<br />RHIZOME DIGEST: August 17, 2003<br /><br />Content:<br /><br />+announcement+ <br />1. Candace Fujishige: AIM ANNOUNCEMENT: AIM on Sunset reception<br />2. Rachel Greene: Paris – ICHIM 03 – September /<br />3. Ignacio Nieto: DATA CONTROL<br /><br />+opportunity+<br />4. Yael Eylat: guest lecturers program<br />5. Benjamin Fischer: Call for Entries: TARGET BLANK: 17. STUTTGARTER<br />FILMWINTER - FESTIVAL FOR EXPANDED MEDIA<br />6. Vonda Yarberry: Electronic Arts/Computer Animation tenure track<br />faculty position<br /><br />+work+<br />7. Jo-Anne Green: Turbulence Spotlight: "Alphanumeric Labs" by August<br />Highland<br /><br />+feature+<br />8. Jim Andrews, Neil Jenkins, Rachel Greene, t.whid: samorost.swf: Czech<br />flash piece<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />Date: 8.09.03<br />From: Candace Fujishige (aim@usc.edu)<br />Subject: AIM ANNOUNCEMENT: AIM on Sunset reception<br /><br />THE USC SCHOOL OF FINE ARTS? INTERNATIONAL FESTIVAL OF TIME-BASED MEDIA<br /><br />AIM, the USC School of Fine Art's time-based media festival, the City of<br />West Hollywood, the Key Club, and IIKVISION present, AIM ON SUNSET,<br />screenings of selected AIM works on the video billboards on West<br />Hollywood's Sunset Strip.<br /><br />JUMBOTRON BILLBOARDS LOCATED AT:<br />8410 Sunset Boulevard, near the Standard<br />& The Key Club, 9039 Sunset Boulevard<br /><br />– * – * – * – * – * – * – * – * – * – * – *<br />AIM ON SUNSET RECEPTION<br /><br />The reception celebrating AIM on Sunset will be held: August 21, 2003<br />7:30-9:30 PM at 8410 Sunset Boulevard, in the courtyard<br /><br />Metered street parking or $10 parking available at the Hyatt across the<br />street.<br /><br />Please RSVP to aim@usc.edu, including your name and number of guests.<br /><br />– * – * – * – * – * – * – * – * – * – * – *<br /> <br />AIM on Sunset runs June to December, 2003. Selections include the work<br />of six digital and video artists exhibited on the three video billboards<br />located on the Sunset Strip. Featured artists include Martha Gorzycki:<br />Unfurling, Annetta Kapon: Verbatim, Johnny Karaguez: Noize, Brian Karl<br />and Tirtza Even: Flicker,Dennis H Miller: Vis a Vis, and Gregory J<br />Scranton: ROY-G-BIV.<br /><br />Kapon's Verbatim is playing at 8410 Sunset Blvd (opposite the Hyatt)<br />intermittently between commercials. All other works are being screened<br />at the Key Club, 9039 Sunset Blvd. on the hour and each half hour. For<br />more information on the artists or the AIM festival in general please<br />visit our website at www.usc.edu/aim.<br /><br />AIM ON SUNSET has been curated by AIM director Lynzie Baldwin and AIM<br />co-founder Janet Owen.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />Date: 8.12.03<br />From: Rachel Greene (rachel@rhizome.org)<br />Subject: Paris – ICHIM 03 – September /<br /><br />Begin forwarded message:<br /><br />From: Ichim 03 Ecole du Louvre (mailing@ichim.org)<br />Date: Tue Aug 12, 2003 12:53:57 AM US/Eastern<br />To: (rachel@rhizome.org)<br />Subject: Paris – ICHIM 03 – September /<br />[rachel@rhizome.org]<br />Reply-To: ichim03@ecoledulouvre.fr<br /> <br />Le Louvre, Aug. 8th, 2003<br />To : rachel@rhizome.org<br /> <br />As we approach the end of Summer, you still have time to take the most<br />exciting and educational trip of the season…<br /><br />Come to ICHIM 03, the international conference for Cultural Institutions<br />and Digital Technology, which will take place September 8-12, 2003, at<br />Le Louvre in Paris, France!<br /><br />You can afford it: Air France is offering discounts on already low<br />airfares to all ICHIM registrants. Housing for the entire week is<br />available at the lovely Cité internationale, located just a few<br />bus/metro stops away from Le Louvre, starting at 170 euros per person,<br />all inclusive.<br /><br />Check out the ICHIM 03 website (www.ichim.org). You will find details<br />about the conference schedule and our preliminary workshops, featuring<br />"The Wireless Museum", a free workshop offered by Antenna Audio.<br /><br />Paris and ICHIM 03 await you this September!<br /><br />____________________________________________<br /> <br />les Institutions Culturelles et le Numérique<br />Cultural institutions and Digital Technology<br />I C H I M 0 3 L O U V R E<br />(<a rel="nofollow" href="http://www.ichim.org">http://www.ichim.org</a>)<br />Paris, Ecole du Louvre, 8 - 12 Sept 03<br />(ichim03@ecoledulouvre.fr)<br />____________________________________________<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />Date: 8.12.03<br />From: Ignacio Nieto (igcionito@mail.com)<br />Subject: DATA CONTROL<br /><br />DATA CONTROL <br /><br />José Ignacio Nieto Larraín<br /><br />Ernesto Muzard 2024 Depto 36.<br />Providencia / Santiago<br />Phone-fax: 56 (2) 4300969<br />Mobil: 095114452 <br />Email: ignacio_nieto@mail15.com<br /><br />The exhibition will show three works:<br /><br />1. la-historia.com<br /><br />the project executer was investigating about art in internet (net.art)<br />and software-art, so he thinks about changing the support could be to<br />buy a web page. It could send messages to the guests through a button<br />and print them to be shown as a part of the exhibition. Another plus of<br />buying the page would be that it could have a larger range of audience<br />(national and foreing). For this, the page have advertising by artistic<br />bulletines for spanish spoken people: Esferapública (Lima / Buenos<br />Aires), Nettime Latino (DF México), MeArte (Buenos Aires), and in public<br />spaces inside the city of Santiago.<br /><br />The name of the site will be: www.la-historia.com. It will consist of: A<br />homepage of 6 buttons. This dinamic page will talk about the Pacific<br />War.<br /><br />1. Button: About_Me Access to a page in which you can ask about the<br />sources of the conflict.<br /><br />2. Button: Read_Me Access to a page in which you can read two different<br />summaries, of a same conflict, written from different points of view,<br />taken from the Sources searched in internet.<br /><br />3. Button: Random_Me Builts a page in where you can combine different<br />versions of the chosen event.<br /><br />4. Button: Email_Me Access to the an email where the user could sent<br />facts that where not included in the oficial summaries.<br /><br />5. Button: Re_Write_Me Creates a page where the user can combine the<br />histoty of the conflicts taken from the oficial summary, with the facts<br />sent by the users.<br /><br />Each page made by the buttons (Random_Me and Re_Write_Me) will be send<br />to an email address, printed and exhibited on the east wall of the<br />gallery. Every message will be put it on a transparent plastic and will<br />include a sticker of the three directions of the Bolivia Chile and Peru<br />Educational Departaments.<br /><br />During the exhibition there will be posters with the promotion of the<br />site and the exhbition. These ones, made on silkscreen, will be put in<br />Schools of Arts of Santiago.<br />2. The North Chilean landscape, the South Peruvian and the East Bolivian<br />landscapes.<br /><br />In the west wall of the gallery, to confront the messages printed and<br />sent by the public, a a group of three digital photographies (of 150 X<br />100 cmts. each, aprox.), will be settled. Those will appeal to the noise<br />as a visual solution. They will take as a model the distorsioned signal<br />captured through the photo lent of tv channels.<br />3. Waiting Room<br /><br />To complement and strengthen the work conceptual and visually in the<br />space of the exhibition, the executer make contact with the japanese<br />artist and programmer Masayuki Akamatsu, and ask him to make a special<br />software to it, which will consist in removing the image taken trough a<br />camera faking an earthquake on the screen. This effect will work with<br />loop; it will go back to the real image and will start again<br />continuously. In the north wall of the gallery will besettled a digital<br />video camera connected to the computer. In front of it, some chairs<br />similars to what the waiting rooms of hospitals have.<br /><br />The last day, there will be a close of the exhibition including Pisco<br />Sour a made as Peru people drink it.<br />Exhibition inviting to change the course of the history<br /><br />The Balmaceda 1215 Gallery continues with the exhibition season of the<br />year 2003, with the opening of the exhibition ?Data control?, of the<br />artist Ignacio Nieto, the next thursday 7th , August, at 19:30 hrs.<br /><br />The project consist in the creation of an interactive web site<br />(www.la-historia.com) about the history of the Pacific War. Such event<br />will be taken relatively by the audience, who will be able to compare at<br />the same time the Chilean and Peruvian version of it, and then combine<br />the texts or even to add non chosen facts. The interactive pages will be<br />printed and shown on the Balmaceda 1215 Gallery, tensioned, also, with<br />three digital printed photographies of the distotioned image of the<br />signal of the Chilean tv channels. A third element conform this work: a<br />computer settled on the gallery will transmit the image of the room<br />itself, worked with a digital effect simulating an earthquake.<br /><br />?Data Control? presents a questioning about the information systems and<br />about the traffic of such information. The piece exposes different<br />formats and ways of intervention of current systems: web, photography,<br />video and a computer software can and are being manipulated from the<br />arbitrary and human proposal. The steady condition of culture, is<br />vulnerable to the massmedia that process all the information. The<br />proposal of this artist, if even starts with the opening, it will<br />develop until it gets its highest point of tension and saturation at the<br />moment of the closing, therefore we suggest a visit also in that date:<br />friday 29th of August, at 19:30 hrs.<br /><br />The showing is part of the gallery project Campo de Pruebas (Test Camp),<br />which convoked artists to work on a specific piece for the gallery and<br />to intervent it as a support for their works that, in this case, is also<br />a virtual support; the work is developed also in internet.<br /><br />The curators of ?Campo de Pruebas? were the visual artists Nury González<br />and Ximena Zomosa, with the helping of the art historian Soledad Novoa.<br /><br />Campo de Pruebas Nº4: ?Data Control? (of Ignacio<br />Nieto) <br />)From 07 to 29 of August, 2003<br />Free Entrance <br />Balmaceda 1215 Gallery, Avda. Balmaceda 1215 , 2nd<br />floor. <br />Schedulerom mon. to fri., 15:00 - 19:00 hrs.<br />www.balmaceda1215.cl/extension<br /><br />–<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />Date: 8.11.03<br />From: Yael Eylat (eylat@camera.org.il)<br />Subject: guest lecturers program<br /> <br />Guest Lecturers Program - Academic Year 2003/2004<br /><br />Deadline for proposals: September, 10th 2003<br /><br />Camera Obscura - school of art, was established in 1978, and is today<br />the largest educational institution in Tel-Aviv for the study of cinema,<br />video, Digital Media and photography. The school offers a four-year<br />academic program in three departments-Cinema & Video, Photography, and<br />Digital Media-in addition to a three-year academic program in Script<br />Writing and in Journalism & Communication.<br /><br />Camera Obscura has always aspired to keep abreast of the latest<br />intellectual and technological developments, while remaining firmly<br />anchored in tradition, by featuring a dynamic study program, which is<br />constantly updated in accordance with the technological and cultural<br />developments of our age.<br /><br />Over the years, Camera Obscura has executed special projects in which<br />guests from abroad were invited to deliver lectures and workshops in the<br />framework of the school.<br /><br />And now, in the occasion of our school's 25th anniversary, we are<br />initiating a special guest lecturers program, in which we invite guests<br />from all over the world. Camera Obscura is now aiming at expanding the<br />long traditional international relations, in constituting a constant<br />dialogue between our faculty and students, and between artists from<br />various creative environments, in order to widen our artistic<br />perspectives. Artists and experts from the fields of Cinema,<br />photography, New Media and Script writing, are to be invited for a<br />period of 2-3 weeks to deliver workshops and lectures in their fields of<br />specialization.<br /><br />The guest lecturer is intended to deliver lectures in the school for<br />three days in a week, following a specifically developed program, which<br />will be planned in particular, as required. The basic formation of the<br />two-week lecture program consists of: >5 meetings of 3 hours each, with<br />two distinguished groups (morning and afternoon); >Two lectures (one for<br />students and one for the faculty) and two critic sessions.<br /><br />"Camera Obscura" will be providing a flight ticket and accommodation for<br />the guests.<br /><br />The school is equipped with a photographic laboratory, a photography<br />studio, a computer room and class rooms with a computer, vhs, sound<br />system and a projector.<br />Qualified lecturers are invited to apply for this program by e-mail,<br />including the following details:<br />Full Name <br />Address <br />e-mail address <br />Position <br />Institute <br />Proposed workshops:<br />Workshop 1 (Lower level)<br />Workshop 2 (Upper level)<br />Proposed lectures <br />Technical requirements<br />CV <br /><br />e-mail addresss: info@camera.org.il<br /><br />followed by the subject: guest lecturers program<br /><br />Last date<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />Date: 8.13.2003 <br />From: Benjamin Fischer (benjamin_lists@typedown.com)<br />Subject: Call for Entries: TARGET BLANK: 17. STUTTGARTER<br />FILMWINTER - FESTIVAL FOR EXPANDED MEDIA<br /> <br />——————————————————————–<br /><br />ENGLISH VERSION SEE BELOW!<br />——————————————————————–<br /><br />——————————————————————–<br /><br />TARGET BLANK: 17. STUTTGARTER FILMWINTER - FESTIVAL<br />FOR EXPANDED MEDIA <br />——————————————————————–<br /><br />Film Video Neue Medien Installation Performance Vortraege<br /><br />Festival 15.-18. Januar 2004<br />Warm Up 9.-14. Januar 2004<br /><br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a><br /><br />Target Blank - der Stuttgarter Filmwinter geht in die 17. Runde - stets<br />auf der Suche nach Innovativem, Kritischem und Unbekanntem in der<br />Medienkunst und Filmkultur, nach den Zwischenzonen und Freiraeumen im<br />Medienbetrieb. Nach dem Rekord von ueber 1300 Einreichungen beim letzten<br />Festival sind alle Film-, Medien- und Kunstschaffende herzlich<br />eingeladen, ihre Arbeiten in den Bereichen Film, Video, CD-ROM/DVD-ROM,<br />Internet, Installation und Performance fuer den kommenden Filmwinter<br />einzusenden.<br /><br />Einreichung <br />Online-Projekte koennen direkt ueber die Festival Website<br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a> eingereicht werden. Anmeldeformulare fuer Film,<br />Video, CD-ROM/DVD-ROM, Installation und Performance koennen im<br />PDF-Format heruntergeladen werden.<br /><br />Deadline fuer Einreichungen: 15. September 2003<br /><br />Preise <br />In den Sektionen Film/Video und Neue Medien werden Preise in Hoehe von<br />ueber 11.500 EUR vom Publikum und unterschiedlichen Jurykommissionen<br />vergeben. <br /><br />Team-Work-Award <br />Die Hoppe-Ritter Kunstfoerderung stiftet EUR 2.000,- fuer eine Film-<br />oder Videoproduktion, die von einem Team realisiert wurde.<br /><br />Norman 2004 <br />Preis der Jury fuer Film und Video in Hoehe von EUR 1.500,- Preis der<br />Landeshauptstadt Stuttgart fuer Neue Medien Zwei Preise in Hoehe von<br />insg. EUR 4.000,- gehen an Arbeiten aus dem Bereich CD-ROM/DVD-ROM oder<br />an Projekte im Internet.<br /><br />Milla & Partner Preis<br />Preis fuer Medien im Raum (Installationen) in Hoehe von EUR 2000,-<br /><br />DASDING-Publikumspreis<br />Publikumspreise in den Bereichen Film/Video und Internet in Hoehe von<br />jeweils EUR 1.000,-<br /><br />Sowie weitere Preise und die heissbegehrte Wand 5-Ehrenauszeichnung<br /><br />Neben den beiden Wettbewerben fuer Film/Video und Neue Medien wird das<br />Festivalprogramm mit Spezialreihen, Panels, Praesentationen und<br />Musikevents ergaenzt.<br /><br />Weitere Informationen:<br />Wand 5 e.V. im Filmhaus<br />Friedrichstr. 23 A <br />D - 70174 Stuttgart<br />Germany <br /><br />Tel: +49-711-226 91 60<br />Fax: +49-711-226 91 61<br />Mail: wanda@wand5.de<br /><br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a><br /><a rel="nofollow" href="http://www.wand5.de">http://www.wand5.de</a><br /><br />——————————————————————-<br /><br />TARGET BLANK: 17TH STUTTGART FILMWINTER - FESTIVAL FOR<br />EXPANDED MEDIA <br />——————————————————————-<br /><br />Film Video New Media Installation Performance Lectures<br />Festival, January 15-18, 2004<br />Warm Up, January 9-14, 2004<br /><br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a><br /><br />Target Blank - the 17th edition of the Stuttgart Filmwinter is looking<br />for innovative, critical, and unknown posititions in media art and film<br />culture. After the record of 1300 submissions at the last festival the<br />organizer Wand 5 cordially invites filmmakers, media producers, and<br />artists to submit their work. Productions in the field of film, video,<br />CD-ROM/DVD-ROM, installation, and performance are very welcome.<br /><br />Submission <br />Internet-projects may be submitted online on the festival's website<br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a>. Entry forms and regulations for submissions in<br />the field of film, video, CD-ROM/DVD-ROM, installation, and performance<br />can be downloaded as PDF-file.<br /><br />Deadline for submission: September 15, 2003<br /><br />Awards <br />In the sections film/video and new media prizes amounting more than<br />11.500 EUR will be awarded by the audience and various jury commissions.<br /><br />Team-Work-Award <br />The Hoppe-Ritter Art Sponsorship endows an award of EUR 2.000 for a team<br />production in the field of film and video.<br /><br />Award of the Jury <br />Award of the Jury for film and video of EUR 1.500<br /><br />State Capital Stuttgart Awards for New Media<br />These awards of EUR 4.000 go to an independently produced work on<br />CD-ROM/DVD-ROM or to a project published on the internet/www.<br /><br />Milla & Partner Award<br />Award for media in space (installations) of EUR 2.500<br /><br />DASDING-Audience Award<br />Audience award for film/video and internet of respectively EUR 1.000<br />as well as further prizes and the popular honourable mention by Wand 5<br /><br />Besides the competitions for film/video and new media a wide range of<br />special programmes, panels, presentations and music events will be<br />offered.<br /><br />Further information:<br />Wand 5 e.V./Filmhaus<br />Friedrichstr. 23 A <br />D - 70174 Stuttgart<br />Germany <br /><br />Tel: +49-711-226 91 60<br />Fax: +49-711-226 91 61<br />Mail: wanda@wand5.de<br /><br /><a rel="nofollow" href="http://www.filmwinter.de">http://www.filmwinter.de</a><br /><a rel="nofollow" href="http://www.wand5.de">http://www.wand5.de</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />Date: 8.13.03<br />From: Vonda Yarberry (VYarberry@mchsi.com)<br />Subject: Electronic Arts/Computer Animation tenure track faculty<br />position<br /><br />Electronic Arts/Computer Animation tenure track faculty position<br /><br />Established BFA and BS in interdisciplinary Electronic Arts program is<br />seeking an additional computer animation faculty member. Great benefits,<br />exemplary technology budget, wonderful teaching environment.<br /><br />Starting date - August 2004<br /><br />Required Qualifications: Professional knowledge in one or more of the<br />electronic arts; strong aesthetic and technical proficiency; ability to<br />integrate contemporary theory/issues into curriculum; commitment to<br />collaborative interdisciplinary programs; demonstrated organizational<br />abilities; a 60-hour MFA.<br /><br />For a complete listing:<br /><a rel="nofollow" href="http://www.smsu.edu/hiresmsu/positiondetails.asp?ID=93">http://www.smsu.edu/hiresmsu/positiondetails.asp?ID=93</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />Date: 8.14.03<br />From: Jo-Anne Green (jo@turbulence.org)<br />Subject: Turbulence Spotlight: "Alphanumeric Labs" by August Highland<br /><br />FOR IMMEDIATE RELEASE<br />August 14, 2003 <br />Turbulence Spotlight: "Alphanumeric Labs" by August Highland<br /><a rel="nofollow" href="http://turbulence.org/spotlight/highland/index.html">http://turbulence.org/spotlight/highland/index.html</a><br /><br />August Highland has set about the task of changing everything<br />conventional about the publishing industry. To give a literary work the<br />same intrinsic material value as a painting, Highland conceived of the<br />"Massive Production" publishing model. Instead of producing one book and<br />selling thousands of copies of that book to readers, each one of whom<br />own a re-printed, disposable object, Highland produces thousands of<br />one-of-a-kind books and sells only the original copy of that book to one<br />person who then owns a work of art with the same intrinsic value of a<br />painting or sculpture.<br /><br />Highland applies the same production ethic to "Alphanumeric Labs." Like<br />all the projects by the "Superheroes of Humanities" the visual work by<br />"Alphanumeric Labs" are literary works that have migrated across the<br />boundary line where literature morphs from text intended to be read<br />(library material) to text intended to be viewed (museum material).<br />Currently there are four series in the Howard Fineman Collection.<br />Highland has 20 series planned for "Alphanumeric Labs," each to contain<br />1,000 works. Individual works are professionally converted from a<br />digital art piece to a "painting" of monumental size. They are sold as<br />one-of-a-kind artworks for between $2,500 to $5,000.<br /><br />BIOGRAPHY<br /><br />August Highland is the Director of "Culture Animal," a literary<br />production company. "Culture Animal" presents tens of thousands of<br />literary works by August Highland under approximately 80 personae. This<br />conceptual literary performance is called "Metapoetics Theatre."<br />"Culture Animal" has developed over 30 projects, each with an individual<br />website. The work is presented by one or more personae who produce<br />literary work in a particular genre or subgenre originated by Highland<br />himself. All the personae of "Culture Animal" are members of one of<br />three simulated literary movements. They are the "Worldwide Literati<br />Mobilization Network, the "International Belles Lettres Federation" and<br />the "Superheroes of Humanities." The literary genres that August<br />Highland has originated are "Hyper-Literary Fiction," "Microlinear<br />Storytelling," "Next-Gen Nanopoetics," and "Genre-Splicing."<br /><br />Highland is also Editor and Publisher of an online international<br />literary quarterly. The "Muse Apprentice Guild" first appeared online in<br />August, 2002. The premiere issue contained 60 writers and 100 literary<br />works. The Spring, 2003 issue of the M.A.G. presented over 4,000<br />literary works by 600 writers. The M.A.G. has 35 contributing editors or<br />"liaisons" around the world and is the Internet's largest and most<br />widely read international literary quarterly.<br /><br />For more information about Turbulence, please visit <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />Date: 8.12.03-8.13.03<br />From: Jim Andrews (jim@vispo.com), Neil Jenkins (neil@devoid.co.uk),<br />Rachel Greene (rachel@rhizome.org), t.whid (twhid@mteww.com)<br />Subject: samorost.swf: Czech flash piece<br /><br />Jim Andrews (jim@vispo.com) posted:<br /><br />Here is a Czech flash piece:<br /><a rel="nofollow" href="http://www.freshsensation.com/samorost.swf">http://www.freshsensation.com/samorost.swf</a> done by Jakub Dvorsky and<br />Tomas Dvorak, as indicated by the credits you see at the end of this<br />trip/puzzle.<br /><br />Thanks to Danny Kodicek from the dirGames-L list for this link.<br /><br />ja <br /><br />+ + +<br /><br />Neil Jenkins (neil@devoid.co.uk) replied:<br /><br />quite beautiful, reminds me why i love Jan …vankmajer's films i rarely<br />play games, but this has me going nutty jim.. any help on how to get<br />through the engine room ??!!!<br /><br />neil <br /><br />+ + + <br /><br />Jim Andrews replied:<br /><br />i fluked through the engine room. i just went back. i clicked the left<br />control to set the 0 Direction meter to 50, clicked the left white<br />button, and then clicked one of the right buttons. not sure of the logic<br />of this one. anyway, this is the second to final scene.<br /><br />it's kind of 'myst' like, this piece, in the puzzles. the art is really<br />well done, isn't it. and the sound design is appropriate. and the<br />puzzles/navigation are amusing, i thought.<br /><br />I don't know Jan …vankmajer's films, Neil. Why does this piece remind<br />you of them?<br /><br />If anyone reads Czech on the list, would be interested to read what the<br />credits say at the end. Is this a student piece? Pretty durn good for a<br />student piece, if it is a student piece.<br /><br />ja <br /><br />+ + +<br /><br />Neil Jenkins replied:<br /><br />cheers Jim.. finally made it through to the end…<br /><br />"i fluked through the engine room."<br /><br />i think i did too..<br /><br />"I don't know Jan …vankmajer's films, Neil. Why does this piece remind<br />you of them?"<br /><br />…vankmajer has to be one of the masters of czech cinema, a good<br />overview of his work can be found at <a rel="nofollow" href="http://www.illumin.co.uk/svank/">http://www.illumin.co.uk/svank/</a> -<br />his films and animations, often a mixture of found objects, models and<br />people are surreal, stunning - the samorost piece reminded me<br />particularly of his version of 'Alice' (in wonderland) and his most<br />recent (to my knowledge) film 'Otesánek', whose main character, a tree<br />stump is brought to life by a childless couple. I can't recommend his<br />work enough :)<br /><br /><a rel="nofollow" href="http://www.kinoeye.org/02/01/hames01.php">http://www.kinoeye.org/02/01/hames01.php</a><br /><br />"If anyone reads Czech on the list, would be interested to read what the<br />credits say at the end."<br /><br />will try and get through to the end game again and give you a very rough<br />translation (i'm no expert, but i have a good czech dictionary!)<br /><br />+ + + <br /><br />Rachel Greene (rachel@rhizome.org) replied:<br /><br />Jim – I only got to the scene with the dude smoking the pipe. How do I<br />move on from there? Thanks Rachel<br /><br />+ + +<br /><br />Jim Andrews replied:<br /><br />Hi Rachel, <br /><br />Tighten the ski-lift line by clicking it where it is clickable.<br /><br />Then get the dude stoned. When the hash is all gone, he drops the pipe,<br />which is also the key. Click the pipe/key, and click the button on the<br />lock. Or is it click the button on the lock and then click the pipe/key?<br /><br />The little hero will then ski up the hill.<br /><br />Change the sign at the top of the hill to point to the left, and get the<br />guy at the bottom of the hill out of the way (the little hero will<br />complain otherwise). Then click the little hero and he'll ski down the<br />hill and off into the next scene.<br /><br />This sort of piece is a matter of looking for significant items and<br />cursor changes; things that are clickable cause the cursor to change<br />shape, and one proceeds via some sequence of clicks/actions.<br /><br />Someone on the dirGames list criticized this sort of 'myst'-like<br />logic-of-unfolding as just click-like-mad ness. but i disagree. it's no<br />fun if one just clicks like mad all over the place on whatever is<br />clickable; the fun is in trying to discern what one is trying to do to<br />advance.<br /><br />ja <br /><a rel="nofollow" href="http://vispo.com">http://vispo.com</a> <br /><br />+ + +<br /><br />t.whid (twhid@mteww.com) added:<br /> <br />you need to fix the ski lift.<br /><br />turn the key, press the button.<br /><br />i found this interactive narrative to be very engrossing and very<br />entertaining.<br /><br />i enjoyed this piece tremendously.<br /><br />it has qualities similar to alice in wonderland or spirited away, total<br />lyricism. every screen holds a new small, but original, experience which<br />you need to figure out to help the story move along. the last engine<br />room screen was really the only dud in the whole thing.<br /><br />– <br />(twhid) <br /><a rel="nofollow" href="http://www.mteww.com">http://www.mteww.com</a><br />(/twhid) <br /><br />+ + +<br /><br />Jim Andrews replied:<br /><br />Yes, the engine room is a bit off, although the graphics are, typically,<br />very well done.<br /><br />Though the 'narrative' and line of action of the piece, as a whole, is<br />well-constructed, the ending was anti-climactic. As opposed to the<br />ending of, say, 'myst', which is in a sense the 'paradigm' of this<br />piece.<br /><br />It is enjoyable, I agree, because the world created and the<br />interactivity is engaging, and the overall 'objective' is clear and the<br />objectives along the way are well-suggested. One might wish for a deeper<br />story, but maybe that's criticizing it for what it isn't rather than<br />what it is. A project like Myst took a team of people a couple of years<br />to build. The Czech project is more humble and may even be a student<br />project, not sure (excellent for a student project, if so). It would<br />probably take one person at least a year to do this project.<br /><br />No comment from anyone on the more ambitious but somewhat related Danny<br />Kodicek and friends Time Hunt project at <a rel="nofollow" href="http://timehunt.com">http://timehunt.com</a> –related<br />only in that it's also a proceed-by-interactive-puzzle sort of piece and<br />the graphics are, again, pretty deluxe. Too involved? I found the<br />puzzles tedious actually, rather than intriguing, so I didn't get very<br />far. But I admire the scope of it and much of the execution. The<br />narrative and depth and scope and subject of the narrative is worthy.<br /><br />ja <br /><br />+ + +<br /><br />Jim Andrews added:<br /><br />oops, sorry, the <a rel="nofollow" href="http://www.timehunt.com">http://www.timehunt.com</a> link needs the www.<br /><br />ja <br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Rachel Greene (rachel@rhizome.org). ISSN:<br />1525-9110. Volume 8, number 33. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
