RHIZOME DIGEST: 10.01.04

discussion

Posted Sept. 30 2004 20:00

RHIZOME DIGEST: 10.01.04

RHIZOME DIGEST: October 1, 2004 Content: +announcement+ 1. jillian mcdonald: Pace Digital Gallery hosts new Media Artists\' Talks - Fall 2004 2. eduardo@navasse.net: P[2]Piece closing 3. feminist trespass: Pilot TV: experimental media for feminist trespass +opportunity+ 4. jon.lovebytes: Digital Space Commissions 2005 > Call for Entries 5. David Stout: Technical Director position at College of Santa Fe 6. Jordan Crandall: PUBLIC CULTURE faculty search 7. Kevin McGarry: FW: Pervasive and Locative Arts Network | cfp +work+ 8. Rhizome.org: Just added to the Rhizome ArtBase: #1 by joao Simoes 9. Regina Celia Pinto: MILKY WAY 10. Rhizome.org: Just added to the Rhizome ArtBase: Evidencia #001 by John Paul Bichard +feature+ 11. ryan griffis: Experiments in the Garden of Good and Evil: a review of the gardenLAb experiment + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 9.24.04 From: jillian mcdonald <jillianmcdonald@hotmail.com> Subject: Pace Digital Gallery hosts new Media Artists\' Talks - Fall 2004 Date/time: 7pm Tuesdays Oct 5, Oct 12; Nov 2, Nov 30 Location: 1 Pace Plaza, Pace University, NYC (map on website) Admission: free! Description: Pace Digital Gallery is proud to present a series of Tuesday evening talks with leading new media artists. Featured artists are Jose Carlos Casado, Michael Mandiberg, Cory Arcangel, Yucef Merhi, John Gerrard, Andrea Polli, and Annette Weintraub. Also on view - Peter Horvath, 4 Works for the Internet (at 163 Williams Street, map on website). Contact info: co-directors Jillian Mcdonald and Francis T Marchese info and printable pdf at <a rel="nofollow" href="http://www.pace.edu/digitalgallery">http://www.pace.edu/digitalgallery</a> digitalgallery@pace.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 9.30.04 From: Eduardo Navas <eduardo@navasse.net> Subject: P[2]Piece closing Hello, The p[2]Piece project ended in May 2004. The archived version is now online. More information below: ——————– P[2]Piece Online Collaboration Consisting of artists inviting other artists to participate in an online exhibition. Collaboration period: November 2003-May 2004 Archived at <a rel="nofollow" href="http://www.postartum.org">http://www.postartum.org</a> Direct link: <a rel="nofollow" href="http://www.postartum.org/p2p/">http://www.postartum.org/p2p/</a> List of contributors: Antoni Abad, Annie Abrahams Amy Alexander Julian Alvarez Soo Yeun Ahn Lew Baldwin Samuel Bianchini b-l-u-e-s-c-r-e-e-n John Cabral Gregory Chantonsky Arcangel Constantini d-i-r-t-y-.com Andy Deck Reynald Drouhin DrOne Intima.org Joachim Désarménien Jimpunk Jodi Josh Larios Patrick Lichty Peter Luining Elout de Kok Brian Mackern MTAA Mouchette Muserna Eduardo Navas Randall Packer Rock Parés Pavu.com Emile Pitoiset Consuelo Rozo Eugenio Tisselli v.n.a.t.r.c.? Who In Lee Organized by Eduardo Navas Sponsored and hosted by Postartum Director: Lora McPhail Long Beach/Los Angeles, CA + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships to qualifying institutions in poor or excluded communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.01.04 From: feminist trespass <outreach@pilotchicago.org> Subject: Pilot TV: experimental media for feminist trespass Calling all trespassers! Pilot is a 4-day autonomous television studio, happening October 8 -11 2004 in Chicago. This event will involve the staging and production of over 50 television shows, performances, lectures, and direct actions, made possible by a diverse body of contributors from all over the country. This resulting video series, of so-called TV "pilots," will be edited and horizontally distributed to all participants, and will be disseminated through public access worldwide. Pilot is brought to you by an open group of about 20 artists, activists, and family members. This event is free and open to the public, for all to come and collaborate and get involved in the conversation. Some Projects / TV Shows / Performances Include: - FeelTank presents: a talk show on political depression (with special guest EEYORE) - "Beautifull Radiating Energy," a performance by NYC-artist K8 Hardy - JUNK: a program of queer cinema curated by Devon Devine (San Francisco, CA) - Collaborative â??live on the sceneâ?? segment covering public intervention projects by Paige Gratland (Toronto) - Public Addresses, performative lectures by Faith Wilding, Salem Collo-Julin (Temporary Services), Gregg Bordowitz, and many others - Tara Mateik (Paper Tiger) and the Society for Biological Insurgents report on bioterrorism and homophobia. - NYC-based artist Jack Waters, engineering A 2 way web transmission via ivisit, connecting a performance in NYC to Chicago more info: pilotchicago.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 9.27.04 From: jon.lovebytes <jon@lovebytes.org.uk> Subject: Digital Space Commissions 2005 > Call for Entries Digital Space Commissions 2005 > Call for Entries Lovebytes is offering a number of commissions for innovative new digital work as part of its ongoing Digital Space Programme. Digital Space explores new environments for art, design and entertainment. The commissions are open to individuals, professionals or companies who wish to develop and exhibit innovative, challenging and experimental ideas. The work may be for standalone exhibition, site specific installation or in entirely digital form. Applications are invited for work that is yet to be made, in-progress or existing but it must not have been previously exhibited in public in the UK. For a full list of previous Digital Space commissions click here > <a rel="nofollow" href="http://www.lovebytes.org.uk/shop/dsp-programme.html">http://www.lovebytes.org.uk/shop/dsp-programme.html</a>. The commissions will be exhibited at the Lovebytes International Festival of Digital Art in April 2005. Funding of up to £5,000 is available for any single project. The deadline for applications to be received is Monday 1st November 2004. For an application form please email > <a rel="nofollow" href="mailto:dspace2005@lovebytes.org.uk">mailto:dspace2005@lovebytes.org.uk</a> Lovebytes / Digital Space is funded by the European Regional Development Fund and the Arts Council of England, Yorkshire. Lovebytes is a non-profit organisation which explores the creative and cultural potential of digital technology, working in partnership with the Sheffield Media and Exhibition Centre to support digital media production and exhibition in South Yorkshire. More information about Lovebytes and archives at <a rel="nofollow" href="http://www.lovebytes.org.uk">http://www.lovebytes.org.uk</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 9.28.04 From: David Stout <io@csf.edu> Subject: Technical Director position at College of Santa Fe Technical Director College of Santa Fe Moving Image Arts College of Santa Fe, a four-year liberal arts college with an emphasis on arts, is accepting resumes for the position of Technical Director in the Moving Image Arts Department, one of the finest undergraduate film schools in the country. This position is a full-time, exempt position to serve the academic needs of the department as they relate to all equipment and facility needs for film and digital production and postproduction. Responsibilities: The Technical Director oversees maintenance, repair and access to all video, audio, digital, and film production equipment, studios, control rooms, edit suites, and technical office in the Garson Communications Center. The director also supervises the check-in check-out procedures of the equipment cage; provides technical support for production courses and special projects; assures that all systems are consistently operational; acts as part of the Production Committee and as technical staff liaison; creates an efficient, workable organizational structure for the equipment cage, supervises and trains equipment cage student employees in the operation of existing production, studio, digital and editing equipment so they can be effective while on duty; conducts workshops for students in the area of safety, electricity, lighting, grip, camera and other equipment; provides written instructions and/or support material for all field equipment, editing suites and studio space; serves as department liaison with the college's Health and Safety Committee. Qualifications: Bachelor's degree required in Film/Video plus three years experience in film and digital technology, preferably in an academic setting, or five years professional experience in film and digital equipment technology. Technical experience in the use and maintenance of video and film production equipment: Macintosh based multimedia/graphics programs, digital audio programs/formats, AVID media composer, Final Cut Pro and Pro Tools Audio Systems. This position requires a high level of technical expertise combined with well-developed organizational, supervisory, communication and interpersonal skills. Lifting requirement of 30 pounds. College of Santa Fe, rooted in the Lasallian tradition of the de La Salle Christian Brothers, a Roman Catholic teaching order, emphasizes excellence in teaching and advising, collegiality, ecumenical sensitivity, individual potential and sense of service, is New Mexico's oldest institution of higher education. The college offers a broad range of undergraduate and some graduate level courses in both a traditional day program and an evening and weekend program. The Santa Fe campus enrolls approximately 1000 students and College of Santa Fe at Albuquerque approximately 900 students. College of Santa Fe offers an attractive package of benefits including a tuition remission program. College of Santa Fe is an Equal Opportunity Employer committed to diversity in its community. We invite individuals who contribute to this diversity to apply. Review of applicants will begin immediately and will continue until position is filled. Resumes with cover letter and the names and telephone numbers of three professional references may be faxed or submitted to: Human Resources Department, College of Santa Fe, 1600 St. Michael's Drive, Santa Fe, New Mexico 87505-7634. FAX (505) 473-6251 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships to qualifying institutions in poor or excluded communities.) Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 9.30.04 From: Jordan Crandall <crandall@blast.org> Subject: PUBLIC CULTURE faculty search Artist in Public Culture/Urban Space Associate Professor, tenured, beginning July 1, 2005. Rank and salary commensurate with qualifications and experience and based upon UC pay scales. We are seeking an artist who comes from a visual art, architectural, or urban studies background, and preferably works across these disciplines as both a practitioner and a theorist. The candidate should work with the city as a site of investigation and develop ways of intervening in urban space. This could be someone who works in the mode of public art or tactical intervention into public debate but more generally, they should work with a problematic of ?the public? and the politics of the public sphere. UCSD is a research university that actively promotes and supports creative work within a broadly interdisciplinary arts department that includes studio, computing, art and media history, theory and criticism. Teaching will include both graduate seminars and undergraduate courses, large and small. The candidate will actively participate in the ongoing development of curriculum and facilities. MFA or equivalency and teaching experience required. Send letter of application, curriculum vitae, names and addresses of three references (do not send letters of recommendation and/or placement files) and evidence of work in the field. This evidence may be in the form of slides, tapes, discs, publications and/or public lectures and should be accompanied by return mailer and postage. Steve Fagin, Chair (Position #PC05) University of California, San Diego Visual Arts Department (0327) 9500 Gilman Drive La Jolla, California 92093-0327 All applications received by January 10, 2005, or thereafter until position is filled, will receive thorough consideration. Please reference position #PC05 on all correspondence. UCSD is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to the achievement of diversity among its faculty and staff. Proof of U.S. citizenship or eligibility for U.S. employment will be required prior to employment (Immigration Reform and Control Act of 1986). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + For $65 annually, Rhizome members can put their sites on a Linux server, with a whopping 350MB disk storage space, 1GB data transfer per month, catch-all email forwarding, daily web traffic stats, 1 FTP account, and the capability to host your own domain name (or use <a rel="nofollow" href="http://rhizome.net/your_account_name">http://rhizome.net/your_account_name</a>). Details at: <a rel="nofollow" href="http://rhizome.org/services/1.php">http://rhizome.org/services/1.php</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 9.30.04 From: Kevin McGarry <Kevin@rhizome.org> Subject: FW: Pervasive and Locative Arts Network | cfp —— Forwarded Message From: drew hemment <dh@loca-lab.org> Date: Thu, 30 Sep 2004 03:08:47 +0100 To: digest@rhizome.org, Net Art News <netartnews@rhizome.org> Subject: Pervasive and Locative Arts Network | cfp Announcement and Call For Proposals PERVASIVE AND LOCATIVE ARTS NETWORK (PLAN) A new international and interdisciplinary research network in pervasive media and locative media has been funded as part of the Engineering and Physical Sciences Research Council (EPSRC) Culture & Creativity programme. The network will bring together practicing artists, technology developers and ethnographers with the aim of advancing interdisciplinary understanding and building consortia for future collaborative projects. The network will stage three major gatherings. Each gathering will have a distinct form and focus: an initial workshop to launch the network and assess the state of the art; a technology summer camp for artists and technologists, including hands-on prototyping sessions using the facilities at Nottingham?s Mixed reality Laboratory; and a major public conference and participatory exhibition as a central component of the Futuresonic 2006 festival in Manchester; as well as a supporting web site and other resources. CALL FOR PROPOSALS - PLAN Workshop Submissions are invited to the first of these events, a two day public workshop with papers, demos and discussion sessions. The aim of the event is to launch the network, review the state of the art, bring key players in the field together, and make initial contacts. The event will also aim to identify a range of specific interests that can lead to the formation of sub-groups within the network. Position papers and a summary report will subsequently be published on the network web site. The workshop will take place in London over two days in the week beginning 24th January 2005. Venue and final dates announced soon. Please send submissions to ben@open-plan.org by Monday 8th November. We request that participants seek support for travel and subsistence from their institutions. For participants without institutional affiliation the network shall support applications to funding councils and foundations, please contact us for further details. THE NETWORK Pervasive and Locative Arts Network (PLAN) - Enhancing Mobile and Wireless Technologies for Culture and Creativity This network will draw together computer scientists and engineers who are leading the field in developing pervasive and locative technologies; artists who are using these technologies to create and publicly deploy innovative and provocative experiences; social scientists with a proven track record of studying interactive installations and performances; industrial partners from the creative industries, spanning the arts, television, games, education, heritage, mobile computing and telecommunications sectors; and international partners who are coordinating parallel networks around the world. NETWORK OBJECTIVES The network aims to support the formation of a new interdisciplinary research community to investigate how the convergent fields of pervasive media and locative media need to evolve in order to support future cultural and creative activities. Specific network objectives are: -To review the scope of the research that is currently being carried out in these fields through a focused workshop, leading to an integrated ?state of the art? survey paper. -To identify the key research issues that need to be addressed in order to further develop pervasive and locative media to support culture and creativity, leading to a series of discussion ?white papers?. -To seed future projects by bringing artists, scientists and industry together in a creative environment so that they can generate and practically explore new ideas, and also to provide a forum for publicly demonstrating some of these. -To produce online and offline resources to support researchers, artists, industry and to promote public understanding of this emerging field, including a public website, an online document repository for members and a newsletter and DVD. NETWORK ACTIVITIES The network will organise and support a range of activities aimed at growing a research community and generating new collaborative projects between artists and technologists. These will include staging three major research gatherings, producing online and offline resources for fellow researchers and PhD students, and outreach activities targeted at industry. Gatherings We will stage three major gatherings. Each gathering will have a distinct form and focus: an initial workshop to launch the network and assess the state of the art; a technology summer camp for artists and technologist, especially PhD students, including hands-on prototyping sessions using the facilities at Nottingham?s Mixed reality Laboratory; and a major public conference and participatory exhibition as a central component of the Futuresonic 2006 festival in Manchester. These major gatherings will be interspersed with more ad-hoc steering and reflection meetings as required by the network participants. Producing resources We will produce resources to publicise the network, encourage the exchange of perspectives and discussion, and to provide tutorial support for PhD students, artists and other researchers who wish to break into this area. These will include: -Online resources: a public website providing access to network information including project deliverables as well as news of forthcoming calls for proposals and conferences, supported by a online document repository where members can upload documents and take part in discussion. The latter will be realised using BSCW or Project Place software. -Offline resources: a six monthly printed newsletter and a DVD of video material. Outreach The network will reach out to other researchers beyond the initial partners and also to the creative industries. This will include distribution of the newsletter and also staging a series of industry seminars, for example as part of the DTI/EPSRC Outreach programme. The network research associate will also carry out a series of site visits to different partners and potential partners in order to learn more about and report on ongoing activities. BACKGROUND IN SCIENCE AND CULTURE A new generation of pervasive technologies is enabling people to break away from traditional desktop PCs and games consoles and experience interactive media that are directly embedded into the world around them. And locative media, the combination of mobile devices with locative technologies, supports experiences and social interaction that respond to a participant?s physical location and context. Together these convergent fields raise possibilities for new cultural experiences in areas as diverse as performance, installations, games, tourism, heritage, marketing and education. A community of researchers working in pervasive media, also known as ubiquitous computing, are exploring location awareness as a requirement for the delivery of accurate contextual information. Another community, primarily consisting of informal networks of technical innovators and cultural producers, which identifies its field as Locative Media, is exploring developments in and applications of locative technologies within social and creative contexts. One of the aims of this network is to bring these two communities together, linking academic research initiatives and agendas to key figures and ground breaking developments that are currently taking place outside mainstream academia. The creative industries are also beginning to take up these opportunities, led by artists who are actively charting out the potentials and boundaries of the new pervasive and locative media. Other cultural sectors have also been exploring the potential of pervasive and locative media including the games industry through commercial examples of locative games played on mobile phones such as Bot Fighters and Battle Machine and also research projects such as ARQuake, Mindwarping, Pirates! and Border Guards. Researchers have also demonstrated applications in heritage and tourism, for example personal tourist guides and outdoors augmented reality displays and as well as in mobile learning experiences and participatory local history mapping projects. A key characteristic of this research is its interdisciplinary nature, with many of these projects combining practicing artists, technology developers and also ethnographers, whose studies of early experiences that are actually delivered as public artworks have yielded new insights into the ways in which participants experience pervasive media, for example how they (and performers and technical crew) deal with uncertainty of location and connection, and, conversely, new metaphors for engaging in locative media. However, realising the full potential of pervasive and locative media requires several further developments. First, it is necessary to expand the research community, drawing in new academic partners and also a greater range of partners from the creative industries. Second, it is important to deepen the interdisciplinary relationships between artists, technology developers and social scientists working within and between these two convergent fields. This is not only a matter of reflecting on this relationship, it is also necessary to pursue it in practice, which means forming new collaborations leading to practical projects. Third, we need to clarify and deepen the research agenda for this area, by opening up a variety of research questions, including: -To what extent does the convergence of pervasive media and locative media signify a commonality of views, definitions and issues in each field? -What new kinds of cultural applications will become possible through pervasive and locative media? Can we envisage new installations, performances, games and other public experiences? -Can common design frameworks and tactics help create powerful user experiences? Can we identify and share design guidelines and generate useful abstractions, for example building on recent proposals for deliberately exploiting uncertainty and ambiguity -What tools are required by creative users, for example that enable them to easily (re)configure an experience to work in different locations or to orchestrate it from behind the scenes. What new research challenges do these embody, for example, how do we visualise the state of the technical infrastructure ? networks and sensors ? or intervene in participants? experiences? -What methods do researchers use to design and evaluate their experiences? We already see the use of ethnographic studies, audience discussions and even analysis of system logs; how should these be extended and can we share approaches, tools and even datasets to enhance our understanding of experience and design? These questions, combined with the need to build a broader inter-disciplinary research community, provide the underlying motivations for this network. INITIAL NETWORK Project investigators: Steve Benford, Nottingham (Principle Investigator) Drew Hemment, Salford Henk Muller, Bristol Matthew Chalmers, Glasgow Michael Sharples, Birmingham Geraldine Fitzpatrick, Sussex Christian Heath, Kings College Jon Hindmarsh, Kings College Network co-ordinator: Ben Russell, Headmap/Locative Media Lab Initial partners: Marc Tuters, Locative Media Lab Dennis Del Favero, NSW iCinema Steve Sayers, NESTA Toby Barnes, EM Media Richard Hull, HP Labs Denny Plowman, City of Nottingham Council Sara Diamond, Banff Centre Andrew Caleya Chetty, Metapod Amanda Oldroyd, BT Exact Matt Adams, Blast Theory Nick Southgate, Ricochet TV Annika Waern, iPerG Giles Lane, Proboscis Minna Tarkka, m-cult Carsten Sorensen, LSE Angharad Thomas, Salford Chris Byrne, New Media Scotland Paul Sermon, Salford Nina Wakeford, INCITE, Surrey + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 9.27.04 From: Rhizome.org <artbase@rhizome.org> Subject: Just added to the Rhizome ArtBase: #1 by joao Simoes Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?27884">http://rhizome.org/object.rhiz?27884</a> + #1 + + joao Simoes + NÂº1 are souvenir-screen shots from 5 online surfing days where I was the first visit in a 'apparently active' web page. Souvenir-screen shots as if I was travelling with my Nikon. My powerbook is my camera. online work in progress + + + Biography Architect (Lisboa, Mantova, Milano and Paris) Art/Architecture Master Degree (Barcelona) in 2005 Art Grant, Artist in Residence in New York (Calouste Gulbenkian and Luso American Foundations) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 9.28.04 From: Regina Celia Pinto <reginapinto@arteonline.arq.br> Subject: MILKY WAY Hello, I would like to invite you to visit my last work, the first of a new series, which I finished last week: MILKY WAY REGINA CÃ?LIA PINTO PIXEL on SCREEN 5070 X 1453 2004 Everything started with considerations on pain, on beauty and on a picture which personified Beslan Tragedy. The pixel painting "MILKY WAY" (<a rel="nofollow" href="http://arteonline.arq.br/via_lactea">http://arteonline.arq.br/via_lactea</a> ) also is: Gender: a big size painting on computer screen (5070 pixels X 1453 pixels or 179, 0 cm X 52, 0 cm), you may use the two scrollbars to see it completely. Keywords: women, beauty, pain, marginality, resistance, body, pixel painting, video To see "Milky Way" in a best way, you will need: Internet Explorer 6.0 Screen Resolution: 800 X 600 or 1024 X 768 Sound Enabled Popup windows available Flash Player 7.0 Fast connection is better (Also better visualized in PC than in MAC.) HINT: To illuminate the "Milky Way" you have to discover the small oval buttons hidden in the "painting". Regina CÃ©lia Pinto <a rel="nofollow" href="http://arteonline.arq.br">http://arteonline.arq.br</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 9.29.04 From: Rhizome.org <artbase@rhizome.org> Subject: Just added to the Rhizome ArtBase: Evidencia #001 by John Paul Bichard Just added to the Rhizome ArtBase … <a rel="nofollow" href="http://rhizome.org/object.rhiz?27962">http://rhizome.org/object.rhiz?27962</a> + Evidencia #001 + + John Paul Bichard + Evidencia takes as its starting point, an ending; a forensic space, a place in which remains and material take on new significance. From the objects and images, there are no definite conclusions, no clear narratives, just the threads of something that could have happened. The viewer is invited in, but in doing so enters the scene to witness part: of a crime, a conflict, a game? Evidencia #001 is an installation work at the Quadrum Gallery in Lisbon. The work is a (re)construction of a forensic space, a small plot of land which is at once the scene of a crime and a fragment of a first person shooter videogame made "real". As a forensic space, it becomes a clipping, a piece of evidence removed from its original surroundings, as a games space, it is a trope, a snapshot of a brief violent action that would be lost as the player moves on to the next encounter. + + + Biography John Paul Bichard is an artist who has worked with digital media, games, photography and installation since the early nineties. He curated and produced On a Clear Day in 1996, a ground breaking digital game art project that took place around the UK. As Mute magazine's games editor (<a rel="nofollow" href="http://www.metamute.com">http://www.metamute.com</a>) from 1995 to 2001, Bichard explored and wrote on the cultural significance of the then emerging video game scene and was invited to show work at the Virtual Architecture exhibition at the ICA in 1998. For the past two years he has been head of interaction with the public authoring digital research project Urban Tapestries (<a rel="nofollow" href="http://www.urbantapestries.org">http://www.urbantapestries.org</a>) a joint venture with France Telecom, HP, Orange and the DTI. Bichard has shown work in Europe, NY and London. Recent shows include an installation at the International Digital Games Research Symposium 'Level Up' in Utrecht, an online residency with Variablemedia (<a rel="nofollow" href="http://www.vriablemedia.info">http://www.vriablemedia.info</a>) and a first person video game on the ISEA 2004 ferry in the Baltic Sea as part of the ICOLS arms fair (<a rel="nofollow" href="http://www.icols.org">http://www.icols.org</a>). Bichard currently has a one-person show at Quadrum Gallery in Lisbon (<a rel="nofollow" href="http://www.galeriaquadrum.com">http://www.galeriaquadrum.com</a>). The exhibition, Evidencia is the second show in a series that explores the relationship between environment, narrative and [game]play through digital games, installation and photography. Bichard's work picks at the boundary between the "protected real place" such as the police evidence space or the 'safe European home' and the "digital made real", where the games space is [re]constructed as a "real" environment. Through the use of online digital games, their tropes and assets, these works, subvert the player/viewers expectations and assumptions of the space they are engaging with inviting the viewer to re-construct the narrative and re-interpret the place. His photo works and multiples include collaged photo narratives, artist's books and multiple artworks that further explore relationships between physical and fabricated space, narrative and notions of authenticity. Bichard has produced three online digital games: Lone Wolf (2002) an 80s cold war thriller demo, Staying in to Play (2003) a de-game and Condition Red(2004) a suicide speed boat game for ISEA 2004. He has also published eight artists books and multiples and has work in several publications including "It's Wrong to Wish on Space Hardware" a 2002 Gordon Macdonald/Photoworks publication. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 9.29.04 From: ryan griffis <grifray@yahoo.com> Subject: Experiments in the Garden of Good and Evil: a review of the gardenLAb experiment Experiments in the Garden of Good and Evil: a review of the gardenLAb experiment "The ambitious time traveler doesn't need to know anything about Lorentz transformations or black holes - a good road map of Los Angeles County will suffice." Mike Davis, _The Ecology of Fear_ , 1998 "I like the spaces in between." Neil Hopper, quoted in Lelyveld Nita, "He Has His Walking Points," LA Times, 9.16.04 ( <a rel="nofollow" href="http://www.walkinginla.com/">http://www.walkinginla.com/</a> ) Los Angeles is infamous for its mediated representations. The expanse of utopic/dystopic literary depictions of cyborg assassins, cataclysmic volcanoes and bikini clad romps in the surf mix seamlessly with the nightly news stories of gang violence, deadly air quality and the excitement of Oscar night. These make up the visible points of LA county's terrain, as much as the surrounding mountains and Disney's blindingly reflective music hall. ( <a rel="nofollow" href="http://www.nd.edu/~acasad/images/news/ourladyofangels/disney/">http://www.nd.edu/~acasad/images/news/ourladyofangels/disney/</a> )Of course, being the example of sprawl that it is, there is lots of space between its "points of interest," both geographic and metaphoric. It is this space BETWEEN the highly visible markers of LA's identity that is investigated by a new exhibition at Art Center College of Design's Wind Tunnel exhibition space in Pasadena. ( <a rel="nofollow" href="http://www.fritzhaeg.com/garden/initiatives/gardenlabshow/windtunnel.html">http://www.fritzhaeg.com/garden/initiatives/gardenlabshow/windtunnel.html</a> ) The exhibition, entitled "the gardenLAb experiment," is part of a series of gardenLAb programs initiated by curator Fritz Haeg to explore various "ecology-based initiatives." It is also part of a larger network of events occurring in small, sporadic niches of the arts community that are performing what Matthew Fuller calls "not-just-art" - seen in exhibitions like MASSMoCA's "The Interventionists." ( <a rel="nofollow" href="http://www.massmoca.org/visual_arts/interventionists.html">http://www.massmoca.org/visual_arts/interventionists.html</a> ) A good portion of the fifty-five works in gardenLAb certainly are art, mostly created by artists, and meant to be looked at as art, but there is also a substantial presence made by the work of architects, urban planners, ecologists and others. There are also quite a few collaboratives represented, ranging from community organizations like the Friends of the LA River to the conceptual architects of AUDC and the performative interventionists of the LA Urban Rangers. The "inbetweenness" of the subject matter is complimented by "inbetweenness" in terms of disciplines, desires, and approaches. This is intra-, as opposed to inter-, disciplinarity. One issue that comes up for a lot of LA artists and activists concerned with ecology and space is the notion of "open space." Those who have been to LA are most likely familiar with the expanses of under utilized space that exists between neighborhoods, under freeways and along the LA River. ( <a rel="nofollow" href="http://www.folar.org/">http://www.folar.org/</a> ) The paradox is that there is less open space per capita in this sprawling metropolis than any other major US city, with less than one acre per one thousand residents. And the unevenness of development and allocation of what is there forms what Mike Davis has aptly called the "third border" along race and class lines. How is it possible that as many as half of the children living in a coastal city have never seen the ocean? ( <a rel="nofollow" href="http://www.calfund.org/ar2002/metafoundation/parks.html">http://www.calfund.org/ar2002/metafoundation/parks.html</a> ) As Jenny Price and David Kipen's "Malibu Project" shows, what these children might encounter on their first trip to the beach may tell them that they're not wanted anyway. They have produced humorous variations on the signs lining 20 miles of Malibu Beach warning that long stretches of sand there are private property. ( <a rel="nofollow" href="http://69.20.6.73/cms/pages/trail/price.html">http://69.20.6.73/cms/pages/trail/price.html</a> ) This may spark the desire in some to take matters into their own hands. Visitors could take Lize Mogel's "Public Park: Personal Planning Kit" to their neighborhoods and make any of those under utilized spaces a park for everyone. We could also join urban planner James Rojas in playfully "Rebuilding Eden" as a model city constructed of recycled and found objects. Or for those more pragmatically inclined, join the "Path to Freedom" homesteaders in their efforts to live the only "truly radical lifestyle" by growing as much of their own food as possible. And if we can't be trusted to liberate the planet, much less ourselves, perhaps we can radicalize our agricultural subjects as David Burns and Matias Viegener's "Corn Study" suggests. Their tongue-in-cheek solution: teach corn to revolt from the growing biotech regime by exposing it to the ideas of Thoreau and its own natural history. The horizontal movement of LA is an entropic force, as communities expand and contract along the clogged arteries of the freeway system. And its shaping of space can be found in the gaps of urban structure. The conceptual architectural collaborative AUDC investigates this "culture of horizontality" in their research on the symbiotic relationship formed between architecture, design and social control through the development and implementation of Muzak and dispersed telecommunications. As in their other projects, a relationship is uncovered between the management of our interior and exterior spaces that is creepy to consider in conjunction with the militarized histories of much of our technological "advances." Walking through the gardenLAb experiment, it's easy to get caught up in the moment, thinking about all of the city's problems and potential solutions. I imagine that that is indeed the intention of the curators. How else can we ask, "What is to be done?" The gardenLAb is a response to such a question on very localized and thoughtful terms. But it is also a response that is contained, formed within a particular set of terms and through a specific vocabulary. Walking through the designed gallery furniture, specifically designed for the exhibit from raw plywood, cardboard and brightly colored, translucent screens, I wondered what the framing aesthetics had to do with the goals of the exhibit ( <a rel="nofollow" href="http://www.fritzhaeg.com/webpic/gl-pic/gl-pic-show-process/glshow_090704h.jp">http://www.fritzhaeg.com/webpic/gl-pic/gl-pic-show-process/glshow_090704h.jp</a> g ). Certainly, much of it accommodated the weekly Saturday gatherings of guided hikes and discussions. There could be arguments made both for and against its success in facilitating the radicality of the projects it frames. Many probably think it doesn't matter either way. But I wondered what the two radicals in Nils Norman and Lincoln Tobier's video "Green Love" would think. These two fictional women, who met during the great Southern California supermarket strike that took place earlier this year, became guerrilla urban planners, reshaping the spaces of the city to be more livable while no one was looking. ( <a rel="nofollow" href="http://www.union-network.org/UNIsite/Sectors/Commerce/index_ufcw_strike.htm">http://www.union-network.org/UNIsite/Sectors/Commerce/index_ufcw_strike.htm</a> ) How would they have redesigned the wind tunnel into a radical eco-vision? Would they blow it up, as they did tens of SUVs, as a symbol of over-consumption? But, such a question can never be answered, not because these characters are fictional, but because they are already, and prematurely, dead - the result of a Thelma and Louise style stand off with reality, the LAPD. - Ryan Griffis The gardenLAb can be found online at <a rel="nofollow" href="http://www.fritzhaeg.com/garden.html">http://www.fritzhaeg.com/garden.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Kevin McGarry (kevin@rhizome.org). ISSN: 1525-9110. Volume 9, number 39. 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