RHIZOME DIGEST: 11.21.03

discussion

Posted Nov. 20 2003 19:00

RHIZOME DIGEST: 11.21.03

RHIZOME DIGEST: November 21, 2003 Content: +IMPORTANT+ 1. Rachel Greene: From Rhizome +announcement+ 2. Mariam Ghani: www.kabul-reconstructions.net/ask - open for questions +opportunity+ 3. Feisal Ahmad: Rhizome Net Art Commissions-CALL FOR PROPOSALS 4. Vicente Matallana: ARANEUM Jury Announced - NET ART PROPOSALS WANTED 5. Rachel Greene: Digital Arts/Media Senior Position 6. Aidan Rowe: Research Professor in Digital Media +comment+ 7. Myron Turner: Gupta's Blessedbandwidth, Guardian Angel, etc. +feature+ 8. Valerie Lamontagne: FCMM Review + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 11.21.03 From: Rachel Greene (rachel@rhizome.org Subject: From Rhizome Since I haven't said so before, allow me to begin by sharing with you what an honor it is to be Rhizome.org's new Executive Director. I have a lot of respect for Rhizome's commitment to new media art, its discourse and expression. Since 1996, Rhizome has come to stand for the creativity and particular innovation that new technologies make possible. The achievements of the last few years – bringing 4,500 members from over 100 countries important information and opportunities in the field (such as the job opprtunities listed below), archiving and preserving over 1000 works of internet art in the ArtBase, and commissioning new works of internet art (also see below!) – demonstrate the significant role Rhizome plays in the lives of so many new media artists and enthusiasts. None of these achievements would have been possible without support such as yours. Thank you. It is people like you who will allow us to move forward with new programs such as improving our search engine, web site, and archives; as well as continuing to provide important editorial and information services like Rhizome Digest. As you consider year-end giving, please add Rhizome to your list with a contribution of $15. It will help us reach our goal of raising $37K by February 1: so far we've received almost $10K. Your support will enable Rhizome to continue serving a wide audience celebrating and engaging the complexity and diversity of new media art. We accept donations via check (send to Rhizome, New Museum, 583 Broadway, New York, NY 10012), online credit cards or Pay Pal. Give securely and quickly online: <a rel="nofollow" href="http://www.rhizome.org/support/?dig2">http://www.rhizome.org/support/?dig2</a> On behalf of the Board of Rhizome.org and our staff, I thank you for considering this request. We look forward to seeing you logged on to Rhizome! Sincerely, Rachel Greene p.s. In recognition of gifts of $15 or more, Rhizome can offer you a 10-20% discount at the Bookstore and Online Store of the New Museum of Contemporary Art. This can be redeemed on purchases made online at <a rel="nofollow" href="http://www.newmuseum.org/comersus/store/comersus_dynamicIndex.asp">http://www.newmuseum.org/comersus/store/comersus_dynamicIndex.asp</a> or in person at the New Museum of Contemporary Art, 583 Broadway, New York, New York 10012. Those who give $50 or more can receive a Rhizome T-SHIRT designed by artist Cary Peppermint. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 11.17.03 From: Mariam Ghani (ghanimariam@hotmail.com) Subject: www.kabul-reconstructions.net/ask ) open for questions Announcing the launch of Kabul: Reconstructions version 2.0, with the new feature ASK A QUESTION. Anyone with a question about the reconstruction of Kabul or its context in the current situation or history of Afghanistan is invited to submit their question online.  Your question will then be transmitted to Kabul by me and the other weblog participants, who will do our best to bring your answer back to the site within two weeks. Questions submitted before December 10th, 2003 will also help determine what video footage I will shoot and then add to the site during my trip to Kabul this winter, one year after my first visit. To submit your question, just go to <a rel="nofollow" href="http://www.kabul-reconstructions.net">http://www.kabul-reconstructions.net</a> and click on ASK A QUESTION. Note that you can continue to access the audiovisual blog and discussion forum section of the site – which is updated regularly, with new participants coming soon – by clicking on FOLLOW THE INFORMATION on the main page. Please forward this invitation to anyone who might have an unanswered question about reconstruction. Thanks, Mariam ))) Kabul: Reconstructions is a project by media artist Mariam Ghani with the collaboration of programmer Ed Potter, the AINA Afghan Media Center in Kabul, and Exit Art in New York. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 11.20.03 From: Feisal Ahmad (feisal@rhizome.org) Subject: Rhizome Net Art Commissions-CALL FOR PROPOSALS RHIZOME.ORG NET ART COMMISSIONS CALL FOR PROPOSALS +Deadline for proposals: February 15, 2004+ Rhizome.org is pleased to announce that with support from The Jerome Foundation and the Greenwall Foundation, five new net art projects (works of art that are made to be experienced online) will be commissioned in 2004. The fee for each commission will range from $1,500 - $3,500. Rhizome.org is an online platform for the global new media art community. We are committed to supporting the creation, presentation, discussion and preservation of art that engages new technologies in significant ways. We emphasize innovation and inclusiveness in all of our programs and activities. Artists are invited to submit proposals for works of art that focus on the theme of games. +Games+ For the last several decades, computer-based games, through their ubiquity, economic influence, and innovative use of new technologies, have become a significant cultural force, surpassing Hollywood films in total revenues. For a number of years, new media artists have been exploring the possibilities of gaming platforms and creating art games that mix the best qualities of commercial games - accessibility, interactivity, user-engagement - with critical and progressive approaches to narrative and aesthetics. Artists seeking a Rhizome.org 2004 commission should propose projects that will contribute to the art game genre, or reflect in some way on the following broad interpretations of "game" found at Dictionary.com, <a rel="nofollow" href="http://dictionary.reference.com/search?q=game">http://dictionary.reference.com/search?q=game</a>. Viewers/players should be able to access the projects online, whether by playing them through a web browser, downloading software, or some other use of internet technologies. When evaluating proposals, the jury will consider artistic merit, technical feasibility, and technical accessibility. Although we will provide some technical assistance with final integration into the Rhizome.org web site, artists are expected to develop game-related projects independently and without significant technical assistance from Rhizome.org. Commissioned projects will be listed on the main Rhizome Commission page and included in the Rhizome ArtBase. + How to Submit a Proposal + The jury will only consider proposals from members of Rhizome.org. To sign up for Rhizome membership, please visit: <a rel="nofollow" href="http://www.rhizome.org/preferences/user.rhiz?action=1&new=user">http://www.rhizome.org/preferences/user.rhiz?action=1&new=user</a> There are two parts to proposal submission: 1. You must create a proposal in the form of a web site that includes the following key elements: + Project description (500 words maximum) that discusses your project's core concept, how you will realize your project and your project's feasibility. If you plan to work with assistants, consultants or collaborators, their roles and (if possible) names should be included. + You are encouraged, but not required, to include a production timeline and a project budget, which should include your own fee. If you have other funding sources for your project, please indicate this in your budget. + Your resume or Curriculum Vitae. For collaborative groups, provide either a collective CV or the CV?s of all participants. + Up to 10 work samples. Note: More is not necessarily better. You should include only work samples that are relevant to your proposal. If your proposal has nothing to do with photography, don?t include images from your photography portfolio. Please provide contextualizing information (title, date, medium, perhaps a brief description) to help the jury understand what they are looking at. The work sample can take any form, as long as it is accessible via the web. When designing your web-based proposal, please note that the jury will have limited time for evaluations, so try to make your site clear and concise. When your web-based proposal is complete, you are ready for Part Two of the proposal process: 2. Submit your proposal for a Rhizome.org Net Art Commission via an online form at <a rel="nofollow" href="http://rhizome.org/commissions/submit_2004.rhiz">http://rhizome.org/commissions/submit_2004.rhiz</a>. We do not accept proposals via email, snail mail or other means. Proposals will be accepted until 5:00pm EST (that?s New York time) on Friday, February 15, 2004. The form at <a rel="nofollow" href="http://rhizome.org/commissions/submit_2004.rhiz">http://rhizome.org/commissions/submit_2004.rhiz</a> requires the following information: + Name of artist or collaborative group + Email address + Place of residence (city, state/province, country) + Title of the project (this can be tentative) + Brief description of project (50 words maximum) + URL of web-based proposal + Jury + Proposals will be reviewed by a jury consisting of German critic Tilman Baumgartel, artist Natalie Bookchin of CalArts, Rachel Greene of Rhizome.org, Francis Hwang of Rhizome.org, and Japanese curator Yukiko Shikata. Rhizome.org members will also participate in the evaluation and awarding process through secure web-based forms. Winners will be contacted on or after March 15, 2004. Each winner will be asked to sign an agreement with Rhizome.org governing the terms of the commission. + Winners + Winners will be announced on March 29, 2004. Commissioned projects must be completed by October 1, 2004. + Questions + If you have any questions about the Rhizome.org Net Art Commissions, please contact Feisal Ahmad at feisal@rhizome.org or 212.219.1288. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 11.21.03 From: Vicente Matallana (vicente@laagencia.org) Subject: ARANEUM Jury Announced - NET ART PROPOSALS WANTED Rachel Greene (rachel@rhizome.org) list@rhizome.org Feisal Ahmad (feisal@rhizome.org) ARANEUM Jury Announced The organization of the ARANEUM prize for artistic and research Internet creativity is pleased to announce the members of the jury for the prize. The jury is composed of José Luis Brea, Rachel Greene, Olia Lialina and two institutional representatives; one from the Spanish Ministry of Science and Technology another from the Spanish Ministry of Culture. 20,000 Euros will be awarded towards the realization of a net- art project. 10,000 Euros will be awarded towards the development of a research project. The application deadline is December 15th, 2003. For more information: <a rel="nofollow" href="http://araneum.es">http://araneum.es</a> José Luis Brea. Professor of Aesthetics and Contemporary Art Theory at the Universidad de Castilla-La Mancha, and Editor-in-Chief of the magazine Estudios Visuales. Founder and director of the net-art magazine and server Aleph. He is the Director of the 1st International Visual Studies Conference, to be held during ARCO?04, and a consultant to public and private institutions including Spain?s Ministry of Science and Technology and Fundación Telefónica. As a freelance critic, he has written many articles and books, and is currently ARTFORUM?s Spanish correspondent. Rachel Greene. Executive Director of Rhizome.org and a Curatorial Fellow of the New Museum of Contemporary Art, New York. Greene rejoined Rhizome.org in June 2002 as Editorial Coordinator, having spent a couple of years writing freelance and serving on the boards of Rhizome.org and PARTICIPANT Inc,. while developing television properties at Funny Garbage. Prior to Funny Garbage, she worked at America Online while attending the Whitney Independent Study Program as a Helena Rubinstein Critical Studies Fellow. Rachel was Editor at Rhizome.org from 1997 through 1999 and has written about art for publications including ArtForum, Frieze and Bomb. She was educated at the University of Pennsylvania and the University of Sussex. Rachel's book on Internet Art for Thames & Hudson's World of Art series will be out in Spring 2004. Olia Lialina. Net Artist & Curator. Finished Journalism Department of Moscow State University in 1993. Director from 1995 to 1998 of Moscow experimental film club CINE FANTOM. Director of the First Real Net Art Gallery, Last Real Net Art Museum. Author of The Most Beautiful Web Page, co-author of Zombie&Mummy episodes. Since 1999 Professor for Electronic Media Design at Merz Akademie, Stuttgart. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 11.21.03 From: Rachel Greene (rachel@rhizome.org) Subject: Digital Arts/Media Senior Position Senior Position in Digital Media and Digital Arts The College of Humanities, Arts, and Social Sciences at the University of California (CHASS), Riverside (), invites applications for a senior (associate or full) professorship in Digital Media and Digital Arts. The position will be available July 1, 2004. The successful candidate will be central to shaping the development of undergraduate and graduate programs for the study of digital art/media technique, execution, and critical analysis in collaboration with the UCR Bourns College of Engineering. A shared appointment between the colleges is possible. Ph.D. preferred. Salary is commensurate with education and experience. The candidate should have a deep understanding of both the creative processes of media and digital art as well as the technical means and issues related to its production. They should be conversant in the languages of both digital artists and programmers. A strong record of productivity in content provision is essential. Work in the areas of computer graphics and/or interactive design (such as game development, applied virtual environments, interface design) is particularly desirable. Preferably the candidate should also have background and interest in new media theory, critical theory, and new media research. Applicants should provide a letter of interest, vita, examples of work and three letters of recommendation. Review of applications will begin on January 2, 2004 and continue until the position is filled. For more information, and to submit applications, contact: Professor Robert Hanneman Associate Dean College of Humanities, Arts, and Social Sciences 3415 Humanities and Social Sciences Bldg. University of California Riverside, CA 92521 UCR (<a rel="nofollow" href="http://www.ucr.edu/">http://www.ucr.edu/</a>) is an equal employment opportunity/affirmative action employer. For more information: . + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 11.21.03 From: Aidan Rowe (arowe@surrart.ac.uk) Subject: Research Professor in Digital Media A Research Professor in Digital Media is sought by the Surrey Institute of Art and Design, University College, which is located in Epsom in the UK. £38 - £41k per annum With over 3,000 further education, undergraduate and postgraduate students, The Surrey Institute of Art & Design, University College is one of Europe's largest specialist centres for higher education in art, design, media and communications. The Faculty has a large and highly successful undergraduate provision in graphic design and digital media and a growing reputation for postgraduate study in new media. There is an active and dynamic group of academic staff whose research interests is in both the practice and theory of communication and digital media. On behalf of the Dean, the Faculty Research Professor will promote the further development of the research culture within the Faculty of Fashion & Communication. The professor will be expected to support the academic staff in securing research outcomes of national and international quality. An individual reputation as a researcher, with a record of public output compatible with an RAE 5 rating, is essential for this post. With a degree in an area of art, design or communication, you will be experienced in research degree supervision and examination relevant to art and design and communication practice. You should have experience of managing budgets and staff and have worked on funded research projects. Previous involvement in bidding for external funding and a good knowledge of research funding mechanisms and RAE processes are essential. With excellent interpersonal skills and strong academic leadership qualities you should have strong professional and academic links with other universities. You should fulfil the Institute's criteria for conferment of the title of Professor (available on request of application pack). For an informal discussion about the post, please contact the Dean of Faculty, Christine Percy on 01372 722407. For an application form and further details about any of the above posts please contact the Personnel Department on 01252 892681 (24 hrs) or e-mail personnel@surrart.ac.uk, quoting reference F&C Res 3-098 Closing date for receipt of applications is Friday 5th December 2003. Interviews will be held on Friday 9th January 2004. More information about the Institute can be found at <a rel="nofollow" href="http://www.surrart.ac.uk">http://www.surrart.ac.uk</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 11.15.03 From: Myron Turner (turnermm@shaw.ca) Subject: Gupta's Blessedbandwidth, Guardian Angel, etc. The latest Rhizome Digest just came across the screen with recommendations to look at two sites, Gupta's blessedbandwidth at the Tate and Guardian Angel by one of Curt Cloninger's students. <a rel="nofollow" href="http://www.tate.org.uk/netart/blessedbandwidth/">http://www.tate.org.uk/netart/blessedbandwidth/</a> <a rel="nofollow" href="http://mmas.unca.edu/~amallen/guardianangel.html">http://mmas.unca.edu/~amallen/guardianangel.html</a> Guardian Angel is what it is, a student project, the kind of thing you take seriously in the classroom. Gupta's piece, by virtue of its Tate cache and her history of previous work, asks for more: an international audience, thoughtful consideration, a place in contemporary art practice. But like so much net art, it is essentially a one-liner in which the labor of production far exceeds its cultural or intellectual or aesthetic value. It comes supplied with essays which attempt to place it in contemporary political and aesthetic contexts. But works of art can't stay afloat on the the life-jackets of the texts that surround them. Yet this is so often the practice in contemporary net art and often– though not in this case–the essays have more interest than the works themselves. The question of labor exceeding value is of central importance to the discussion of net art. Anyone who has ever put together a complex web site or programmed a complex piece of software art knows how much work goes into the production. But despite this labor the result for the viewer is often minimal–some programmed twists of image manipulation or repetitive sets of images and/or texts in a database, where the viewer soon tires of looking at yet another of the same, or as here, in Gupta's case, an extended interactive site built around a one-liner, also repeated various times over. Where, in fact, is the primary value of such works? The value is in the artist– in the personal experience of the artist in the process of creating the work, a that value is not sufficiently reflected back outward to the viewer. This is a significant alteration of the centers of value that we normally associate with art. And it's my feeling that until this changes, net art will remain peripheral– insititutions like the Walker will feel no compunction in shedding free of it and its audience will remain largely one of "experts". Myron Turner | <a rel="nofollow" href="http://www.room535.org">http://www.room535.org</a> | –land safely in cyberspace– *Editor's note: referred thread link: <a rel="nofollow" href="http://rhizome.org/thread.rhiz?thread=10995&text=21281#21281">http://rhizome.org/thread.rhiz?thread=10995&text=21281#21281</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 11.21.03 From: Valerie Lamontagne (valerie@mobilegaze.com) Subject: Valerie Lamontagne: FCMM Review FCMM: Montreal?s recent FCMM (Festival International Nouveau Cinéma Nouveaux Médias Montréal-<a rel="nofollow" href="http://www.fcmm.com">http://www.fcmm.com</a>) is an annual showcase for film, video and new media. Occurring from October 09?19, this year?s event was funded in part by the Fondation Daniel Langlois (<a rel="nofollow" href="http://www.fondation-langlois.org">http://www.fondation-langlois.org</a>) and took place in both the Ex-centris multi-media centre (<a rel="nofollow" href="http://www.ex-centris.com">http://www.ex-centris.com</a>) and the Société des arts technologiques, or SAT (<a rel="nofollow" href="http://www.sat.qc.ca">http://www.sat.qc.ca</a>). The FCMM distinguishes itself from other festivals by striving to mix mainstream work with experimental genres and media, and the new media selection this year was an eclectic grouping of local and international work loosely tied around the theme of public works and community. The main exhibition site, the SAT, was recently relocated (Summer 2003) to a former slaughterhouse building in the lower St-Laurent district ? the strip-club and peep show sector of the city. The new SAT features a large bar/gallery, a main performance area, and a rough basement space. A location well suited to performances with exceptional equipment for sound and audio, the building is nevertheless short of space to present installation works in a "pure" (white cube) style. That said, the bar/gallery ambiance is fortuitous in that it permits festival-goers to mingle, drink, and view art all in one place. Exhibitions: The installation component of the FCMM focused primarily on public interaction and real time, input-based works. Notable installations included Saoirse Higgins? (Ireland) "Doom Machine" (<a rel="nofollow" href="http://web.media.mit.edu/~saoirse/doom.html">http://web.media.mit.edu/~saoirse/doom.html</a>) which announces on an hourly-basis the current doom level as regulated by the public via a website. Interestingly, the doom level plummeted to 0 while in Montreal, something the artist noted has rarely happened in previous exhibitions in the USA. Perhaps as Canadians, and more specifically French-Canadians, we do not feel particularly targeted during these politically volatile times? Another work, "Alpha Wolf," by Bill Tomlinson, featured a screen-based animation of wolves reacting to the public?s own "wolf"-like actions such as howling, growling, whimpering, or barking. Not surprisingly, the most interesting aspect of this work was watching the users try and interact with the work, especially in the later hours when blood alcohol levels were high. "Memory of Space" (<a rel="nofollow" href="http://www.inoutsite.de">http://www.inoutsite.de</a>) by Ursula Damm, Matthias Weber, and Thomas Kulessa (Germany), linked the local and geographic dimensions of the SAT through real time video capture, resulting in the formation of a grid system of coordinates. Depending on activity at the SAT, this coordinate system was transformed and positioned over a three-dimensional graphics map. Perfectly integrated into the ethos of the neighborhood was Cécile Babiole?s (France) "Circulez y'a rien à voir," or "Keep Moving, There?s Nothing to See" (<a rel="nofollow" href="http://www.babiole.net">http://www.babiole.net</a>). Located in one of the SAT?s main windows, the screen installation captured the movements of passersby via a live camera?interpreting these in real time, and converting them into graphic/sonic patterns. Serving as an invitation to dance, run, or simply to move and discover a world of invention, this installation proved to be a popular work. The in-situ citywide installation [murmure] (<a rel="nofollow" href="http://www.murmure.ca">http://www.murmure.ca</a>) by Shawn Micallef, Gabe Sawhney, and James Roussel (Canada) was an audio project connecting people with Montreal?s meta-history through wireless telephonic, location-based storytelling. Pedestrians walking past sites marked with the [murmur] sign (a large ear) were invited to telephone a number and hear stories anchored in that geographical location. The installation revealed secret histories of the city, such as that of the former Café Mélies at 3684 St-Laurent, where in 1981 the exquisite French writer Marguerite Duras spent ten historical days drinking, surrounded by her entourage. Performances: The opening night of FCMM featured ambient VJ /DJ Franklin Joyce (USA) and his "Cinema Remix," a playful exploration of various cinematic sampling?from Europe?s sexy 60?s to Bollywood and Kung-Fu flicks. A local favorite, [The User] (<a rel="nofollow" href="http://www.silophone.net">http://www.silophone.net</a>)–Thomas McIntosh and Emmanuel Madan (Canada), followed by presenting a new performance in its series of silo-driven events. For several years now [The User] has had one of the former grain elevator silos of old Montreal networked via digital telephone, in order to both capture and broadcast sound. "Mass/Volume" featured the artists taking a minimalist approach to sound performance by broadcasting a series of wired slates live to the silo and then once transformed, back to the audience. Lacking in a certain musical development, the event was still a strong investigation into the possible permutations of sound via Montreal?s Grain Elevator #5. Jean-Pierre Aubé?s (Canada) "VLF.stereo" (<a rel="nofollow" href="http://www.kloud.org/vlf">http://www.kloud.org/vlf</a>) performance presented his explorations in Very Low Frequency (VLF) receivers. These receivers captured and presented the earth's electromagnetic variations from: a Normandy freeway, an island in the St. Lawrence River, a winter solstice at the Arctic Circle in Finland, and the banks of Loch Ness in the highlands of Scotland. Finally, in a decided low-tech dada-esque display, Michelle Kasprzak?s (Canada) "I Love A Parade" (<a rel="nofollow" href="http://www.iloveaparade.net">http://www.iloveaparade.net</a>) showcased the artist in a carnival-like "parade" costume and a float, pulled by a young man on a tricycle. Kasprzak?s VJ mixing of parade-themed videos and attempts to feed the audience cake resulted in a bizarre mixture of camp and media antics. Web Projects: The presentation of Web projects seems to have lost favor in many festivals, and is not always showcased in the most seductive way (usually through plain desks and monitors). In the unfortunate case of FCMM, the Web projects were only showcased online?rendering them even more invisible. The works in the festival were chosen around a theme of community and created in a documentary style. For example, "79 Days" (<a rel="nofollow" href="http://79days.net">http://79days.net</a>) by Trebor Scholz (USA/Serbia) is a graphically minimalist database of media documents, such as photographs and news lines, covering the 79 day war in Kosovo. Sara Morley?s (Canada) "A Day in the Life of an Engineer" (<a rel="nofollow" href="http://www.nativeaccess.com/allabout/day_eng.html">http://www.nativeaccess.com/allabout/day_eng.html</a>) presents a typical day in the lives of three Aboriginal engineers from different parts of Canada?offering a new perspective on the vocation as well as on how engineers impact their communities. Combining a host of multimedia sources, the site, which contains enough visual and aural material for a three-hour experience, includes 54 minutes of streaming video and 23 minutes of audio that are fully integrated into each of the three portraits. Finally, "Civilités / Civilities" (<a rel="nofollow" href="http://www.agencetopo.qc.ca/civilites">http://www.agencetopo.qc.ca/civilites</a>) by Eva Quintas, Guy Asselin (Canada) brings together collective fictions associated with the problem of "living together" in urban settings. Through the slick and playful design native to the Montréal-based media collective Agence Topo, this piece explores the spaces of privacy, religion, crowds, cultural norms, and collective spaces, merging political and personal perspectives to offer an account of today?s multicultural civic community and how such "civilities" are negotiated. FCMM Conclusion: The FCMM presented a dynamic selection of works that explored new media?s emerging tendencies. It will be exciting to see future FCMM editions develop through more focused curatorial themes and in collaboration with local and international institutions. The production of essential documents such as catalogues and DVD recordings could render the festival more portable, extending its reach throughout the media community. Finally, a new venue for the presentation of multimedia installations could be an important step in giving the installation component of the festival more emphasis as well as allowing for greater space to present a variety of works. That said, Montreal seems to be (not just boasting because I live here!) THE techno-centric city of Canada at the moment, and the FCMM and SAT are certainly at the center of this élan! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Feisal Ahmad (feisal@rhizome.org). ISSN: 1525-9110. Volume 8, number 47. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +