RHIZOME DIGEST: 04.07.06

discussion

Posted April 6 2006 20:00

RHIZOME DIGEST: 04.07.06

RHIZOME DIGEST: April 07, 2006 ++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++ Content: +opportunity+ 1. Rachel Clarke: NMC media-N: Mediated Perspectives 2. Colleen Tully: Call for Submissions - Pixel Pops! in Prague - Deadline May 5, 2006 3. {NetEX}: NetEX in April—>new calls, new deadlines 4. Stephanie Martz: New Deadline for Mobile Exposure 2006 Call for Works 5. Lauren Cornell: FW: Postmasters Gallery announces The4thScreen: a global fest of art and innovation for mobile phone +work+ 6. Richard Garrett: Music from the Weather - New album 7. Mark River: Rhizome Raw…RU READY TO ROCK?. I said…RU READY? +announcement+ 8. Randall Packer: Mark Amerika: Digital Personas 9. Nat Muller: Introducing: Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE! 10. {JavaMuseum}: new interviews on —-> JIP - JavaMuseum Interview Project 11. Ryan Griffis: Fwd: Tactical Magic Update! 12. Brett Stalbaum: [Fwd: Allan Kaprow, 1927-2006] +Commissioned by Rhizome.org+ 13. David Senior: Interview with Siegfried Zielinski + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to RhizomeÂ?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions 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 Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Rachel Clarke <rclarke@csus.edu> Date: Mar 31, 2006 Subject: NMC media-N: Mediated Perspectives The second edition of the CAA New Media Caucus journal, media-N is now online at: <a rel="nofollow" href="http://www.newmediacaucus.org/media-n/current_table.htm">http://www.newmediacaucus.org/media-n/current_table.htm</a> This edition, "Mediated Perspectives" features papers and commentaries on a range of media arts topics. The aim of the journal is to reflect the energy and interests of media arts practitioners, educators and theorists. It acts as a voice for new media arts in culture, education and practice. We strongly encourage submission papers, reviews and commentaries for future editions of media-N. Notice that each issue will feature a call for texts for the next and forthcoming edition(s). Please contact us if you have any questions about the journal submissions, or suggestions for future issues. Rachel Clarke Editor-in-Chief, Media-N rclarke@csus.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Colleen Tully <colleen.tully@recol.com> Date: Apr 4, 2006 Subject: Call for Submissions - Pixel Pops! in Prague - Deadline May 5, 2006 Call for Submissions: Pixel Pops! SUBMISSION E-MAIL: poppingpixels@gmail.com International exhibition in August 2006 in Prague, Czech Republic. This is an artist organized exhibition, coordinated by Natalia Vasquez(Miami, US), Michal Blazek (Prague, Czech Republic), and Joan Sanchez (Barcelona, Spain). There are no fees to enter. This will be a juried show based on work submitted. We will arrange to display a variety of digital works. All work must show evidence of extensive computer manipulation or be otherwise highly digital. Acceptable Formats: —Web-based Works (No live Internet available for exhibit, all work should be self-contained. See information below.) —Short Videos & Animations (1-3 minutes preferred, will accept up to 7 minutes) —Interactive Works (Flash, Director, MaxMSP/Jitter) Interactive works can be "recorded" and uploaded up to 10megabytes. Interactive works must have an additional auto-run mode. Notes: *Upload of a tiny file (180x120 is OK) for jurying. *It is important that you also send us a file that is big enough for display (up to 10 megabytes by email) by the 5 May deadline. *Also send a DVD with your work by 12 May (this will ensure high quality resolution for projection) * see shipping address below Information: *All submitted work must be able to run locally (on a hard drive) in a web browser such as Netscape or Firefox. Please submit by sending an email to poppingpixels@gmail.com with an attachment or web link to your work. *Attach a brief artist statement and a description of your work (up to one page) as a word document. Texts accepted in English, Espanol, Francais. *Copyright Info: All artists accepted for this exhibition will retain ownership of copyright and all other rights to their artwork. We retain the right to use images of accepted artwork for promotional reasons concerning the exhibition or future projects. *Multiple submissions are accepted and encouraged! *All participating artists will have their work added to the Popping Pixels site: <a rel="nofollow" href="http://www.poppingpixels.org">http://www.poppingpixels.org</a> that includes last year's exhibition which took place in New Haven, CT, US - Coordinated by artists Cynthia Beth Rubin and Colleen Tully. *Artists interested in selling your work, please specify with your submission. We will have a list and will connect you with the interested buyer. We will NOT handle sales directly! ****Digital Photographers****this will not be a photography exhibition, but if you've made any remarkable slideshows, videos from stills, or have made your images interactive, please submit! Accepted entries will be announced on Friday 2 June 2006 SUMMARY: -SUBMISSION DEADLINE: 5 May 2006 -SUBMISSION E-MAIL: poppingpixels@gmail.com (Subject: SUBMISSION) -ATTACH: Submission(see above for formats), Artist Statement, Description of your work. -CD/DVD DEADLINE: 12 May 2006 Shipping Address: Natalia Vasquez Ondrickova 7 130 00 Praha 3 Czech Republic *Please note that shipping time from the U.S. to the Czech Republic is approximately 2 weeks. Mark your package 'No Commercial Value' and use the value of actual CD or DVD (approximately 5USD or Euros)* + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: {NetEX} <virtu@kulturserver-nrw.de> Date: Apr 5, 2006 Subject: NetEX in April—>new calls, new deadlines NetEX- networked experience <a rel="nofollow" href="http://netex.nmartproject.net">http://netex.nmartproject.net</a> added recently some new calls in the external announcements section which might be of interest: —> New!! 1. The4thScreen (New York) CALL FOR WORK deadline: 4 June 2006 The4thScreen: a global fest of art & innovation for mobile phones will focus on the mobile phone as an emerging social, cultural and technological phenomenon. —> New! 2. INTRO-OUT Digital Art Festival Thessaloniki/Greece Deadline: 12 May'06 "We invite modern artists to stand up to this change and propose new expression strategies by the use of new media." —> New! 3. 18th ONION CITY EXPERIMENTAL FILM AND VIDEO FESTIVAL CALL FOR ENTRIES Deadline: April 28, 2006!! NOTE: INTERNATIONAL ENTRIES - NO ENTRY FEE —> More deadlines in April/May 4. Digital Film Festival St. Petersburg/Russia Deadline: 20 April 2006 —> 5. Call: Streaming Festival {The Hague/Netherlands} Deadline: 15 April 2006 —> 6. Call: Perform.Media Festival (Indiana/USA) DEADLINE FOR ART WORK AND CREATIVE PRACTICES Deadline: May 15th, 2006 Acceptance Notification: June 15th, 2006 —> 7. Euganea Movie Movement (Padova/Italy) Shortfilm festival with national and international section Deadline: 30 April 2006 All details on these and more calls and the entry forms can be found on <a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=8&cat=25">http://netex.nmartproject.net/index.php?blog=8&cat=25</a> ///////////////////////////////////////////////////////////////// The "internal announcements" section released following calls —> 1. Call–>Women:Memory of Repression in Argentina deadline 1 September 2006 on occasion of 30th return of the military coup in Argentina - 24 March 1976 —> 2. SoundLAB is looking for soundart for Edition IV - "memoryscapes" deadline 30 June 2006 —> 3. VideoChannel is looking for videos/films on the theme "image vs. music" to be included in 2nd edition of Cologne Online Film Festival '06 to be launched in October 2006 online and offline Deadline: 1 July 2006 —> All details on these and more calls and the entry forms can be found on <a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=8&cat=54">http://netex.nmartproject.net/index.php?blog=8&cat=54</a> ******************************************************** released by NetEX - networked experience <a rel="nofollow" href="http://netex.nmartproject.net">http://netex.nmartproject.net</a> powered by [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net . info (at) nmartproject.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Stephanie Martz <stephanie@microcinema.com> Date: Apr 5, 2006 Subject: New Deadline for Mobile Exposure 2006 Call for Works Mobile Exposure 2006 <a rel="nofollow" href="http://www.microcinema.com/index/mobile2006">http://www.microcinema.com/index/mobile2006</a> * An international touring exhibition of moving image art made by and for mobile devices * Presented by Microcinema International * Premiering at The Dallas Video Festival August 8-13, 2006 * Curated by Bart Weiss, Founder of the Dallas Video Festival * Executive curators: Patrick Lichty or Intelligent Agent Magazine and Stephanie Martz of Microcinema International. * New Deadline: Received by April 20, 2006 * Screenings: worldwide * Eligible for Microcinema's Independent Exposure Grand Prize: Panasonic AG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema Camera (Judges: Addictive TV from the United Kingdom. * Submission Fees: US$5 * For more information write: submissions@microcinema.com TWO SCREENING PROGRAMS Mobile Exposure 2006 (moving images made by mobile devices) Mobile Exposure 2006 Video Ringtone/Video-iPod Festival (on-line/on-mobile device) Mobile phones, PDA's, i-pods, and other hand-held devices have already gained widespread acceptance as tools to capture as well as experience music and photographs. Now these devices are being further designed and equipped with video capabilities - both for viewing as well as capturing. What are the potentials of the handheld device as a cinematic tool for expression, activism, experimentation, and exhibition? With the recent announcement of the i-pod video device and the Emmy Awards creation of a new mobile film category, the advancement of this medium is now a foregone conclusion…the train has left the station that is for sure, but on what track is it heading? How will viewing images on the small screen change our perception of the moving image arts? How will the moving image arts change to present works on a hand-held device? These are some of the questions that Mobile Exposure 2006 hopes to address. CONCEPT Mobile Exposure 2006 is looking for works that address mobile culture and/or are made WITH or to be EXHIBITED ON mobile/handheld devices. Our criteria are very broad; reflect on the mobile and locative through the medium or the concept. We encourage hybrid works as well (for example: imagery made with hand-helds and then post produced, mixed with sound in a classic filmmaking procedure). CALL FOR WORKS The Mobile Exposure 2006 handheld moving image program is an exploration of the potentials of mobile video and culture. Practitioners are invited to submit all genres of work, less than 15 minutes in length. Video Ringtones should be 2 minutes or less in length. WHAT WE WANT: We are looking for two types of works: Made for viewing on a mobile device and Made WITH a mobile device for viewing on the big screen (or little screen too if possible). We are looking for works made using cell phones, obsolete video cameras, wrist cams, toy (NON-vhs/dv/hi-8) video cameras, PDA's, and even small cameras that create mpg moving images. Please do not send any material using conventional video cameras unless it specifically relates to mobile culture. For films destined FOR the small screens of hand-held devices, any method of filmmaking is acceptable. SUBMISSION GUIDELINES and CHECKLIST see our Submission FAQ see the Submission Checklist You must fill out the on-line form found here: Submission Form (for all calls). FEES: US$5.00 payable by check, money or credit card/Paypal online. Please send check (payable to Microcinema International) with submission or PAY ONLINE. Please send us your screeners on VHS, CD, mini-DV, or DVD, readable on PC. PAL or NTSC accepted for screeners. DVDs region 1 or 0 only. For exhibition we will require works on mini-DV (preferred) or DVD data disk (mpeg2, avi, or mov files only). Mini-DV PAL or NTSC OK. Data disk files must be in NTSC. We may also accept some video ringtone/i-pod submissions via upload. DVDs region 1 or 0 only. Must be 15 minutes or less, including all titles…NO EXCEPTIONS. Ringtones 2 minutes or less. For works destined for the big screen please make sure that frame rates and screen size are "viewable" (720 x 480 format preferred for NTSC, analogous for PAL). A brief synopsis of the work(s) of up to 150 words and a short biography of the artists of up to 50 words maximum is also requested. Still .jpeg or .gif (PC formatted) should be included on a CD along with biographical materials and synopses. Please include a self-addressed postcard that we will send back to you as indication of reception of your film - we will pay for postage. ALL SUBMITTED ITEMS (papers, DVDs, tapes, cards, etc) MUST HAVE THE ARTIST NAME, NAME OF THE WORK, CONTACT, AND WHICH SECTION OF THE FESTIVAL YOU ARE SUBMMITING TO PRINTED CLEARLY. Deadline: April 20, 2006 (arrival at the address below) Please mail all submissions to: Mobile Exposure 2006 c/o Microcinema International 1528 Sul Ross Houston, TX 77006 USA +1-415-864-0660 FAX: +1-509-351-1530 Please address all inquiries to: Stephanie Martz, Associate Curator submissions@microcinema.com SCREENINGS - VENUES - AWARDS: Mobile Exposure 2006 will be comprised of TWO SHOWS - presented in two screenings and formats: 1. RINGTONES: Online (films for the little screen). Film program will be available for download to mobile devices 2. On-screen: A traveling theatrical festival Screenings will be held worldwide We are pleased to announce our collaboration with the 19th Annual Dallas Video Festival. Mobile Exposure 2006 will premiere at the Festival as part of a special program devoted to mobile moving images. Selected artists receive a US$50 honorarium/advance on exhibition fee royalties and will be eligible for our awards program. Addictive TV to judge Independent Exposure 2006, of which these two shows will be included. Panasonic Grand Prize We are also pleased to announce our collaboration with Panasonic Broadcast. For our 2006 Independent Exposure season, a grand prize will be awarded to a filmmaker selected by United Kingdom audiovisual artists and VJs ADDICTIVE TV www.addictive.com. The grand prize will be a Panasonic AG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema Camera. Other prizes will be announced at a later date. Addictive TV will curate a "Best of Independent Exposure 2006" which will then screen in San Francisco in fall of 2006. Addictive TV will also select a grand prizewinner. Winners will be selected and notified by September 1, 2006. TERMS see Full Terms Upon acceptance, practitioners will be awarded a $50 honorarium. Artists will be contacted by Microcinema International regarding the exposure of works through festival exhibition, online screenings, promotional materials, and on print media (prints/catalogues) for gallery showings. All filmmakers agree, when submitting, that they have secured the necessary rights for both picture and sound to screen the works in this touring festival, and that Microcinema is granted a non-exclusive 3-year license to screen work(s) at any one of Microcinema's Independent Exposure 2006 or Mobile Exposure 2006 screening tours and Microcinema's on-line festival website as well as on www.microcinema.com and www.independentexposure.com for promotional, archival and other non-commercial uses). All artists retain copyrights. About Bart Weiss Weiss is the President of the Video Association of Dallas, Director of the Dallas Video Festival and Associate Professor, University of Texas at Arlington. He is the Producer of Frame of Mind television show on KERA TV, the Artistic Director of 3-Star Cinema in Dallas and is the President of AIVF and on the Board of the University Film & Video Association. About Patrick Lichty Lichty is an artist, scholar, and curator in New Media and technological arts, and is noted for his expertise in arts using mobile technologies. He is Editor-in-Chief of Intelligent Agent Magazine. About Dallas Video Festival www.videofest.org Since 1986 The Dallas Video Festival has specialized in fiercely independent, imaginative, unusual, provocative and sometimes description-defying electronic media. In fact, we're the oldest and the largest video festival in the nation. We're here to cut through the chatter and bring you images and sounds with viewpoints and voices and visual styles that you don't often see or hear. We show everything from intelligent, witty 30-second television commercials, mesmerizing video art, compelling documentaries, surrealistic animation, innovative digital features, intelligent, kid-friendly fare, thought-provoking panels, interdisciplinary performances, and narrative shorts that somehow surprise, inspire and entertain. About Addictive TV www.addictive.com "If there ever was a truly groundbreaking bunch of guys in the VJ world, it's certainly this lot" said DJ Magazine, voting Addictive TV number one in their first ever worldwide VJ poll in 2004. The London based group of DJs, VJs and producers have been championing the art of the VJ and pushing it into mainstream media for a decade now. Performing internationally, crisscrossing the art and club worlds, Addictive TV have played at venues from the Pompidou Centre in Paris and the roof of the National Theatre in London to Tokyo superclub Ageha and the UK's Glastonbury Festival. Recent audiovisual performances include the 2005 Roskilde festival in front 20,000 people and Sven Vath's amazing Cocoon Club in Frankfurt, using 25 projectors. And as VJs, in the past the guys have mixed live visual sets for artists including Howie B, Andrew Weatherall, Goldie and Fatboy Slim. On the flipside, producing for television, Addictive TV were the first to put VJs on TV back in 1998 with their Transambient series for Channel 4 (UK), and in the last five years have produced four seasons of the ITV1 music series Mixmasters, commissioning over 300 artists worldwide including many of the best names in electronic music from Miss Kittin and DJ Spooky, to Plump DJs and Derrick Carter plus a whole host of international VJs. In 1999, they set up what is acknowledged as the worlds first VJfocused DVD label, releasing compilation DVD albums fusing music and visuals; Releases include Audiovisualize, cult classic in the genre Transambient and the Mixmasters series. This year, Addictive TV judged the VJ category at the 2005 Diesel UMusic Awards, the Radio 1/BBC archive Superstar VJs competition and DJ Magazine's TScan Awards. Also in 2005, the team broke new ground organizing the sellout music and visuals hybrid festival Optronica at the National Film Theatre and bfi London IMAX cinema; the first festival dedicated to the audiovisual genre plus the first time the IMAX venue has been used for live performances in such a way. Currently Addictive TV is working on the Rapture Riders video mashup for EMI, remixing Blondie Vs The Doors, for release in November 2005. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition on the politics of internet appearances, guest-curated by Marina Grzinic from the Rhizome ArtBase. <a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Lauren Cornell <laurencornell@rhizome.org> Date: Apr 5, 2006 Subject: FW: Postmasters Gallery announces The4thScreen: a global fest of art and innovation for mobile phones —— Forwarded Message From: Magda Sawon <postmasters@thing.net> Date: Wed, 5 Apr 2006 13:11:38 -0500 To: magda@thing.net Subject: Postmasters Gallery announces The4thScreen: a global fest of art and innovation for mobile phones The4thScreen: a global fest of art and innovation for mobile phones FOR IMMEDIATE RELEASE April 1, 2006 Contact: Tamas Banovich: 212-229-9736 The4thScreen: a global festival of art & innovation for mobile phones launches today with a call for works. The deadline for submissions is June 4, 2006. Ten awards of US $5,000 will be given to winning entries. The4thScreen festival is the first event of its kind to focus on the mobile phone as an emerging social, cultural and technological phenomenon. The festival was conceived by Tamas Banovich, curator and co-director of Postmasters Projects and Postmasters Gallery in New York: "We are at the moment when everybody, from the media moguls to Vietnamese peasants - artists, hackers, activists, businesses and governments, are trying to grasp the impact, the power, of this new phenomenon…. trying to claim a part of it. There is still a lot of space for great ideas, to fulfill dreams and real needs. I hope the Festival will serve as a catalyst and influence this process…" Artists, movie makers, designers, technologists, programmers, game designers and all creative thinkers are invited to submit their creations, inventions and revolutionary ideas in one of two categories: Moving images- including videos, animations, and games made specifically for mobile delivery Wise technologies - including SMS based projects, sound, software art, software and hardware projects proposing new or extended use of mobile devices, applications that impact the life, the cultural, social and economical conditions of people living in diverse cultures. The mobile phone is at the center of a radical cultural, technological, and social shift. The4thScreen is a platform for those who are shaping the present and want to influence the future of this new medium, exchanging ideas over the boundaries of cultures, to participate in the global village. The4thScreen festival'06 is produced by Postmasters Productions in partnership with the Museum of the Moving Image and Polytechnic University, New York. contact: Tamas Banovich, Festival Director Tamas@The4thScreen.net phone 212 229 9736 mobile 917 400 2381 <a rel="nofollow" href="http://www.The4thScreen.net">http://www.The4thScreen.net</a> 459 W19 Street New York, NY10011 <a rel="nofollow" href="http://www.thefourthscreen.net/press_release4106.php">http://www.thefourthscreen.net/press_release4106.php</a> <a rel="nofollow" href="http://www.the4thscreen.net/call_for_work4106.php">http://www.the4thscreen.net/call_for_work4106.php</a> – Magdalena Sawon Postmasters Gallery 459 W 19 Street New York, NY 10011 phone 212 727 3323 <a rel="nofollow" href="http://www.postmastersart.com">http://www.postmastersart.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Richard Garrett <richard@sundaydance.co.uk> Date: Apr 3, 2006 Subject: Music from the Weather - New album Greetings, Sunday Dance Music is pleased to announce the release of a new CD album from Richard Garrett's Weathersongs Music project. "Weathersongs Volume 1: Days in Wales" is an album of short pieces of music created over the period of one year using an algorithmic composition program driven by real-time changes in the weather as recorded by an electronic weather station. (details below) For more about the project, go to <a rel="nofollow" href="http://www.weathersongs.org/">http://www.weathersongs.org/</a> or to <a rel="nofollow" href="http://www.sundaydance.co.uk/">http://www.sundaydance.co.uk/</a> best wishes richard ____________________________________________ Richard Garrett <richard@sundaydance.co.uk> Sunday Dance <a rel="nofollow" href="http://www.sundaydance.co.uk/">http://www.sundaydance.co.uk/</a> Weathersongs <a rel="nofollow" href="http://www.weathersongs.org/">http://www.weathersongs.org/</a> ======= WEATHERSONGS VOLUME 1: DAYS IN WALES ======== Weathersongs volume 1: Days in Wales is an album of 14 short pieces of music derived, in real time, from the weather conditions in Southern Snowdonia on 14 different days over one year. Each track was generated by a computer program connected to an electronic weather station at Richard's home in the foothills of Cadair Idris, North Wales. Data output from the weather station (wind speed and direction, temperature, pressure, humidity, rainfall) was used to compose music as conditions changed,then selected results were recorded and edited for audio CD. All the tracks on the album have common features: Temperature and Humidity provide bass drones; Air Pressure gives higher pitched accompaniment; while the Wind produces a lead voice whose pitch, intensity and phrasing all change as the wind shifts direction, ebbs and flows. Rain, when it rains, is heard as random percussive events (typically bells) whose statistical density changes with the rate of fall. When each track is edited, however, different timbres are applied to the music accentuating the character of the individual pieces/ days. Thus, the music ranges from the gentle ambient electronica of a cool spring morning to wild, almost Free Jazz, saxophone as the westerly gales of autumn hit Cardigan Bay. Mp3 extracts from the album, as well as raw material from the installation can be heard on <a rel="nofollow" href="http://www.weathersongs.org/">http://www.weathersongs.org/</a> Weathersongs volume 1: Days in Wales will be released on March 28th 2006 and will be on sale online at <a rel="nofollow" href="http://www.sundaydance.co.uk/">http://www.sundaydance.co.uk/</a> and selected record shops. ======= BIOGRAPHY: RICHARD GARRETT =========== Richard Garrett was born in London, UK in 1957 and has been writing music and playing guitar since he was sixteen. Richard is interested in a wide variety of music. He has played in rock and jazz bands; accompanied poets; and played in the pit for pantomime. For several years, he studied singing, Indian Rag and Cosmic Theatre with French composer/ performer Gilles Petit and has studied jazz with some of the UK's premier musicians. Richard has also studied algorithmic composition with David Cope at the University of California, Santa Cruz. Richard has recorded six albums to date. He has also worked with computers as a programmer, teacher and journalist. Since 1996, Richard has been working in the field of generative music. His first album in this field, Robot Sculpture (Sunday Dance Music 2001), was produced by taking a number of computer pieces then recording, editing and embellishing them with improvisation. Some of the pieces used to create Robot Sculpture, along with works by Brian Eno and others, formed part of "Dark Symphony", a mammoth five-day outdoor exhibit at the Ars Electronica Festival 2003 in Linz, Austria. Richard lives in an isolated Welsh farmhouse, halfway between the mountains of Snowdonia and the sea, with his wife, Heather and son, Sean. There, he writes music and distributes his albums through Sunday Dance Music. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Mark River <mriver102@yahoo.com> Date: Apr 3, 2006 Subject: Rhizome Raw…RU READY TO ROCK?. I said…RU READY? My dearest Rhizome, (actually, this post will NOT rock, but here it anyways…) To Be Listened ToÂ?(2bl2) <a rel="nofollow" href="http://mtaa.net/2bl2">http://mtaa.net/2bl2</a> is now open for you to enjoy and activate. Big thanks to the artist who supplied 2bl2 with Â?seedÂ? work to get things going. Please feel free to jump in and add some sound. To Be Listened To… (2bl2 for short) is an open relay for sound art, audio blogs, mashups, re-mixes, dance mixes or any other sort of experimental audio. 2bl2 is comprised of 10 thematic podcast feeds with 8 open feeds to which anyone may post an audio file. Each feed's name, along with the original 'seed' post, sets its tone. 1. …as you sit in front of your computer around midnight (prologue). By MTAA 2. …in a bar in Brooklyn on a spring Sunday afternoon, sipping a Bloody Mary, waiting for your love to appear. - with seed project Â?Troy's (Non)Mixtape of LoveÂ? by Marisa Olson 3. …with eyes closed in a theater before a movie starring Brando begins. - with seed project Â?Cushing's DiseaseÂ? by Helen and Ben 4. …as you commute to the job you are thinking of leaving once again. - with seed project Â?DJ HumpÂ? by Frankie Martin 5. …before calling 911 while waiting for something outside to stop fucking screaming. - with seed project Â?coma loveshipÂ? by : Pee In My Face With Surgery 6. …while sitting on your kitchen floor holding a photograph of your father. - with seed project Â?What Kind of Information? Â?by Cary Peppermint 7. …in a park in Europe as you wait for the sun to rise and the snow to stop. - with seed project Â?Did It Again Â? by G.H. Hovagimyan 8. …in a hotel near the Everglades while having sex in the afternoon. - with seed project Â?EvergladeÂ? by Messages [Taketo Shimada + Tres Warren (Psychic Ills)] 9. …while running, but not running as in jogging, running as in blindly racing though the streets without direction or goal. - with seed project Â?RunningÂ? by tinydiva (Margaret Jameson Composer, Performer and Producer. Add'l Guitars by Thomas Jameson) 10. …as you fall asleep in the bed in the place that you call home (epilogue). by MTAA So, have fun. Sit in bed with your headphones on. Make some noise. Interact. Thanks. <a rel="nofollow" href="http://mteww.com">http://mteww.com</a> <a rel="nofollow" href="http://tinjail.com">http://tinjail.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Randall Packer <rpacker@zakros.com> Date: Apr 3, 2006 Subject: Mark Amerika : Digital Personas New Media Arts Lecture Presented by the Department of Art | Multimedia American University Washington, DC Mark Amerika "Digital Personas" Time: Monday, April 10th, 4:00 pm Location: Abramson Family Recital Hall Katzen Arts Center, American University Lecture is free and open to the public Mark Amerika will present his work composed over the last 15 years, a mix of personal narrative, philosophical inquiry, spontaneous theories, and cyberpunk fictions, locating the emerging spaces where new media artists operate when distributing their digital personas. Mark Amerika, who has been named a "Time Magazine 100 Innovator," has had four retrospectives of his digital art work. He is a Professor of Art and Art History at the University of Colorado at Boulder. His net art, DVD surround sound installations, and VJ performances have been exhibited and featured all over the world including the Whitney Biennial, the ICA in London, and the Walker Arts Center. He is the author of two novels, has edited three published anthologies, and is the Founder and Publisher of the Alt-X Online Network, a net art and new media writing site started on the Internet in 1993 (www.altx.com). His forthcoming book of artist writings, entitled META/DATA: A Digital Poetics, will be published by MIT Press later this year. Mark Amerika is currently directing his first feature-length film, entitled MY AUTOEROTIC MUSE. For more information: Department of Art | Multimedia American University Randall Packer <a rel="nofollow" href="http://multimedia.american.edu">http://multimedia.american.edu</a> rpacker@zakros.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: nat muller <nat@xs4all.nl> Date: Apr 4, 2006 Subject: Introducing: Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE! [apologies for cross-posting] ********************************************************************** Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE! When: April 19 2006 || 20.30 hours Where: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam | free admission || cocktails || T-shirts | URL: www.melkweg.nl/upgrade ********************************************************************** || Proud to present: Upgrade Amsterdam! ||Kick-off | Thou Shalt Not Upgrade! | An upgrade generally implies technological improvement and progress. However, technological history is also one of choices, determined by contextual factors. What do we win and what do we lose with our current obsession with upgrading? What are its wider cultural implications? What does it mean for art, design and our worldview?Are there things sacrosanct, one should not touch: Thou Shalt Not Upgrade? Guests: | Max Bruinsma | Is an independent design critic, editor, curator and editorial designer. <a rel="nofollow" href="http://www.maxbruinsma.nl/">http://www.maxbruinsma.nl/</a> | Taco Stolk | Conceptual artist and head of the ExtraFaculty (xFac) of the Royal Academy of Art in The Hague. <a rel="nofollow" href="http://www.wlfr.nl/">http://www.wlfr.nl/</a> Performative intervention by: | Aart Muis | and his | BrainClone | <a rel="nofollow" href="http://www.aartcore.com">http://www.aartcore.com</a> – Upgrade! Amsterdam is a series of gatherings for and by new media aficionados, artists, geeks, media makers and breakers, and the generally curious. Point of departure is the premise: Â?No upgrade without a downgrade.Â? Upgrade! Amsterdam is organised by Nat Muller & Lucas Evers, and is actively hosted by De Melkweg. Send ideas and proposals to nat@xs4all.nl | lucas@melkweg.nl Upgrade! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. Since April 1999, a group of new media artists and curators have gathered in New York City. The first meeting took place at a bar in the east village with Tim Whidden & Mark River [MTAA], Mark Napier and Upgrade! founder Yael Kanarek. URL: <a rel="nofollow" href="http://www.theupgrade.net/">http://www.theupgrade.net/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: {JavaMuseum} <virtu@kulturserver-nrw.de> Date: Apr 6, 2006 Subject: new interviews on—->JIP - JavaMuseum Interview Project [week 3-9 April 2006] ~~~~~~~~~~~~~~~~~~~~~ JIP - JavaMuseum Interview Project <a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=11">http://netex.nmartproject.net/index.php?blog=11</a> —> is featuring this week the following 5 interviews with Sharkar Barua (India), PÃ¤ivi Hintsanen (Finland), Enrico Tomaselli (Italy), Carlos Katastrofsky (Austria), Humberto Ramirez (Chile/USA) further the first answers on 10 questions by Jeremy Hight & Ian Page-Echols —> Shankar Barua has for many years been networking e-Creative Practitioners globally with The IDEA [Indian Documentary of Electronic Arts], The AeA [Academy of Electronic Arts] and CeC & CaC [Carnival of e-Creativity & Change-agents Conclave]. He is Managing Trustee of The Academy of Electronic Arts, Special Advisor to Public Affairs Management, The Electronic Music Foundation and EMF-Institute, Co-Curator and also Archives & Documentation Associate of the Thailand Media Art Festival, and Honorary Committee Member of the Digital Art Guild and Museum of the Living Artist International Digital Exhibition, 2006. # Paivi Hintsanen PÃ¤ivi Hintsanen (JyvÃ¤skylÃ¤, Finland, born in 1970) has worked as freelancer in net projects for different art and culture related organizations since 1996. She also has made several independent/own net projects of which the most important are the online art gallery Spirited Herring / HenkevÃ¤ Silakka - started in 1997; with one month theme exhibitions, open and free for all) and Coloria project. Independent works include f.ex. large hyper narratives (like The Book of Days and Silence/1940) and also small image based miniprojects. # Carlos Katastrofsky (aka. Michael Kargl), born on 08/13/1975 in Hall/ Tyrol/ Austria. Lives and works in Vienna, Salzburg and Tyrol. He studied sculpture at the University 'Mozarteum' of Salzburg since 1998, graduation in 2004 with a work on virtual architecture and cyberspace. Since 2004 teacher at the University Mozarteum, and JavaMuseum participant. # Humberto Ramirez is an artist originally from Chile. In addition to painting, since the mid nineties, Humberto has been involved with electronic explorations in sound, video and streaming media. Humberto's work presently is concerned with social issues and the power of language in shaping our values and perceptions. This new body of work is being shown electronically on line as well as at traditional screening venues such as art galleries, museums and film/video festivals across the country. # Enrico Tomaselli is originating from a Sicilian family of artists, his great grandfather Onofrio was a famous portrait and landscape painter of 19th century. Enrico followed the Art Academy of Palermo and later the European Institute of Design in Rome. Currently he is living and working as both, webdesigner and Internet based working artist, who participated in numerous national and international exhibitions, also in JavaMuseum. —> About JIP - JavaMuseum Interview Project JavaMuseum - Forum for Internet Technology in Contemporary Art www.javamuseum.org/start1.htm is currently preparing a new project, entitled: JIP - JavaMuseum Interview Project <a rel="nofollow" href="http://jip.javamuseum.org">http://jip.javamuseum.org</a> to be launched in September 2006 online. Agricola de Cologne, director of JavaMuseum invites for an interview a number professionals & artists active in the field of Internet based art who participated in the "1st phase", the 18 JavaMuseum showcases 2001-2004, in order to spotlight their professional background, activities and visions. JIP further issued an open call including 10 questions on Internet based art addressed to professionals and "amateurs", in order to enable a broader discussion about the still undervaluated genre of Internet based art through a variety of different approaches, definitions and opinions. The entry rules and the questions (cut & paste) are available on <a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=11&cat=80">http://netex.nmartproject.net/index.php?blog=11&cat=80</a> Once completed - JIP - JavaMuseum Interview Project will release the collected interviews and the selection of the most interesting answers a) online on the new project site - <a rel="nofollow" href="http://jip.javamuseum.org">http://jip.javamuseum.org</a> , but b) immediately also in form of one interview per week on the new weblog - JIP - JavaMuseum Interview Project <a rel="nofollow" href="http://netex.nmartproject.net/index.php?blog=11">http://netex.nmartproject.net/index.php?blog=11</a> and c) to be published in a printed form, later as well.. ************************************************ Released by NetEX - networked experience <a rel="nofollow" href="http://netex.nmartproject.net">http://netex.nmartproject.net</a> powered by [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for art and New Media operating from Cologne/Germany. . info& contact info (at) nmartproject.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Ryan Griffis <ryan.griffis@gmail.com> Date: Apr 6, 2006 Subject: Fwd: Tactical Magic Update! Please forward far & wide! Apologies for cross-postings. ——————————————————- The Center for Tactical Magic is excited to announce the Tactical Ice Cream Unit will begin the first segment of our upcoming West Coast Tour of Prophecy and Potential! What kinds of mirth, mischief & magic can you expect from a SWAT van loaded with ice cream, propaganda, and surveillance equipment?!? Find out…. <a rel="nofollow" href="http://tacticalmagic.org/CTM/project%20pages/TICU.htm">http://tacticalmagic.org/CTM/project%20pages/TICU.htm</a> Calendar of Events: April 1&2 - Riverside, CA - (Opening Reception: April 1, 2006, 6-9pm) U.C. Riverside's Sweeney Art Gallery presents: "People for a Better Tomorrow" (April 1 - May 7) Curated by Meg Cranston, the exhibition will feature the cultural collusion of: Everlovely Lightningheart, Finishing School,Shana Lutker, Amy Maloof, Ben Shaffer, Efrat Shalem, Mario Ybarr & the Center for Tactical Magic <a rel="nofollow" href="http://sweeney.ucr.edu">http://sweeney.ucr.edu</a> April 3 & 4 - Otis College of Art & Design - Pop Ops, presentations & other mischief! April 10 - UCLA - Frosty treats & food-for-thought along with an on-campus talk. Mid-April - Passing out paletas in Tijuana at Lui Velazquez, and kickin' about in TJ's SoCal suburb, San Diego with a stop or two planned for UCSD. (dates TBA) <a rel="nofollow" href="http://www.luivelazquez.org">http://www.luivelazquez.org</a> April 29 - Back in LA for a mix or mysticism, magic, and mechinations at Machine Project - gallery, laboratory, and lair of 'lectro wizardry. <a rel="nofollow" href="http://www.machineproject.com">http://www.machineproject.com</a> May 5-7 - Chilling out with some high desert hijinks in Joshua Tree at High Desert Test Sites 5. HDTS is a series of experimental art sites located along a stretch of desert communities including Pioneer town, Yucca Valley, Joshua tree, 29 Palms and Wonder Valley. These sites provide alternative space for experimental works by both emerging and established artists. <a rel="nofollow" href="http://www.highdeserttestsites.com">http://www.highdeserttestsites.com</a> May 9 - The Tactical Ice Cream Unit will be lurking around Cal Arts & gearing up for the parade! May 14 - Parade! The TICU will be joining Fritz Haeg, students from Cal Arts, celebratory citizens, elated environmentalist, and numerous artists (incl. katie bachler & aubrey white & dance troupe, tim butler, marc herbst, simon leung, my barbarian and others) for a parade in Valencia along the Santa Clara River, one of the United States' 10 most endangered rivers. <a rel="nofollow" href="http://www.ourparade.org">http://www.ourparade.org</a> To schedule a visit from the Tactical Ice Cream Unit, or to get involved with the West Coast Tour of Prophecy & Potential, simply email us at goodluck@tacticalmagic.org To find out more about the Center for Tactical Magic, check us out at: <a rel="nofollow" href="http://www.tacticalmagic.org">http://www.tacticalmagic.org</a> Thanks & Good Luck! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Brett Stalbaum <stalbaum@ucsd.edu> Date: Apr 6, 2006 Subject: [Fwd: Allan Kaprow, 1927-2006] ——– Original Message ——– Subject: Allan Kaprow, 1927-2006 Date: Thu, 6 Apr 2006 15:58:11 GMT From: rrdominguez@UCSD.Edu - Hide quoted text - Allan Kaprow, 1927-2006 Dear all, Allan Kaprow has passed away. Ricardo + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. From: David Senior <davidsenior@gmail.com> Date: Apr 7, 2006 Subject: Interview with Siegfried Zielinski +Commissioned by Rhizome.org+ Interview with Siegfried Zielinski by David Senior Translated by William Rauscher Siegfried Zielinski is an internationally recognized media theorist and educator whose recent work, Deep Time of Media: Toward an Archaeology of Hearing and Seeing by Technical Means, has just been translated into English and published by M.I.T. Press. ZielinskiÂ?s approach to media history provides a method that radiates with a life and dynamism that pays homage to the figures and forms that he traces from the past. Writing on themes as divergent as Mouse on Mars or 17th century polymath Giovanni della Porta, ZielinskiÂ?s work affirms the experimentation of new forms, and the science of mixture which can connect through time and space seemingly disparate bodies of thought and media practice. Zielinski has very kindly answered five questions drawing on several of the themes from the newly translated work, Deep Time. DS: Before we get into the content of the book and your current projects, I wonder if you could give an introduction to your early career as a writer, performer and educator? What was your focus in terms of early studies and what then led you into the past and into the archives with your media archaeology? SZ: Thirty-five years ago, when I began my studies, it was theater, radio, and film which interested me in the field of media. As a young man, who studied in Germany and came from a Polish-German family (from the region where Hans Bellmer was born), I was occupied analytically in the first years by a question: I absolutely wanted to know how the Nazis had used media, how they had conquered the heads and hearts of those who supported their death-machines or even killed for them. Parallel to such analyses of power, I was interested as well in the other side and how they used media. Trained through interventionist thinkers like Bertolt Brecht or Walter Benjamin, who not only understood the controlling power of media, but also contemplated its emancipatory potential, I turned to the dimensions of media history which were practically forgotten or buried, for example, the activities of the so-called Worker-Radio Movement in the Weimar Republic who carried out their resistance activities through the medium of the radio, and even existed in the Nazi death camps, or the so-called Â?Free RadiosÂ? and video guerrillas of the 1970Â?s. Â?Supervision and SubversionÂ? - so could one, in a Foucauldian manner, formulate the tensions between these media interests regarding vision by means of modern technology. The investigation of the deep layers of media history began, however paradoxically at first, when I dedicated myself in the eighties and nineties more intensively to new electronic media. As a media researcher who had twenty years earlier written his philosophic dissertation on the history of the videorecorder, I had a growing uneasiness with the idea of the future that was being suddenly and constantly announced to me. I doubted very much that our epoch embodied the greatest possibilities of progress in the history of civilization, if one used diversity - the richness of variety in existing things, forms, techniques, arts, etc - as criteria for progress. I looked for allies in other sciences and found them in geology and paleontology, for example James Hutton, who lived in Scotland at the end of the 18th century, or more recently, the Harvard biologist Stephen Jay Gould. I began to conduct something like a paleontology of media-development. One last important impetus for this research was the encounter with the wonderful holdings of an old Jesuit library in Salzburg, where I held my first professorship. The folios of media-visionaries from the 16th and 17th century like John Dee, Giovanni Battista della Porta, Christoph Sheiner, and Athanasius Kircher waited here to be discovered through a historically and philosophically interested art and media research. The connection of the two heterogeneous worlds, on the one hand the highly polished surfaces of the newest media and on the other the moldy, smelly magical world of unwieldy Latin texts and excessive iconography became a passion which still consumes all of my time. Although, I had to push them a bit to the background, as I was asked in the 1990s to build a special art school in Cologne, which would be fully dedicated to the changing relations of technology and art. DS: What is unique in your work is the spirit and tone which you bring to the Â?case studiesÂ? that you have collected. The body of works reflects rigorous research, but also a consistent affirmation of the unexpected turns that arise throughout the process. In this way, the book represents a praxis that you have described as Â?anarchaeology,Â? and more recently as Â?variantology.Â? Could you describe this method and why you have found it particularly applicable to the study of the history of media? SZ: In my studies I try to connect two movements, through the verticality of phenomena and processes, which means in effect, the attempt to get to the bottom of things. Above all, I was encouraged by the Polish artist and poet Bruno Schulz, and also by the conceptual dance on the plateau, which I have learned less from French thinkers like Deleuze and Guattari than for example from the philosopher Vilem Flusser, who the Nazis drove out from the alchemist-city of Prague to Sao Paulo, where he learned to couple a deep consideration of the world with the dynamic figure of the samba. That is however only a somewhat provocative example. Along with the poet Novalis, who died much too young, I am of the opinion that the sciences belong to the poetized and that they should be handled musically, because musical relations appear to be the Â?fundamental relations of Nature.Â? But, I do not share with Novalis the despairing search for the absolute in all things. I try to substitute this search with a method of fortuitous finds. However, such a method must renounce some things which characterize classical archeology, like the search for the origin from which all things develop. Like Nietzsche and Foucault, I favor the concept of geneaology for historical research, which asks after the developments, turns and leaps. As opposed to Foucault and his diverse archaeologies of power and knowledge, I claim no mastery, do not claim to develop one or more main ideas that would resonate semantically with archos/archein. In the case of the movement that the fortuitous find presupposes, one must let the reins fall away and let the horse gallop free, without knowing what exactly will arrive. The coupling of this with the vertical movement leads to anything but simple arbitrariness; rather it leads to a research work that understands itself as a joyful release from a heavy burden. When I wrote Deep Time of the Media, I had invented for it the concept of anarcheology. This term now seems to me too negative and destructive in its construction. For two or three years, I have worked only with the concept of variantology, under which I understand the imaginary sum of all possible genealogies of media phenomena. As opposed to the heterogeneous, with its heavy resonances from ontology and biology, the variantological, in its methodological and epistemological respect, interests me as a mode of lightness. The variant is just as at home in the experimental sciences as it is in diverse artistic practices, above all in music. As different varieties or divergent interpretations, variants belong for composers or performers to a self-evident vocabulary and to practical everyday life. The semantic field of this neologism possesses a positive connotation. To be different, divergent, changing, alternating, are alternative translations for the Latin verb variare. It tips over only into the negative when it is used by the speaking subject as a means of exclusion, which the word does not actually sustain. To vary something then is an alternative to its destruction. DS: Within Deep Time, the individuals which you bring forth are most often found on the fringes of their professional worlds and prevailing academic paradigms of research and practice. In these stories, it seems that you are trying to draw out a new kind of figure to venerate, individuals that had a wild streak, and may have been considered dangerous in regards to the institutions that kept them at arms length. Is this a fair reading, or perhaps an oversimplification of your tableau of characters? SZ: To not accept leaders does not mean that one does not respect heroes. In my work with young artists and intellectuals in various academies, I have learned that without personalities with whom one can passionately identify, one manages only with difficulty. It is essentially better when this potential for identification is not identical with the teacher, but rather comes completely from somewhere else, from another time, another region, possibly out of books. When we are involved with art and media, we operate in the world of illusions. The Latin verb (illudere) that hides in this beautiful word means etymologically not only to bring something before others, to produce appearances, but as well to enter into a risk, to set something into play, even, when necessary, involving oneself. This necessity is not rendered superfluous under the conditions of the production or generation of art with digital media or in technological relations. Completely the opposite - we must think them anew. My excursions into the lives of a few and their partly impossible working conditions gesture to this effect. And something else appears to me to be significant in this context: artists and intellectuals donÂ?t necessarily need to shove their way in the middle of society in order to be able to find recognition or to be effective. It has become narrow there in the center, and in this center, power is at home. Also, for a long time now, art that is involved with new media technologies has also arrived in the center. Movements on the periphery, which do not exclude the occasional crossing of the center, appear to me at present to be more meaningful and in the foreseeable future, more pleasurable than the overexcited pushing and shoving for the best place in the middle. DS: You suggest a geographical relationship to media research and that much of the most diverse and vital experimentation in prior periods occurred in dispersed regions, at a remove from the cultural centers of Europe, in southern Italy for example or in areas of eastern Europe. Could you elaborate on this cartographical theme as it relates to your media research? SZ: Cartographies are a special view of the world (the German term Weltanschauung expresses this very nicely). From a perspective of media archeology, we have to give up trusted cartographies. Technical media as we know them were made marketable and developed into products in the metropolis of the western world (London, Paris, New York, Berlin, etc). If however we are interested in deep-temporal emergence and development, we have to use a wholly other orientation. The deeper we penetrate historical layers, the more we must turn towards the far East and above all towards China, and from there we roam through Asia Minor and the Arab lands and cultures, moving then into southern Europe, before we arrive in the pre-modern regions and cities familiar to us. My thesis is that the new and arousing ideas come out of the provinces much more frequently than out of the centers of power, where they are worked over and freed from their resistances. In order to characterize the particular form of collective work which emerges out of the networking of heterogeneous ideas and fields, I use the expression Â?economy of friendshipÂ?. It is a positive counter-model to the globalized economy of industrialization and the only one in the field of art which functions and is alive. The geographical and cartographical implications of my anarcheological studies are to be understood, not least, as a plea for the idea of the economy of friendship. DS: In the final chapter, one of the practical points made in reference to the experimentation of new media artists and developers is the need for safe havens, contexts for individuals or collectives to be given the gift of time and space to develop ideas. Do you find that this is part of your present role in Cologne with the Academy of Media Arts, to be hospitable in this way to the young people who come through the school? SZ: More and more in Europe, academic institutions are permeable to the demands and desires of the fitters and guiders of the states. Poets and thinkers however need autonomy and freedom as indispensable and sustaining elixirs. Academies of the arts and sciences must not degenerate into test departments of the globalized information society. For the institutions to which I am responsible, I thus plead vehemently that they be able to proliferate as gleaming ivory towers. Study at the academy should be more than ever the offer of a protected time and space where original thoughts and idea can be developed and tried out. The possibility of failure belongs to experimentation. That is nothing other than the idea of a contemporary laboratory, whose windows and doors must above all not be closed. At the academy in Cologne for example we offer ourselves constantly up to the judgments and critiques of the public, through exhibitions, open concerts, performances and lectures. Within the dynamic of this openness, however, we maintain ourselves and donÂ?t let it regulate us. The students and the guests of our program enjoy the freedom to experiment and offer their thanks through outstanding projects and artistic work, which have received international recognition. We remind our students and fellows in any case of their crucial duty: they have to be ready to take risks and not want to simply swim in conventional waters. And with that the circle of the project of a deep time of the media and variantology closes. Giovanni Battista della PortaÂ?s Academy of Secrets in Naples in the 16th century, which soon after its founding was banned by the Vatican, was the first academy fully dedicated to the risky experiment of natural philosophy. It had a single admission criteria, that those who wanted to participate must bring something new into the world (and be prepared to share this knowledge with others). It is time that we again rightly restore such an Accademia dei segreti and let it finally become a flourishing reality. David Senior is an artist, writer and student of media history who currently works in the library at the Museum of Modern Art in New York and is a doctoral student at the European Graduate School, EGS. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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,Â 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 Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 13. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +