RHIZOME DIGEST: 2.1.02

discussion

Posted Jan. 31 2002 19:00

RHIZOME DIGEST: 2.1.02

RHIZOME DIGEST: February 1, 2002 Content: +opportunity+ 1. marko peljhan: MAKROLAB 2002–Call For Proposals 2. Soren Pold: Aesthetic Artefacts call for NordiCHI 2002 3. Jaka Zeleznikar: Call For Applications Of Net Art Works–BREAK_21/2002 +work+ 4. Conor J Curran: Music visualisation software 5. Peter Luining: new build of objeckt_14 +comment+ 6. Tom Sherman: The Art-Style Computer-Processing System (1974) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 1.30.02 From: marko peljhan (marxx@mail.ljudmila.org) Subject: MAKROLAB 2002–Call For Proposals makrolab 2002 has two calls for proposals: - for artist, strategic and tactical information analysts - scientists and social scientists go to <a rel="nofollow" href="http://www.artscatalyst.org/htm/scientistscall.htm">http://www.artscatalyst.org/htm/scientistscall.htm</a> Please review both. Deadline for submissions to Projekt Atol extented until FEBRUARY 28, 2002. + + + International Art / Science / Strategy / Tactics Research Residency Programme: Call for Proposals MAKROLAB - Summer 2002 Atholl Estate, Perthshire, Scotland The Arts Catalyst and Projekt Atol, offer research residencies at the MAKROLAB in May, June, and July 2002 on the Atholl Estate in Perthshire, Scotland. This opportunity takes place during the International Year of Mountains, declared by the UN General Assembly. The aim of the residency programme is to provide artists, strategic and tactical information analysts, scientists and social scientists (separate information sheet for scientists - see www.artscatalyst.org/htm/scientistscall.htm) - with space and facilities to undertake their own research in the global systems of: TELECOMMUNICATIONS, WEATHER AND CLIMATE, ENVIRONMENTAL CHANGE and MIGRATIONS and give them the opportunity to fully concentrate on their work and interact in a creative and challenging dialogue with other members of the crew. We are also interested to receive proposals from artists for residencies to develop activities and projects with the local community and schools exploring these themes. This work could be the sole aspect of your application or alongside your research. The MAKROLAB is a temporary sustainable research base, with living space for 4 - 6 people. It will be connected to the internet through a microwave link and equipped for transmitting signals on HF, VHF, UHF ranges and receiving signals in the ranges of 0.1 - 2000 MHz and the C and Ku bands. The Atholl Estate is one of the largest estates in Scotland, situated on the edge of the Cairngorm mountains. The MAKROLAB will be situated in the Clunes Beat of the Atholl Estate. This is an area of rolling heather moorland with steep slopes nearby rising to the high tops of the southern side of the Cairngorm massif. We are looking for participants who will welcome the opportunity not only to undertake their own research in this environment, but who are also interested in the interdisciplinary aspects of this project. For further information about Makrolab, see: <a rel="nofollow" href="http://makrolab.ljudmila.org">http://makrolab.ljudmila.org</a> + + + <a rel="nofollow" href="http://www.artscatalyst.org/htm/scientistscall.htm">http://www.artscatalyst.org/htm/scientistscall.htm</a> <a rel="nofollow" href="http://makrolab.ljudmila.org">http://makrolab.ljudmila.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Read Peter Anders article "Anthropic Cyberspace" in the latest LEONARDO Digital Salon Volume 34 Number 5. Learn first hand about defining electronic space and give yourself space to think. Visit our web site @ <a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/Leonardo">http://mitpress2.mit.edu/e-journals/Leonardo</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 1.31.02 From: Soren Pold (pold@multimedia.au.dk) Subject: Aesthetic Artefacts call for NordiCHI 2002 Call for submissions to NordiCHI 2002 in the new category of: Aesthetic artefacts NordiCHI 2002 introduces "aesthetic artefacts" as a new submission category for experiments into how artistic expression and praxis affect perspectives on interfaces, contexts and design. The computer interface has developed from merely supporting work into a broader cultural interface competing with and even replacing the book, the gallery wall, the cinema screen, etc. Traditional functionalism fails in relation to many new applications. At the same time, traditional application areas may benefit from the inspiration from how digital forms are articulated in artistic expression. Accordingly, digital arts challenge the way we understand the computer, and the relation between form and contents at the interface. Examples of possible artefacts are (not limited to) interactive artworks, computer games, interactive installations, netart, software art, artistic interfaces, aesthetic experiments with HCI-related issues. An important part of an aesthetic artefact submission is a short paper that thoroughly reflects on CHI related issues affected by the artefact. Accepted aesthetic artefacts will be exhibited at the conference in conjunction with the demo session. An aesthetic artefact submission is composed of three parts - A short paper, conforming to the NordiCHI 2002 short paper guidelines, describing the artefact and reflecting on its contribution to the HCI discourse. - An exhibition plan, describing how the artefact is going to exhibited, including spatial requirements (one page). - (Optional) a representation of the artefact on video (VHS/PAL, S-VHS is not accepted), CD-ROM or DVD. The short paper and the exhibition plan should be submitted via the conference web site, whereas the (optional) video/CD/DVD should be submitted by ordinary mail in three copies. Submissions will be reviewed by the programme committee supplemented by an aesthetic artefacts special committee of artists and aesthetics scholars. Aesthetic criteria as well as an assessment of contribution to the ongoing understanding of human-computer interaction are taken into account. Please observe that the presenters must supply all equipment necessary for the exhibition. Limited Internet accesses will be available. Please direct questions regarding aesthetic artefacts to art@nordichi.org. Electronic submission deadline for aesthetic artefacts: March 1, 2002 (late breaking results: August 1, 2002). Full call for the conference available at: <a rel="nofollow" href="http://www.nordichi.org">http://www.nordichi.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ STATE OF THE ARTS SYMPOSIUM * UCLA APRIL 4-6, 2002 * RHIZOME DISCOUNT * <<a rel="nofollow" href="http://www.eliterature.org/state">http://www.eliterature.org/state</a>> ELO invites Rhizome subscribers to join leading web artists, writers, critics, theorists for the seminal e-lit event of 2002. Rhizome subscribers who register before FEB 15 2002 may register at ELO member rates ($25 discount). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 1.28.02 From: Jaka Zeleznikar (jaka@jaka.org) Subject: Call For Applications Of Net Art Works–BREAK_21/2002 Break 21 6th International Festival of Emerging Artists May 19th - 24th, 2002 Ljubljana, Slovenia <a rel="nofollow" href="http://www.break21.com">http://www.break21.com</a> break21@k6-4.org Tel.: + 386 (0)1 438 03 00 Organiser K6/4, Kersnikova 6, Ljubljana, Slovenia + + + THEME "Dead or Alive" "Dead or Alive" implicates the urge, which tends to satisfy something at all costs, taking no regard whether it demands the life to be taken. It is assumed, that it represents something, for which, imperatively, it is greater than life or death. In the tendency to give up life as the highest value, the sacrifice is implicated or some urgent denunciation in the economy of one's own life, which we could call a particular death, for the sole purpose - to accomplish something. In the title, the initial question appears. It questions death and life; it demands an answer to the question about definitions, what is actually dead and what is alive. To what extent something is dead, though only inert; to what extent something is alive, though tends to be prolonged with the help of machines; how to understand organic material in the cryobanks and how biotechnical mechanisms/organisms? Are the cyber space and avatars with artificial intelligence, which are present in the Hollywood apparatus of the imaginary or the top cyber laboratories, our or the parallel world? Bionics and eugenics establish new paradigms of life and death as much as nanomechanics and intelligent neuronic nets. Artificial life is the oxymoron, which penetrates the core of our theme. Questions, posed to us by high technology, are still utterly legitimate in traditional sense, since we understand them through the perspective of modern age. Intermingling of everyday violence, which we encounter in the streets, car accidents, murders, suicides, diseases, wars and catastrophes on higher scales are balancing with births, rebirths, changes of identity and initiations, creations of new life situations and cosmic phenomena. Religious repertoires and great ideologies are all built upon dichotomy of life and death. They tend to be valid within the scale of the universal, while moments of ecstasy during meditation or sex, pain and dreams are utterly intimate and identical to themselves. Mental deviations, such as insanity, psychosis, neurosis, obsessions, paranoia and hysteric states were interpreted as a kind of intermediary state between life and death in primitive cultures, while in modern societies, the border between the healthy as an attribute of life and the ill as an attribute of death is being obliterated. Life and death are great themes of art and a lot has been said about them, however, some things can't be talked about too many times. Our intention is for artists to deal with them innovatively, through the perspective of new art and research artistic practice, which owns a tactical value that points more at the poetics of life than poetics, which is already known from traditional aesthetic paradigms. Forms of expression may not be products and aesthetic artefacts but rather processes, states, situations … that comprise the dimension of time - transition. Deadline: March 1st 2002 <a rel="nofollow" href="http://www.break21.com">http://www.break21.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE ART ISSUE** Peter Fend 10 page special, Andrew Gellatly on selling art online, Benedict Seymour on the closure of London's Lux Centre, Michael Corris on Conceptual art, Hari Kunzru in Las Vegas. Reviews: Don't blow IT conference, Wizards of OS, Wolfgang Shaehle's 2001 Show <a rel="nofollow" href="http://www.metamute.com/mutemagazine/current/index.htm">http://www.metamute.com/mutemagazine/current/index.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 1.29.2002 From: Conor J Curran (cjc@forwind.net) Subject: Music visualisation software Keywords: visual, real-time, graphic, audio Parallel v1.0 is now available for download from <a rel="nofollow" href="http://www.forwind.net">http://www.forwind.net</a>. It is a real-time graphics engine in Java using the Java 2D API. This engine is controlled via MIDI messages received from various pieces of equipment. This engine combines image manipulation and both generative and deterministic techniques to create an visualisation of music and rhythm. The software is called 'Parallel' and is available for download from www.forwind.net. An installer has been made for it, so installation problems should be minimum. The capability of some form of MIDI input is essential to operate the app. For those of you who would like to use the software, but don't know what the javaVirtualMachine is, please download the larger (7MB) of the two files to avoid hassles. An applet (requiring the java 1.3 plugin) sampling the app's capabilities, is also available to view from the site. Any feedback, queries etc. don't hesitate to mail me… Anyone planning to use Parallel for live performances/demonstrations/'stuff' - please ask permission first. …Java source files are available on request… Enjoy!!! <a rel="nofollow" href="http://www.forwind.net">http://www.forwind.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 1.20.2002 From: Peter Luining (email@ctrlaltdel.org) Subject: new build of objeckt_14 Keywords: visual, internet, audio name: objekt_14 (build 2314) artist: peter luining/ ctrlatdel.org description: url based audio visual engine platform: win98/winme/win2000/winxp browser: msie 5+ plugin: macromedia shockwave 8.5 manual url: <a rel="nofollow" href="http://www.ctrlaltdel.org/objekt_14/manual.html">http://www.ctrlaltdel.org/objekt_14/manual.html</a> objekt_14 url: <a rel="nofollow" href="http://www.ctrlaltdel.org/objekt_14">http://www.ctrlaltdel.org/objekt_14</a> changes from last build: objekt_14 can now import soundfiles larger than 48 kb. mp3 support is out because of mp3 files that use flexible sample rates caused objekt_14 to crash. bug fixes: import bug (import of files should now be stable), sample manipulation (should now be stable/ crash free). known issues: objekt_14 supports the standard PCM WAV file format. Though the standard PCM WAV file format is the most widely used wav format there are several varieties of WAV file formats. Non-supported WAV file formats include: CCITT A-Law, CCITT u-Law, DSP Group TrueSpeech(TM), elemediaTM AX2400P music codec, IMA ADPCM, Microsoft ADPCM, MSN Audio and GSM 6.10. soon to come objekt_14 standalone versions for mac and pc. beta versions available at: <a rel="nofollow" href="ftp://www.ctrlaltdel.org/pub/engines">ftp://www.ctrlaltdel.org/pub/engines</a> <a rel="nofollow" href="http://www.ctrlaltdel.org/objekt_14">http://www.ctrlaltdel.org/objekt_14</a> <a rel="nofollow" href="http://www.ctrlaltdel.org/objekt_14/manual.html">http://www.ctrlaltdel.org/objekt_14/manual.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 1.28.2002 From: Tom Sherman (twsherma@mailbox.syr.edu) Subject: The Art-Style Computer-Processing System (1974) Keywords: communication, video, processing, painting "As it is, our perception of things is a circuit unable to admit a great variety of new sensations all at once. Human perception is best suited to slow modifications of routine behaviour." –George Kubler A communication system is for sending and receiving messages. A communication system consists of two transceivers; two components that transmit and receive messages. A communication system is limited when the message is sent in only one direction, transmitter to receiver. This limited system can be expanded by integrating a processing system at the receiver end to provide access to the message. A processing system permits special treatment of the message at the receiver end of the communications system. The computer-processing system described in this text is specifically designed to manipulate the message transmitted to the two-dimensional surface of the video screen. The message source is a commercial television broadcast. The message is limited to display on the flat surface of the video screen. An analogy is formed between processing the video message and the act of painting. This processing system provides personal choice of how the message source is viewed, in the same way the painter chooses to view the environment through his or her method or style of painting. This system is labelled the ASCPS. Style is a phenomenon of perception governed by the coincidence of certain physical conditions. The ASCPS is constructed of information obtained from every major historically innovative treatment of the two-dimensional surface. The system contains the concise history of painting. By block encoding historically successful modes of sensing, the system contains a set of period visions. These period visions are methods of seeing the environment. They are rule-governed styles for processing messages. The rules are those instituted by schools of painting dominating particular periods of history. At this time, period visions contained by the system are Abstract Expressionism, Abstract Impressionism, Action Painting, Arabesque, Art Nouveau, Automatism, Barbizon School, Baroque, Bio- Morphic, Cartoon, Classic, Colour-Field, Cubism, Dada, Danube School, Divisionism, Expressionism, Fauvism, Futurism, Gothic (Late and International), Group of Seven, History Painting, Hudson River School, Impressionism, London Group, Mannerism, Neo- Classic, Neo-Impressionism, Optical, Orphic Cubism, Painterly Abstraction, Photo-Realism, Pointillism, Post-Impressionism, Primitive, Rayonism, Realism, Renaissance, Rococo, Romanist, Romantic, Social Realism, Super-Realism, Suprematism, Surrealism, Synthetism, Tenebrism, and Vorticism. The vision circuit for each period contains additional processing characteristics. These simulate decisions of individual artists contained by schools of painting or period visions. The capacity of each period vision-processing circuit depends on sensitive patterning of physical conditions marking the consistent vision. Fine adjustment control of contrast, brightness, colour, and form open the end of each processing channel. The viewer fine-tunes a wide band of processed message, attaining authorship of the message. The commercial cable television system provides structure for immediate integration of the ASCPS in the home viewing system. The ASCPS consists of a centrally located computer with remote control units functioning as switching devices, which afford access to the processing circuits of the system. Passing the message through a chosen period vision is accomplished by switching in the desired circuit by push-button selection on the remote control unit. Application of the ASCPS: The message is the broadcast of a network news program. The information is in colour with low interference. The viewer decides to process the message with the period vision labelled Rayonism. Rayonism was an abstract Russian movement stylistically between Futurism and Abstract Expressionism. Mikhail Larionov, an instructor at the University of Moscow, published the Rayonist manifesto in 1913. This selection is made on the remote-control unit. While passing through the processing circuit, the message form is disintegrated to simulate the radiation of lines of force emanating from the objects in the news program. Important artists having this period vision are Mikhail Larionov and Natalia Gontcharova. The viewer chooses to understand Rayonism through Larionov's vision. This processing circuit is switched in through a selection made on the control unit. Larionov's vision is nonobjective. Visually, the news program is processed into a pure abstraction, with objects becoming new forms as they disintegrate into radiating colours. Fine-tuning controls permit control of colour and contrast with Larionov's radiations. The ASCPS is introduced to provide the best possible system for the study of the history of painting. The system provides a previously unattained view of the artist's systematic attempts to attain efficient communication through the two-dimensional channel. The system simulates the collective visual experience of recorded history and offers choice of vision to the one-way communication system of commercial broadcast television. The viewer, in implementing historically incoherent methods of sensing on a contemporary message, can introduce message equivocation; that is, uncertain knowledge about the transmitted message when the received message is known. Uncertainty of message increases with degrees of image latency, the time interval between image and response or understanding. Message latency is abstraction. The ASCPS is a stochastic system. That is, its output is in part dependent on random or unpredictable events. Total randomness of message produces monotony, a sense of sameness. Period vision-processing circuits pattern and structure the message. The structure provides a familiar visual language allowing new sensations to be perceived through contrast. By processing an available random message, broadcast television, the two-dimensional output of this communication system becomes a highly structured moving image with a degree of unpredictability. The completion and integration of the ASCPS into the existing cable television system effectively surrounds (contains) the history of painting. Expansion of the methods of communication depends on technological invention. Components of this video-processing computer system are being designed and tested by technological artists in scattered communities around the globe. + + + Epigraph from George Kubler, _The Shape of Time: Remarks on the History of Things_, Yale University Press (New Haven and London), pg. 123-124. Published in _Cultural Engineering_, Willard Holmes (ed.), National Gallery of Canada, Ottawa, Ontario, Winter 1983; and in _Ingenierie culturelle_, translation by Helene Papineau, Willard Holmes (ed.), N.G.C., Ottawa, Ontario, Winter 1983; and in _Videation_ (Richmond, Virginia): published by Bob Martin at Virginia Commonwealth University, Spring 1977; and in _Journal for the Communication of Advanced Television Studies_ (London, England), Vol. 2, No. 2, Fall 1974. [this text will be republished in _Before and After the I-Bomb: An Artist in the Information Environment_, an anthology of fifty-three of Tom Sherman's texts to be released by the Banff Centre Press (Banff, Alberta), May 2002.] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means. We accept online credit card contributions at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Or call us at +1.212.625.3191. Contributors are gratefully acknowledged on our web site at <a rel="nofollow" href="http://rhizome.org/info/10.php3">http://rhizome.org/info/10.php3</a>. Rhizome Digest is supported by a grant from 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 Alex Galloway (alex@rhizome.org). ISSN: 1525-9110. Volume 7, number 5. 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.rhiz">http://rhizome.org/subscribe.rhiz</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.php3">http://rhizome.org/info/29.php3</a>.