RHIZOME DIGEST: 11.25.05

discussion

Posted Nov. 24 2005 19:00

RHIZOME DIGEST: 11.25.05

RHIZOME DIGEST: November 25, 2005 Content: +opportunity+ 1. Kenneth Fields: Musicacoustica 2006: Language 2. Liz Nofziger: Win a free subscription to Aspect Magazine! 3. Doug Easterly: Book Opportunity 4. Felicia Rice: Applications are now being accepted! 5. Christiane Paul: FLACK ATTACK MAGAZINE: CALL FOR SUBMISSIONS 6. Sean Uyehara: Wireless Media call for entry San Francisco International Film Festival +announcement+ 7. lduncalfe@eml.cc: Processing Vision / Toby Collett 8. jillian mcdonald: New Data exhibition, New York 9. Rafael Lozano-Hemmer: 3 expos 10. Christiane Paul: FOLLOW THROUGH by Jennifer Crowe and Scott Paterson, Whitney Museum 11. Susan Kennard: REFRESH! complete conference stream launched + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Rhizome?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: Kenneth Fields <ken@ccom.edu.cn> Date: Nov 20, 2005 1:32 PM Subject: Musicacoustica 2006: Language The Electroacoustic Music Association of China (EMAC) and the China Electronic Music Center (CEMC) based at the Central Conservatory of Music in Beijing in a special cooperation with the Electroacoustic Music Studies Network's (EMS) International Conference Series are pleased to announce their annual festival: Musicacoustica 2006: Language?October 22nd through 29th?Beijing, China The week-long MusicAcoustica 2006 festival (22?29 October) will be focused on the broad theme of Language. EMS06 papers, in more focused paper sessions (from the 23rd to 26th), will concentrate on a crucial aspect of language, namely terminology - see the full call for papers here: <a rel="nofollow" href="http://www.ems.dmu.ac.uk/ems06/">http://www.ems.dmu.ac.uk/ems06/</a>. We consider this historical joint meeting in Beijing as essentially an international summit on the coherence of electroacoustic music terminology subject to the twisting and bending of the field in its emerging global context. Music, sound installations and workshops will further reflect on the theme in all its breadth and depth. Chinese composers and academics come together once a year to plan future directions for the development of computer music in China and to learn/exchange with their international guests. This year the Electroacoustic Music Studies Network (EMS) "an international team which aims to encourage reflection on the better understanding of electroacoustic music" will be our special guests at the festival. At the same time, we invite a broad reflection on the theme from experts in linguistics and music, ontology specification, semantic web, music knowledge modeling and translation issues related to expert domain knowledges. A local motivation for the conference relates to problems in translation of new terms (such as microsound or phonography) into Chinese. However, we invite submissions from various perspectives derived from projects posing new approaches to coherent structuring of specialized domain knowledges (such as new media - translate smartmob into Chinese!) which have faced problems with translation issues. The objective of this ?summit? is to create a forum of sustained co-operation; an international effort towards situating and translating electronic music concepts and terms within the emerging semantic global village. Workshops and extended residencies are invited in the days surrounding the conference. Deadline for music proposals is May 1, 2006 - to be notified by June 1st. Contact Kenneth Fields, below for more information. Register for conference updates at: <a rel="nofollow" href="http://lists.ccom.edu.cn/mailman/listinfo/musicacoustica2006">http://lists.ccom.edu.cn/mailman/listinfo/musicacoustica2006</a>. Detailed registration information to follow in February of 2006.?Deadline for the EMS papers proposals (abstracts and CV's) is February 26th, 2006. (see paper call for details - above link). Musicacoustica Organizing committee: Zhang Xiaofu?President of EMAC;?Director of CEMC at China's Central Conservatory of Music Beijing cemc@ccom.edu.cn Kenneth Fields?Professor?CEMC at China's Central Conservatory of Music?Also: Dept of Digital Art and Design, Peking University?ken@ccom.edu.cn Send materials (DVD, CD's) regarding festival to: MusicAcoustic 2006 C/O?Zhang Xiaofu and Kenneth Fields?CEMC - China Electronic Music Center?Central Conservatory of Music?43 BaoJia Street?Beijing 100031 China,?Tel: 6642-5742 Electroacoustic Music Studies Network Organizers: MTI (Leigh Landy, EARS ElectroAcoustic Resource Site, MTI Research Centre, De Montfort University) INA/GRM (Daniel Teruggi) MINT (Marc Battier, Musicologie, informatique et nouvelles technologies, OMF, Université de Paris-Sorbonne) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Please Support Rhizome! Rhizome launched its membership drive, the Community Campaign, on September 19th. The campaign is incredibly important to Rhizome's survival and growth over the next year, and we sincerely hope that you will help us meet our goal of $25,000 by December 1st by becoming a Member or making a donation today! This targeted amount will go into strengthening our current programs, and seeding our energy into new initiatives. Higher-level donors are thanked on our support page and have an opportunity to secure limited-edition works by Cory Arcangel, Lew Baldwin, and MTAA. This is a very exciting time for the organization, and a great time to get involved. Thank you for your ongoing support. <a rel="nofollow" href="http://www.rhizome.org/support/">http://www.rhizome.org/support/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Liz Nofziger <liz@nofzilla.com> Date: Nov 21, 2005 3:31 PM Subject: Win a free subscription to Aspect Magazine! Complete survey by 12/09/05 for a chance to win a one-year subscription to ASPECT! <a rel="nofollow" href="http://www.aspectmag.com/survey">http://www.aspectmag.com/survey</a> ASPECT Magazine is conducting a survey to determine what you think of our publication and new or experimental media art in general. We believe that obtaining your views is critical to our ability to provide the best level of products and services. Furthermore, your help will contribute to the development of our educational services ?Educators Forum? on the Aspect website. Your responses will be strictly confidential and only general results from this research will be reported. No one other than research staff will know individual answers to this questionnaire. If you have any questions regarding this survey, please send an email to Michael Mittleman at survey@aspectmag.com or 617-695-0500. <a rel="nofollow" href="http://www.aspectmag.com/survey">http://www.aspectmag.com/survey</a> Respond by December 9, 2005 for a chance to win one of five free subscriptions to be randomly selected from respondents. ASPECT is a biannual DVD magazine of new media art. Each issue features 5-10 artists working in new or experimental media whose works are best documented in video and/or sound. Each work can be viewed with or without an additional commentator audio track. ASPECT has featured 33 artists and collectives, including the work of MTAA, Jim Campbell, Tony Cokes, Noah Wardrip-Fruin, and Denise Marika. Bill Arning, George Fifield, Marisa Olson, and Christiane Paul are among the list of distinguished commentators who have contributed to ASPECT. Thank you for helping us in our efforts to make our products and services better to meet your expectations. Liz Nofziger Assistant Editor ASPECT Magazine <a rel="nofollow" href="http://www.aspectmag.com">http://www.aspectmag.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Doug Easterly <playfight@mac.com> Date: Nov 22, 2005 8:29 AM Subject: Book Opportunity I am doing a book project with Thomson Press consisting of about 12-14 chapters, where each chapter will highlight an artist doing interesting work with Flash. This is not to be a typical Flash book showcasing technical gymnastics. While technical innovation is a plus, I hope to highlight artists who are using Flash with provacative/critical content. If you would like to participate, please send me an email with a url of your work. Thanks Doug Easterly playfight@mac.com ____________________________________ D o u g l a s E a s t e r l y Assoc. Professor of Computer Art Syracuse University / Transmedia swamp.nu web.syr.edu/~deaster ——————————- + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Felicia Rice <fsrice@ucsc.edu> Date: Nov 23, 2005 4:21 PM Subject: Applications are now being accepted! The Digital Arts and New Media MFA Program at University of California, Santa Cruz serves as a center for innovation and exploration of digital technologies in the arts. Faculty and students are drawn from a variety of established disciplines including the arts, computer engineering, and social sciences. The goal is to enlarge our collective imagination through an investigation of the boundaries and possibilities of digital arts and new media. The Digital Arts and New Media MFA Program is now accepting applications through February 1, 2006. For more information: <a rel="nofollow" href="http://digitalarts.ucsc.edu">http://digitalarts.ucsc.edu</a> <a rel="nofollow" href="http://danm.ucsc.edu">http://danm.ucsc.edu</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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Christiane_Paul@whitney.org <Christiane_Paul@whitney.org> Date: Nov 23, 2005 9:08 AM Subject: FLACK ATTACK MAGAZINE: CALL FOR SUBMISSIONS FLACK ATTACK: CALL FOR SUBMISSIONS We invite you to contribute to FlackAttack, a new magazine coming out of The Port (<a rel="nofollow" href="http://www.theport.tv/">http://www.theport.tv/</a>), a community-driven space initiated by Simon Goldin & Jakob Senneby inside the online 3D world Second Life (<a rel="nofollow" href="http://secondlife.com/">http://secondlife.com/</a>). The production process of Flack Attack will be continually featured on artport (<a rel="nofollow" href="http://artport.whitney.org/">http://artport.whitney.org/</a>), the Whitney Museum's portal to Internet Art, as a gate page during the month of December 2005. Using The Port as a point of departure we are pursuing a series of investigations into the potential of networked public spheres and the organization of participatory production. PRODUCTION The production model of FlackAttack magazine is based on the wiki concept and the workflow starts with the set-up of the wiki at <a rel="nofollow" href="http://www.flackattack.org">http://www.flackattack.org</a>. ==Theme The theme of the first issue is "FlackAttack on Autonomy": Autonomy as a complex concept in any governed situation. What does it mean to be autonomous within predefined social codes? Does the notion of autonomy contradict a common language and shared references? In the specific case of online worlds the challenge is readily illustrated by the fact that all interaction takes place inside someone else's programmed code. But the same basic dilemma can be applied to any institution we find ourselves in, be it a nation, a family or an economy. ==Submissions The wiki is open to all, and we encourage a wide range of contributions on the topic of autonomy: everything from the structural and analytical to the personal and anecdotal. Contributions can take the form of +articles +comments +images +alterations / remixes of other contributions Please submit your contributions between now and December19 at <a rel="nofollow" href="http://www.flackattack.org">http://www.flackattack.org</a> ==Editorial Meetings An editorial office is being set up at The Port (inside the online world Second Life). Open meetings for discussing and editing the wiki contributions will be held at the office three times a week during December. All final decisions about the magazine and what will be included in the printed version will be made at the editorial meetings. The more you engage, the more you will be able to influence the outcome. The editorial office will also function as design studio, community center, and place for further reflection. The editorial meetings will take place every Tuesday, Thursday, and Sunday in December, starting on Thursday, December 1 (editorial offices will be closed on Sunday December 25). Meeting times will be as follows (depending on your time zone): Tuesdays (December 6, 13, 20, 27): 1 AM West Coast USA 4 AM East Coast USA 9 AM UK 10 AM Central Europe 6 PM Japan Thursdays (December 1, 8, 15, 22, 2): 5 PM West Coast USA 8 PM East Coast USA Friday 1 AM UK Friday 2 AM Central Europe Friday 10 AM Japan Sundays (December 4, 11, 18) 1 PM West Coast USA 4 PM East Coast USA 9 PM UK 10 PM Central Europe Monday 6 AM Japan ==Directions For those who will visit The Port and Second Life for the first time, please proceed as follows: Go to <a rel="nofollow" href="http://secondlife.com/">http://secondlife.com/</a> to get a free acount and a personal avatar (you need to give credit card details for security). Simply follow the instructions, download the customized software on your computer, and design your avatar. Allow yourself approx. 2 hours for this. Then click "Find" and search for "The Port" under "Places" (checking the "include mature areas" box). Click "Teleport" and you will arrive at The Port! If you need help or have any questions when in Second Life, please send IM (Instant Message) to VoyeurOne Baron or Sorgaard Jacques. The process of working with Flack Attack will be continually mediated through artport (<a rel="nofollow" href="http://artport.whitney.org/">http://artport.whitney.org/</a>), the Whitney Museum's portal to Internet Art between 1 and 31 December. PUBLICATION By the end of December the first issue of Flack Attack will be published. We are planning to distribute it as PDF and print-on-demand via artport. (In addition, free printed copies might be distributed through the bookstore of the Whitney Museum in New York). Simon Goldin & Jakob Senneby, Initiators of The Port & Flack Attack The Port: <a rel="nofollow" href="http://www.theport.tv/">http://www.theport.tv/</a> Flack Attack: <a rel="nofollow" href="http://www.flackattack.org">http://www.flackattack.org</a> Second Life: <a rel="nofollow" href="http://secondlife.com/">http://secondlife.com/</a> Artport: <a rel="nofollow" href="http://artport.whitney.org/">http://artport.whitney.org/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Marisa Olson <marisa@rhizome.org> Date: Nov 24, 2005 10:47 AM Subject: Fwd: Wireless Media call for entry San Francisco International Film Festival ———- Forwarded message ———- From: Sean Uyehara <suyehara@sffs.org> Date: Nov 22, 2005 6:03 PM Subject: [New Media Curating] Wireless Media call for entry San Francisco International Film Festival To: NEW-MEDIA-CURATING@jiscmail.ac.uk Please circulate to any you think might be interested. Thanks! Sean Uyehara ————————— Wireless Media Call for Entries <a rel="nofollow" href="http://www.sffs.org/festival/wireless06.html">http://www.sffs.org/festival/wireless06.html</a> This is an invitation to submit work to the San Francisco Film Society for consideration to be included in the 49th San Francisco International Film Festival taking place April 20 May 4, 2006. In specific, this call is for a program that will focus on a series of visual works made by and/or for wireless media devices and signals. Roughly this breaks down into three categories: 1. Works made by mobile devices 2. Works made to be specifically viewed on mobile devices. 3. Works that use wireless signals a new aesthetic medium. Submissions due: January 3, 2006 Final Decisions: February 17, 2006 SUBMISSIONS URL <a rel="nofollow" href="http://www.sffs.org/festival/wireless06.html">http://www.sffs.org/festival/wireless06.html</a> Telephonic communication has always been a two-way street. You send messages, you receive messages. Now, a myriad of wireless communications devices also record and playback text messages, still images, sound and video. But the transmission principle is the same. These recordings are sent or received and cover distance. What¹s changed is the multi-use functions of telecommunications hardware. Mobile devices have become special tools for interacting with the mediated world. The question this program will explore is how do these mobile devices enable new methods of production, distribution and/or exhibition. We invite you to submit your work to help us form an answer. The San Francisco International Film Festival will present a multi-varied program of ³mobiley² inspired work. We especially encourage works that use mobile technologies, wireless signals, text or animation as new type of recording tool or medium, and/or articulate the difference and urgency of exhibiting on tiny, portable screens. CALL <a rel="nofollow" href="http://www.sffs.org/festival/wireless06.html">http://www.sffs.org/festival/wireless06.html</a> If you have questions or would like more information, please email: programming@sffs.org. ———————— Sean Uyehara Programming Associate suyehara@sffs.org Direct 415.561.5011 San Francisco Film Society Presenter of the 49th San Francisco International Film Festival, April 20-May 4, 2006 Enter your film at <a rel="nofollow" href="http://www.sffs.org">http://www.sffs.org</a> Final film entry deadline, December 9, 2005 Final wireless media entry deadline, January 3, 2006 Interested in hearing about San Francisco Film Society screenings and events? Sign up for our monthly enewsletter <a rel="nofollow" href="http://www.sffs.org/membership/enews_signup.html">http://www.sffs.org/membership/enews_signup.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: ld <lduncalfe@eml.cc> Date: Nov 19, 2005 5:12 AM Subject: Processing Vision / Toby Collett Exhibition ———– "Processing Vision" / Toby Collett OnLine & OnSite: Pioneer robot, video projections and web-based Flash stream Dates ———– 17 Nov - 10 Dec Window OnSite Foyer of the General Library Building University of Auckland Flash stream on Window website <a rel="nofollow" href="http://www.window.auckland.ac.nz/">http://www.window.auckland.ac.nz/</a> Synopsis ———– With an eye for spatiality, a pioneer robot with sonar mounts from the Auckland Robot Group is presented by Toby Collett, a PhD Engineering student at the University of Auckland. The robot is the product of the Group's research into robotic vision and navigation, and for the duration of the exhibition has been set the task of roaming around inside Window OnSite generating visual data that is presented on the front of the Window structure via three projections. Glazing has been applied to the glass front of Window OnSite to partially obscure our view of the robot and prioritise the images it is creating, so as to play on a gulf between its means of processing vision and ours. In addition, Window's two spaces have been networked together with data being relayed to the Window website, where a feed of the robot's spatial awareness of its physical environment is mapped within segments of Window's website. Essay "Processing the Robot" / by Luke Duncalfe: <a rel="nofollow" href="http://www.window.auckland.ac.nz/robotread.php">http://www.window.auckland.ac.nz/robotread.php</a> ———– Like the depressed Marvin from the Hitchhiker's Guide to the Galaxy to Tony Oursler's screaming avatars, we recognise more of ourselves in the disorders of behaviour than in any representation of personality functioning as personality ought to. The pioneer robot by Toby Collett and the Robot Group is prone to error and lapses of judgment, and its perception is liable to exaggerate its position. Often the robot believes it has passed through a wall as its systems of response misfire. If this robot were a human it would be prone to hyperbole and fantasy. I describe the robots that seem to understand this idea of errors and lapses of judgment as aiding the replication of personality as hailing from the paranoid android school of behavioural computing; they replicate personality through the embracing of the nativity of their bugs, memory leaks, and the poorly structured systems of their own code. They deny themselves the perfection that their Turing-completeness holds to promise. We have a history of creating avatars of ourselves through our contemporary technology, though this is perhaps the first time that in seeing ourselves reflected within error prone technology we are identifying ourselves as being less than perfect. Once the operational mechanics of our hearts and circulatory systems were conceptualised through the mechanical workings of hydraulic clocks–you know, they both tick and all so it's perfect–as one example1. And likewise, the BBC tends these days to see ourselves as possessing neurological circuitry akin to networked computing, with neurons being the equivalent of servers; the synapses a kind of Internet. The paranoid android then rests alongside a long history of our borrowing from mechanised automata in order to discover selfhood, of a degree of self-understanding that it seems can only be realised through looking to our artifacts, like an artist who makes sense of their identity through self portrait. Collett's robot crawls, surveys, guesses and responds as if possessing some low-level intelligence, its dimensions make it the size of a child's toy and we tend to view it as such. Its achievements seem endearing, and its quirks make it all the more so. It feels deflationary to realise that for all its displays of spatial recognition, decision-making, of being a day-dreaming wanderer, it is numeric encoding that comprises its ?understanding?. Its task is mechanically analogous to, say, the banality of word processing as far as a machine that has been set a computational assignment is concerned. For example, one-tenth of a second of spatial and motional awareness is logged thus: #Position2D (4:0) #xpos ypos theta speed sidespeed turn stall 2.698 4.153 4.67748 0.469 0 0.14 0 The spatial dimensions of the Window gallery are to the robot mere packets of data to be processed; awareness to the robot is homogenous binary whether it be colour, space, proximity, or the data structures of its own historical ?memory?. This is what Manovich refers to when he describes there being two discrete layers to human-computer interaction that effectively exist in ultimate separation from the other.2 If we allow ourselves to rationalise the mimicry of a behavioural machine as the achievements of a machine solely within its own numerical representation of physical dimensions then a degree of alienation occurs between a robot and oneself; what seemed culturally affirmative becomes only affirmative of the cultural-mechanical divide in the cognitive reality of the two. Yet this exhibition has been named Processing Vision. A merely metaphorical use of the word vision it seems at first given that vision to a computer-driven robot is meaningless beyond providing it with feedback to be harvested into binary, until one notes that the resultant vision provided by the projections in Window OnSite and the paths mapped on the pages of Window OnLine are not visions of sight but are in fact visions of data. They are pie graphs, lines of sonar range, x and y pathways of relayed spatial coordinates of Collett's robot in the gallery, which provide insight into the processing means of the machine at the centre of the spew of information. In these visions the processing is made transparent: We can see this isn't an avatar with human-equivalent faculties of sight but it is instead being presented as a reaper of visual and spatial measurement from its trips around Window OnSite from which it can respond. As curator, Stephen Cleland has cast the robot as a topographical image-maker of the gallery. Through reading this proxy of space on screen we experience the data relationships of the gallery similar to how the robot does through its instrumentation, a kind of augmented spatial reality like the sight of the terminator robot of 1984 where graphical measurements and internal processing flashed up like tool tips. It could be suggested that this arrangement forms a bridge between Manovich's division by which we can relate to the vision of the robot through a data image devoid of a computationally-false version of spatiality. Due to glazing being applied to the window structure to obscure our view into the site, one understands the movements of the robot through its own computational understanding of its encounter with its environment. The priorities of Collett's robot are based on measurement and so one interprets the projected and streamed corollaries of space on what approximates the robot's own terms. Window's two exhibition spaces, OnSite and OnLine, become screens to the robot's thinking and interfaces from which to peer into the mechanics of robotic vision; the data sources and data outposts of a paranoid android. Written for Window, November 2005 1. Aram Vartanian, Man-Machine from the Greeks to the Computer, <a rel="nofollow" href="http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv3-17">http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv3-17</a> 2. Lev Manovich, The Language of New Media, p. 46 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: jillian mcdonald <jmcdonald@jillianmcdonald.net> Date: Nov 20, 2005 5:33 PM Subject: New Data exhibition, New York Harvestworks Digital Media Arts Center & 3-Legged Dog Media & Theater Group present New Data - a digital media arts exhibition November 17, 2005 - January 7, 2006 Installation is open Tue - Sat 1-6pm harvestworks.org/new-data.gif 15 Nassau Street @ Pine St. NYC Lower Manhattan Cultural Council's new public programming venue Using the internet, interactive installation, sound, film and video, the artists in New Data make art by collecting data - literally and metaphorically. Robert B. Lisek David Stout Zoe Beloff Jillian McDonald Marc Lafia Terry Nauheim. In addition, these artists present their work on Nov 19 (Lisek/Stout), Dec 3 (Beloff/McDonald), and Dec 10 (Lafia/Nauheim). info: Carol Parkinson, Harvestworks Tel: 212-431-1130 <a rel="nofollow" href="http://www.harvestworks.org">http://www.harvestworks.org</a> info@harvestworks.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Marisa Olson <marisa@rhizome.org> Date: Nov 22, 2005 12:03 PM Subject: Rafael Lozano-Hemmer: 3 expos ———- Forwarded message ———- From: Rafael Lozano-Hemmer <rafael@lozano-hemmer.com> Date: Nov 21, 2005 4:31 PM Subject: 3 expos To: marisa@marisaolson.com (Versión en español abajo) Dear friends and colleagues, hope you are well, apologies for cross-postings. Here are announcements for three large exhibitions that are taking place in Switzerland, Britain and Germany before the end of the year, –in case you are close to any of them and can see them live. If you would rather not be notified in the future about my shows please let me know at errafael@gmail.com All the best, Rafael <a rel="nofollow" href="http://www.lozano-hemmer.com">http://www.lozano-hemmer.com</a> SUBSCULPTURES Solo exhibition at Galerie Guy Bartschi, Geneva, Switzerland. 5 November 2005 to 14 January 2006 <a rel="nofollow" href="http://www.bartschi.ch">http://www.bartschi.ch</a> Exhibition featuring kinetic sculptures, video, photography and interactive environments. A catalog is available with texts in English and French. Includes the premiere of "Entanglement", an installation with two neon signs that write emails to each other so that they are both simultaneously on or off. NB: In early December, "Entanglement" will also be shown at Art Basel Miami at OMR Gallery and at the transitio_mx festival in Mexico City. UNDER SCAN A large-scale public art commission for the East Midlands region in England. 25 November to 4 December 2005: Brayford Campus, Lincoln University 12 January to 22 January 2006: Humberstone Gate, Leicester 3 February to 12 February 2006: Market Square, Northampton 24 February to 5 March 2006: Market Place, Derby 17 March to 26 March 2006: Canal Side at Castle Wharf, Nottingham <a rel="nofollow" href="http://www.underscan.co.uk">http://www.underscan.co.uk</a> Under Scan is an interactive video installation for public space. In the piece, passers-by are detected by a computer tracking system that activates video-portraits projected within their shadow on the ground. Over one thousand uncensored portraits of local people are activated by the shadows. 33 QUESTIONS PER MINUTE IN BERLIN Installation at Postdamer Platz, Berlin, Germany Presentation: 29 November 15:00 at Postdamer Platz 10 Show: 13 December 2005 to 8 January 2006 <a rel="nofollow" href="http://www.realities-united.de">http://www.realities-united.de</a> A matrix of 1,800 fluorescent lamps cover an eleven storey-high building in Berlin, a creation of architects realities:united. On this facade will be displayed 55 billion unique and grammatically correct questions, –a new German version of the software "33 Questions per Minute". People will be able to input their own questions by typing them in at an outdoor kiosk. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Estimados amigos y colegas, espero que estén bien, disculpas por los envios repetidos e impersonales. Aquí tienen la información de tres exposiciones ambiciosas que se presentarán en Suiza, Gran Bretaña y Alemania antes del fin de año, –por si acaso se encuentran cerca y pueden verlas en vivo. Si en el futuro alguien prefiere no recibir notificaciones sobre mi trabajo por favor escribirme a errafael@gmail.com Saludos cordiales, Rafael <a rel="nofollow" href="http://www.lozano-hemmer.com">http://www.lozano-hemmer.com</a> SUBESCULTURAS Exposición en la Galería Guy Bartschi, Ginebra, Suiza. 5 noviembre 2005 al 14 enero 2006 <a rel="nofollow" href="http://www.bartschi.ch">http://www.bartschi.ch</a> Exposición de esculturas cinéticas, video, fotografía y entornos interactivos. Un catálogo con textos en inglés y francés está disponible. La muestra incluye el estreno de "Entanglement" (Entrelazamiento), una instalación de dos letreros de neón que se escriben email para mantenerse siempre encendidos o apagados simultáneamente. Nota: A principios de diciembre "Entanglement" se presentará en Art Basel Miami en la Galería OMR y en el festival transitio_mx en la Ciudad de México. UNDER SCAN Una obra de arte público encargada por la región de East Midlands en Inglaterra. 25 noviembre al 4 diciembre 2005: Brayford Campus, Universidad de Lincoln 12 enero al 22 enero 2006: Humberstone Gate, Leicester 3 febrero al 12 febrero 2006: Market Square, Northampton 24 febrero al 5 marzo 2006: Market Place, Derby 17 marzo al 26 marzo 2006: Castle Wharf, Nottingham <a rel="nofollow" href="http://www.underscan.co.uk">http://www.underscan.co.uk</a> Under Scan es una instalación de video interactivo para espacio público. En esta pieza los transeúntes son detectados por un sistema de vigilancia computarizado que activa video-retratos proyectados dentro de su sombra en el piso. Más de mil retratos de personas de la región, grabados sin censura, son proyectados dentro de las sombras. 33 PREGUNTAS POR MINUTO EN BERLIN Instalación en Postdamer Platz, Berlín, Alemania Presentación: 29 noviembre 15:00 en Postdamer Platz 10 Exposición: 13 diciembre 2005 al 8 enero 2006 <a rel="nofollow" href="http://www.realities-united.de">http://www.realities-united.de</a> Una matriz de 1,800 luces fluorescentes cubren un edificio de 11 pisos en Berlín, una creación de los arquitectos realities:united. En esta plataforma electrónica se mostrarán 55 mil millones de preguntas gramaticalmente correctas, –una versión en Alemán del software "33 Preguntas por Minuto". La gente puede introducir sus preguntas escribiéndolas en una terminal frente al edificio. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Christiane Paul <Christiane_Paul@whitney.org> Date: Nov 24, 2005 10:32 AM Subject: FOLLOW THROUGH by Jennifer Crowe and Scott Paterson, Whitney Museum FOLLOW THROUGH, A MOBILE MEDIA PROJECT by Jennifer Crowe and Scott Paterson December 1, 2005-January 29, 2006 Whitney Museum of American Art 945 Madison Ave. 5th fl. Artists Jennifer Crowe and Scott Paterson have created a mobile, audio-visual project that will be accessible to visitors on portable media players in the Museum's 5th Floor Permanent Collection galleries. The project is inspired by the discrepancy the artists found between the dynamics of the art on view in the galleries and the rather passive and languid body language of museum visitors looking at that art. Referencing the structure of the existing audio tour, the artists invite visitors to engage in a set of exercises designed to bring well-established behavioral codes of museum attendance into relief. Visitors are prompted by visual instructions that appear on the screens of the handheld players. The project's title has its roots in sports terminology where the term "follow-through" describes the act of carrying a motion to its natural completion. With "Follow Through," the artists are inviting visitors to complete the dynamics in the galleries in an experience that goes beyond the mental act of contemplating or interpreting artworks. The exhibition was co-commissioned by the Whitney Museum of American Art and Antenna Audio and is sponsored by Antenna Audio. Documentation of the project will be accessible online at www.whitney.org artport.whitney.org and www.antennaaudio.com ABOUT THE ARTISTS Jennifer Crowe is currently a new media producer in New York. Trained in the arts, her education includes an MA from Bard College's Center for Curatorial Studies and a BA in Visual Arts and Communication from the University of California, San Diego. Jennifer has broad experience in the arts with a special interest in digital archives and fine art preservation. Highlights include curating exhibitions at A.I.R. Gallery and The New Museum, initiating Rhizome.org's Artbase, an online archive for Net-based artworks, and producing online companions for Peabody-Award winning art television shows at Thirteen/WNET New York Public Television. She has coordinated digital video archiving projects for Yale University, the Dance Heritage Coalition, and the EU's international video preservation project PrestoSpace. She has lectured at various venues including the Dutch Electronic Arts Festival, the American Museum of the Moving Image, and the Guggenheim Museum. Scott Paterson is an architect, interaction designer, and artist based in New York. He teaches studio courses in the MFA in Design and Technology Program at the Parsons School of Design and has also taught at Columbia University?s Graduate School of Architecture. Trained as an architect, his education includes a Bachelor of Architecture degree from the University of Minnesota and a Masters degree from Columbia University. He has received grants from the Walker Art Center, Parsons School of Design, and The Design Institute at the University of Minnesota. Paterson lectures internationally and his work has been exhibited at the Whitney Museum of American Art, the Walker Art Center, and the Banff Centre for the Arts, as well as in venues in Amsterdam, Berlin, Florence, and Mexico City. ABOUT THE WHITNEY MUSEUM The Whitney Museum of American Art is the leading advocate of 20th- and 21st-century American art. Founded in 1930, the Museum is regarded as the preeminent collection of American art and includes major works and materials from the estate of Edward Hopper, the largest public collection of works by Alexander Calder, Louise Nevelson, and Lucas Samaras, as well as significant works by Jasper Johns, Donald Judd, Agnes Martin, Bruce Nauman, Georgia O'Keeffe, Claes Oldenburg, Kiki Smith, and Andy Warhol, among other artists. With its history of exhibiting the most promising and influential American artists and provoking intense critical and public debate, the Whitney's signature show, the Biennial, has become a measure of the state of contemporary art in America today. ABOUT ANTENNA AUDIO Antenna Audio, the leading audio and audio-visual interpretation firm, serves more than 50,000 visitors of museums and other cultural sites each day. With 20 years of experience in the field of educational interpretation and entertainment, Antenna Audio designs, manufactures, and manages portable digital information systems and multilingual audio-visual productions for clients worldwide. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Marisa Olson <marisa@rhizome.org> Date: Nov 24, 2005 10:40 AM Subject: Fwd: REFRESH! complete conference stream launched ———- Forwarded message ———- From: Kennard, Susan <Susan_Kennard@banffcentre.ca> Date: Nov 22, 2005 3:38 PM Subject: REFRESH! complete conference stream launched To: BNMI Info <BNMI_INFO@banffcentre.ca> For immediate release November 22, 2005 Banff New Media Institute launches webcast for Refresh! conference on new media art, science, technology In late September, more than 200 new media practitioners from around the world gathered at the Banff New Media Institute (BNMI) at The Banff Centre for the first Refresh! international conference on the history of media art, science, and technology. Today marks the launch of an educational resource for new media artists, researchers, historians and students across the globe - access to the Refresh! conference online: <a rel="nofollow" href="http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/">http://www.banffcentre.ca/bnmi/programs/archives/2005/refresh/</a> Visit this comprehensive archive to watch and listen to discussion on the relationship between new media and the disciplines of art history, anthropology, computing sciences, media studies, and other intercultural contexts. The webcast includes the inaugural Rudolf Arnheim lecture, by curator and art historian Sarat Maharaj, honouring the crucial role of Rudolf Arnheim in the history and theory of the interaction of art, science, and new technologies. Catch London-based writer and curator Jasia Reichardt on the evolution of computer-based art, and the development of electronic sculpture, art robots, and environments. Watch Andreas Broeckmann, director of the transmediale festival for art and digital culture in Berlin, present on the effect of the machine on creative thinking, and Edward Shanken, professor of art history and media theory at the Savannah College of Art and Design, address methodologies for analyzing the role of science and technology in the history of art. Find out what Michael Century and Sheila Petty had to say on the transition between analog and digital technologies within the institution, and the issue of race in 'cybertheory'. The Refresh! conference was hosted by BNMI, Leonardo / ISAST, and the Database for Virtual Art and was generously supported by the Social Sciences and Humanities Research Council of Canada, the Daniel Langlois Foundation, Telefilm Canada, the Canada Council for the Arts, Goethe-institute, Deutsche Forschungsgemeinschaft, Villa Vigoni, UNESCO DigiArts, INTEL and ITAU Cultural. Refresh! is one of the flagship events of the 10th anniversary celebration of BNMI, marking a decade of work by inspired artists, producers and researchers. As BNMI looks to the next 10 years, it will continue to engage in research, development, training and the exploration of broader social, political and cultural issues, informing new media in its many contexts. - 30 - For more information contact: Iwona Erskine-Kellie * BNMI Assistant +1-403-762-6652 * iwona_erskine-kellie@banffcentre.ca Susan Kennard Director & Executive Producer The Banff New Media Institute The Banff Centre 107 Tunnel Mountain Drive Box 1020, Station 40 Banff, Alberta Canada T1L 1H5 Tel. +1 403 762 6481 Fax. +1 403 762 6665 <a rel="nofollow" href="http://www.banffcentre.ca/bnmi">http://www.banffcentre.ca/bnmi</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation,  The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 10, number 47. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +