RHIZOME DIGEST: 4.7.02

discussion

Posted April 6 2002 19:00

RHIZOME DIGEST: 4.7.02

RHIZOME DIGEST: April 7, 2002 Content: +work+ 1. andrew childs: loaded search queries 2. Mark Daggett: ReferPrint 3. hidenori watanave: "RhythmEngine" project info 4. Christina McPhee: Piranesia 5. victor@n-gon.com: delter, second beta release +book review+ 6. Lars Hubrich: "Media Art Interaction" + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 4.4.02 From: andrew childs (andrew@megatight.com) Subject: loaded search queries <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+1+year+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+1+year+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+2+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+2+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+3+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+3+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+4+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+4+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+5+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+5+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+6+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+6+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+7+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+7+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+8+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+8+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+9+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+9+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+10+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+10+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+11+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+11+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+12+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+12+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+13+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+13+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+14+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+14+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+15+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+15+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+16+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+16+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+17+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+17+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+18+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+18+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+19+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+19+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+20+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+20+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+21+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+21+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+22+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+22+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+23+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+23+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+24+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+24+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+25+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+25+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+26+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+26+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+27+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+27+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+28+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+28+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+29+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+29+years+old+and+I%22</a> <a rel="nofollow" href="http://www.google.com/search?hl=en&q=%22I+am+30+years+old+and+I%22">http://www.google.com/search?hl=en&q=%22I+am+30+years+old+and+I%22</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **It's Out! Sandbox Webzine Spring 2002** Featuring 2 Interviews on Surveillance: Jordan Crandall & The Surveillance Camera Players + Diamanda Galas Interview + New Music Column Sandbox Mag#10: Incarceration (due in May) featuring 360 Degrees, Jane Evelyn Atwood, Rhodessa Jones & Danny Hoch - <a rel="nofollow" href="http://www.sandboxarts.org">http://www.sandboxarts.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 4.1.2002 From: Mark Daggett (mark@flavoredthunder.com) Subject: ReferPrint Keywords: internet, collider, collage "ReferPrint" a new Internet artwork from Mark Daggett launched today. About "ReferPrint": "ReferPrint" is a work that makes art from the images found on pages that link to it. For example, if Rhizome.org links to "ReferPrint," then when the piece starts it reads in all images from the Rhizome page where the link appears. As the composition develops the user can click the "save print" button at anytime and a snapshot of that composition will be saved to the user's clipboard. Of course, once it has been stored to memory they can paste the final print into any graphics editor. Because "ReferPrint" reads in the referring URL it will not work from this email. To view ReferPrint you will want to place this URL on one of your own HTML pages with images on it: <a rel="nofollow" href="http://www.flavoredthunder.com/dev/referprint/index2.html">http://www.flavoredthunder.com/dev/referprint/index2.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ The time has arrived to pick up the new Leonardo Music Journal, (LMJ), Volume 11, including a double CD titled "Not Necessarily 'English Music.'" The journal and CD feature pieces from pioneering U.K. composers and performers from the late 60s through the mid-70s. Visit the LMJ website at <a rel="nofollow" href="http://mitpress2.mit.edu/Leonardo/lmj/">http://mitpress2.mit.edu/Leonardo/lmj/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 4.7.02 From: hidenori watanave (vzq01525@nifty.ne.jp) Subject: "RhythmEngine" project info I'm Hidenori Watanave, media artist and chief director of Photon, Inc. You already know, We opened the official site of a "communication tool beyond the space- time" [Rhythm Engine]. <a rel="nofollow" href="http://www.photon01.co.jp/reg/">http://www.photon01.co.jp/reg/</a> Through the "RhythmEngine," we suggest, "the session which is inherited from the past to the future using place as an agent" and "music and image communication which has rich emotion" to the Web-world. We are going to perform "RhythmEngine" to SIGGRAPH and ARS ELECTRONICA. I want you to know our project and carry out a test play, And please give us your comment,and a chance to spread "RhythmEngine." <a rel="nofollow" href="http://www.photon01.co.jp/reg/">http://www.photon01.co.jp/reg/</a> <a rel="nofollow" href="http://www.neural.it/nnews/rhythmengine.htm">http://www.neural.it/nnews/rhythmengine.htm</a> <a rel="nofollow" href="http://www.cosmoworlds.com/">http://www.cosmoworlds.com/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE NEW ISSUE** Coco Fusco/Ricardo Dominguez on activism and art; JJ King on the US military's response to asymmetry and Gregor Claude on the digital commons. Matthew Hyland on David Blunkett, Flint Michigan and Brandon Labelle on musique concrete and 'Very Cyberfeminist International'. <a rel="nofollow" href="http://www.metamute.com/mutemagazine/issue23/index.htm">http://www.metamute.com/mutemagazine/issue23/index.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 4.4.02 From: Christina McPhee (christina112@earthlink.net) Subject: Piranesia PIRANESIA New 3d drag and drop interactive from Christina McPhee and Shane Carroll <a rel="nofollow" href="http://www.naxsmash.net">http://www.naxsmash.net</a> Drag and drop image and sound files from your desktop into Piranesia. Piranesia is a scaleless littoral zone, an outback of black out and white noise where the fluidity of forms maps live dreams. <a rel="nofollow" href="http://www.naxsmash.net">http://www.naxsmash.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ STATE OF THE ARTS SYMPOSIUM * UCLA APRIL 4-6, 2002 * RHIZOME DISCOUNT * <<a rel="nofollow" href="http://www.eliterature.org/state">http://www.eliterature.org/state</a>> ELO invites Rhizome subscribers to join leading web artists, writers, critics, theorists for the seminal e-lit event of 2002. Rhizome subscribers who register before FEB 15 2002 may register at ELO member rates ($25 discount). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 4.2.02 From: victor@n-gon.com (victor@n-gon.com) Subject: delter, second beta release delter is a Java applet which takes an MPEG stream and renders only the motion data. In the resulting stream, objects in the movie are effaced, leaving only the traces of movement. This is the second beta release. Changes are: o smoother sliding of menus o display fixes in menus o bugfix: delter no longer freezes when attempting to access a menu while playback is paused o screenshots! added to overview page <a rel="nofollow" href="http://www.n-gon.com/delter/">http://www.n-gon.com/delter/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 4.7.02 From: Lars Hubrich (l-hubrich@northwestern.edu) Subject: book review–"Media Art Interaction" "Media Art Interaction: The 1980s and 1990s in Germany" Rudolf Frieling / Dieter Daniels, editors (Vienna: Springer, 2000) The speed of technical innovation and its integration into artistic practice puts media art theory in an awkward position. Its object of study moves so fast that the media art theorist might wait too long for the "right" historical distance and, as a result, come up with obsolete observations. There is also the danger of making prophetic statements and predictions that turn out to be off the mark only shortly thereafter. Reading texts about media art from only a couple of years ago thus often feels like reading old computer manuals: interesting, but outdated. That is why this book is such a pleasant surprise: like any good anthology, it manages to present a multi-faceted picture without claiming to be complete. Rudolf Frieling and Dieter Daniels are interested in starting a debate rather than coming up with definite statements. The book contains numerous essays, most of which are hard to access or find, both from theorists and practitioners of (mostly German) media art. All of the essays are printed in both German and English; the English translations occasionally have added footnotes, explaining specifically German terms. This anthology is the sequel to another book on media art, "Media Art Action - The 1960s and '70s in Germany." Like the first volume, this book includes a CD-ROM with numerous audiovisual examples of media art. The CD-ROM is an important component of this publication since it illustrates many of the references made in the essays. The material collected on the CD can be accessed through chronological as well as thematic menus, thus highlighting the many different links between individual works and artists. The book is divided into four sections: "Video/Concepts," "Action/Music/Crossculture," "Interaction/Art," and "Networking/Strategy." The first two sections deal mostly with video based art, the last two sections focus on interactive media (internet, installations). The two longest essays are written by the editors themselves. Rudolf Frieling's essay opens the book by outlining the socio-historical context of media art in Germany in the '80s and '90s. This short survey is a lucid general introduction to the more specific individual essays collected in this book. However, Frieling does not merely come up with a chronology of events. He also points out that media art is inherently multifaceted. "There is nothing that copy-and-paste cannot transpose to a different context." Media art exists in many different formats and is exhibited in both traditional (museums, galleries) and non-traditional settings. Daniel Pflumm's video work, for example, was exhibited in clubs and bars. Therefore, writes Frieling, when approaching media art "it is advisable to pursue simple strategies against being fixated in any way on institutional, formal or interpretational hegemonies." The first essay to follow Frieling's introduction seems to illustrate this disclaimer. The essay, written by Marcel Odenbach in 1989, talks about the difficulty of making definite statements about art in the 1980s. Odenbach is attempting to define the 1980s but has to concede that "there was hardly a more diverse, confusing and short-lived time." One of the most interesting essays in the first section is "The Video Pioneer," written by Gerd Conradt. Conradt describes the artistic implications of video (a medium he also labels as being the "instant image") which he says seemed to "guarantee the independence in production that was so much what I was looking for." He also relates details from his work process, such as finding financing and having to deal with decaying video tape, which offer a glimpse into the practice of artistic video production in Germany in the early 1980s. With the introduction of more affordable video cameras and equipment, new outlets for video art in Germany came into being. Two essays discuss examples of such efforts: "Media Centres and Video Groups in the FRG" was originally published as the foreword to a video catalogue in 1984. It documents the way video groups understood themselves as being a counter-media, an antidote to the mainstream offerings on TV. Regina Wyrwoll's article describes an anomaly: video art on mainstream TV. "Kunstkanal" was a short-lived video experiment broadcast on one of Germany's first private TV stations, RTL, which attracted such artists as Sigmar Polke and Jenny Holzer. Both essays talk about the fact that the high end video equipment needed for the production of broadcast quality videos in the 1980s was very expensive and thus often had to be shared by a number of people. The community-building effect of this seems to be a thing of the past, now that desktop digital editing and digital cameras have become much more affordable. Another interesting contribution is Lutz Dammbeck's "alone into the battle with the beast!" Lutz Dammbeck, who lived and worked as a filmmaker in East Germany before he emigrated to West Germany in 1986, describes how many of his artistic decisions for his "Hercules" project were born out of necessity; the decision to work in mixed media performances, for example, was due to the rejection from the East German Film Association, DEFA, who decided not to finance Dammbeck's project. Dieter Daniels's "Strategies of Interactivity" marks the halfway point of the book and a shift from the historical essays on video based work to other kinds of media art. Daniels discusses the concept of interactivity by focusing on the question: "Is interactivity an ideology or a technology?" Daniels's essay ends on a rather pessimistic note: "The posited liberating potential of media can be put into effect only in closely demarcated, culturally screened-off niches but.will not survive against market forces." In contrast to this summary, some of the following (older) texts were written by artists who believe in the possibility of creating socially and politically relevant art, specifically with new media. Ingo Günther's "The Artist as Informant" (1993) is a passionate call for political art that uses new media as its platform. Günther envisions a global artistic and political network that works outside of both the traditional art and media realm, not unlike his own internet project "Refugee Republic." Valie Export hopes that female artists will shape their own tradition in new media in a way that challenges "social and political consicousness." By taking control over not only the content but also the production of media, women will be in charge of writing their own history, says Export. Also included in this anthology are interviews with Wolfgang Staehle who founded the internet art forum "The Thing" in 1991 and two of the founders (Diana McCarty, Pit Schulz) of "nettime", a mailing list for Net criticism. These two interviews are interesting mostly for their historical value. Forums and mailing lists are hardly a novum, but it's worthwhile reading about early successful examples like these two. Peter Dittmer's essay about his installation, "The Wet Nurse" is a playful meditation on the idea of interactive communication. "The Wet Nurse" is an installation piece in which users communicate with a computer in order to convince it to knock over a glass of milk. The last essay in this collection stands in opposition to the the resigned tone of Daniels's introductory remarks. It is a pamphlet published by artist/activist/director Christoph Schlingensief for the election campaign of his party "Chance 2000." Certainly, by ending the anthology with this particular text which might be described best as "political art in practice", Frieling and Daniels wanted to express their hope for socially relevant media art to be produced in the future. <a rel="nofollow" href="http://www.rhizome.org/store/2.php3">http://www.rhizome.org/store/2.php3</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means. We accept online credit card contributions at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Or call us at +1.212.625.3191. Contributors are gratefully acknowledged on our web site at <a rel="nofollow" href="http://rhizome.org/info/10.php3">http://rhizome.org/info/10.php3</a>. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Alex Galloway (alex@rhizome.org). ISSN: 1525-9110. Volume 7, number 14. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe.rhiz">http://rhizome.org/subscribe.rhiz</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php3">http://rhizome.org/info/29.php3</a>.