person<br />shooter, whose roots he traces through a study of subjective camerawork<br />in film. Citing such examples as Notorious¹s drugged-up Ingrid Bergman,<br />Robert Montgomery¹s failed noir experiment, Lady in the Lake, and the<br />knife-wielding predators of Psycho and Halloween, he positions the<br />perspective as almost exclusively marginal within cinema, frequently<br />used to depict mental affection, detachment, or monstrosity. Of course,<br />according to Galloway, there is one exception to this otherwise awkward<br />way of seeing, the cyborg. He argues that we view the subjective POV of<br />Robocop and the Terminator, all bleary video and cursor prompt, as more<br />acceptable than that of a character in, say, Dark Passage precisely<br />because conflating the machine of the camera with an already mechanized<br />body makes for a far less dubious pairing than with that of a human. So<br />it¹s through a movie like Predator that Galloway sees a link,<br />aesthetically speaking, to video games, where the first-person<br />perspective is hardly marginal. Instead, it¹s quite crucial to the<br />vision, the action of play. ³Where film failed,² he writes, ³games<br />succeed.² A thoughtful mapping out of Marshall McLuhan¹s proposal about<br />finding old media in new ones, the essay points toward the larger<br />project in digital aesthetics, a quest of origins.<br /><br /> Traditional notions of realism are parsed in a similar fashion,<br />revealing their unique relevance to gaming. Looking outside the<br />verisimilitudes offered by ever-increasing polygon counts, Galloway<br />considers gaming ³a third moment of realism,² after those based in<br />image and narrative. Since the gamer is required to act, not simply<br />look or read, Galloway sees the realism of a game as inextricably bound<br />to the social context in which it is played. ³Any game that depicts the<br />real world must grapple with this question of action,² he maintains,<br />positing that America¹s Army, despite its high-end design, is actually<br />not realist insofar as it¹s disconnected from the lived realities of<br />the vast majority who play it. Games like Under Ash, however, by<br />setting their conflicts within the Israeli occupation, are occasions<br />for genuine realism, at least by the Palestinians who play them, if not<br />others.<br /><br /> Theories of allegory are also revised and updated by Galloway in what<br />is perhaps the most provocative essay in the collection. Following<br />Gilles Deleuze and expanding some of the ideas in his earlier book,<br />Protocol, he contends that video games are consummate expressions of<br />what it means to live in a network society. Deleuze saw the highway as<br />epitomizing a major phenomenon of late twentieth century culture,<br />allowing endless mobility that was nonetheless entirely controlled. So<br />too with video games, Galloway argues, which, despite appearing to<br />offer a liberating smorgasbord of option and outcome, simply hide the<br />lateral system of information control that characterizes contemporary<br />existence. Unlike earlier, ³deep² allegory, as typified by forms like<br />cinema, what Galloway calls ³allegories of control² are not ideological<br />manipulations, but a complex process of masking new forms of control as<br />an escape from older ones. Though I wonder about this last point, and<br />the limits it places on the possibility of alternative play. By<br />centering a means of control in the deep-seated architectures of<br />gaming, Galloway recalls older critiques of Hollywood. He puts forth,<br />for instance, that a seemingly progressive update of the imperialist<br />Civilization would still be subject to the same regulatory principles<br />as the original. In much the same way, certain theorists in the<br />seventies saw narrative film of all stripes as a political dead end.<br />Outlandish as the claims of Laura Mulvey and company might look now,<br />they instigated critical dialogue that was nothing short of vital;<br />perhaps Galloway¹s article will do the same.<br /><br /> The book then closes, appropriately enough, with a discussion of<br />counter-gaming, something of a new media analogue to counter-cinema, a<br />la Peter Wollen, in which Galloway considers the work of artists like<br />JODI, Cory Arcangel, and Anne-Marie Schleiner. But no matter how<br />virtuosic their respective manipulations might be, for Galloway, a true<br />avant-garde of video games is still ahead of us. Moving beyond a<br />dominant preoccupation with visual elements, he ends by calling for<br />creative intervention into more basic concerns: ³We need radical<br />gameplay, not just radical graphics.² Such a statement leads one to<br />think about what the future holds for video game criticism as well. Who<br />will be the Greil Marcus of Mario? The Sontag of Shenmue? The Hoberman<br />of Halo? Those are all questions that will no doubt answer themselves<br />in coming years, but, given his project of analyzing the poetics of<br />these particular social forms, one might say already that, in Galloway,<br />the medium has found a contender for its Fredric Jameson.<br /><br />Thomas Beard is the Program Director of Ocularis, a non-profit media arts<br />organization based in Brooklyn. He has also served as a programmer at the<br />Cinematexas Film Festival, and curated screenings and exhibitions at such<br />as venues as Aurora Picture Show and the Museum of Modern Art, New York.<br /><br />–<br /><br />Thomas Beard<br />Program Director<br />Ocularis<br />at Galapagos Art Space<br />70 North 6th Street<br />Brooklyn, NY 11211<br /><a rel="nofollow" href="http://www.ocularis.net">http://www.ocularis.net</a><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 23. 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 />
