RHIZOME DIGEST: 2.17.02

discussion

Posted Feb. 16 2002 19:00

RHIZOME DIGEST: 2.17.02

RHIZOME DIGEST: February 17, 2002 Content: +work+ 1. Steve Dietz: only 582 days left! +announcement+ 2. Tilman Baumgaertel: announcing "net.art 2.0" +comment+ 3. Eryk Salvaggio: Six Rules Towards A New Internet Art 4. La Societe Anonyme: Redefinition of artistic practices in the 21st century (LSA47) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 2.17.02 From: Steve Dietz (steve.dietz@walkerart.org) Subject: only 582 days left! Free Radio Linux by r a d i o q u a l i a <a rel="nofollow" href="http://radioqualia.va.com.au/freeradiolinux/">http://radioqualia.va.com.au/freeradiolinux/</a> <a rel="nofollow" href="http://crossfade.walkerart.org/">http://crossfade.walkerart.org/</a> Free Radio Linux, a new project by r a d i o q u a l i a, commissioned by Gallery 9/Walker Art Center, is a the first net.radio distribution of the world's most popular open source software - the operating system, Linux. Free Radio Linux is an online and on-air radio station. The sound transmission is a computerised reading of the entire source code used to create the Linux Kernel, the basis of all distributions of Linux. Launched February 3, the fourth anniversary of the day the Open Source Initiative (<a rel="nofollow" href="http://www.opensource.org/">http://www.opensource.org/</a>) coined the term "open source" as a label for freely published source code (<a rel="nofollow" href="http://www.opensource.org/docs/history.html">http://www.opensource.org/docs/history.html</a>), there are only approximately 582 days before the code has been fully netcast. Each line of code is read by an automated computer voice - a speech.bot utility built by r a d i o q u a l i a. The speech.bot's output is encoded into an audio stream, using the open source codec, Ogg Vorbis (<a rel="nofollow" href="http://www.vorbis.com">http://www.vorbis.com</a>), and sent out live on the internet. FM, AM and Shortwave radio stations from around the world will also relay the audio stream on various occasions. The Linux kernel contains 4,141,432 millions lines of code. Reading the entire kernel will take an estimated 14253.43 hours, or 593.89 days. Listeners can track the progress of Free Radio Linux by listening to the audio stream, or checking the text-based progress field in the ./listen section of the website (<a rel="nofollow" href="http://www.radioqualia.net/freeradiolinux">http://www.radioqualia.net/freeradiolinux</a>) ./ BACKGROUND : LINUX AND OPEN SOURCE Since Finnish programmer Linus Torvalds (<a rel="nofollow" href="http://www.cs.Helsinki.FI/u/torvalds/">http://www.cs.Helsinki.FI/u/torvalds/</a>) started development of the operating system, Linux in 1991, the collaborative model of software development has reached profound new heights. Consisting of millions of lines of source code, Linux has been mutated, improved and sent spiraling off into new directions by literally thousands of programmers from all around the world. This is because Torvalds promoted a simple approach to the development of Linux: he made the code available for users of the operating system to read, view and alter. Sharing their ideas on the software and potential improvements was a core part of Torvalds' ethic. Due to the extraordinary success of Linux, the ethic of code sharing has reached new heights of popularity. Code sharing is no longer a process specific to computer science, rather it has become an ideology embraced by business, the computer using public, and a multitude of cultural, artistic and academic sectors. When Linux won one of electronic art's most prestigious prizes, the Prix Ars Electronica (<a rel="nofollow" href="http://prixars.aec.at/history/net/1999/E99net_01.htm">http://prixars.aec.at/history/net/1999/E99net_01.htm</a>) for .net excellence in 1999, Open Source completed its journey from a prosaic functional process to a phenomenon verging on art. ./ FREE RADIO MEETS FREE SOFTWARE In the hierarchy of media, radio reigns. There are more computers than modems, more phones than computers, and more radios than phones. Radio is the closest we have to an egalitarian method of information distribution. Free Radio Linux advocates that radio is the best method for distributing the world's most popular free software. Free Radio Linux is therefore be a networked broadcast system, transmitting on ether-net via open source audio codec, Ogg Vorbis and relayed on AM, Shortwave and FM frequencies, by a collection of ham radio amateurs and radio professionals. Free Radio Linux also continues the tradition of FM 'code stations' of the early-mid eighties. These stations were pirate broadcasters who distributed bootleg software programmes via radio transmitters, allowing early hackers with home computers, such as Sinclair ZX80-81s, Commodore 64s, and Acorns, to demodulate the signal through a modem and run the code. The modern day equivalent, Free Radio Linux, similarly enables anyone with notepad to transcribe the code and utilise it at his or her convenience. <a rel="nofollow" href="http://radioqualia.va.com.au/freeradiolinux/">http://radioqualia.va.com.au/freeradiolinux/</a> <a rel="nofollow" href="http://crossfade.walkerart.org/">http://crossfade.walkerart.org/</a> <a rel="nofollow" href="http://www.opensource.org/">http://www.opensource.org/</a> <a rel="nofollow" href="http://www.opensource.org/docs/history.html">http://www.opensource.org/docs/history.html</a> <a rel="nofollow" href="http://www.vorbis.com">http://www.vorbis.com</a> <a rel="nofollow" href="http://www.radioqualia.net/freeradiolinux">http://www.radioqualia.net/freeradiolinux</a> <a rel="nofollow" href="http://www.cs.Helsinki.FI/u/torvalds">http://www.cs.Helsinki.FI/u/torvalds</a> <a rel="nofollow" href="http://prixars.aec.at/history/net/1999/E99net_01.htm">http://prixars.aec.at/history/net/1999/E99net_01.htm</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). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 2.13.02 From: Tilman Baumgaertel (tilman_baumgaertel@csi.com) Subject: announcing "net.art 2.0" net.art 2.0.–Neue Materialien zur Netzkunst /New Materials towards Net Art Tilman Baumgärtel (Editor) Publisher: Institut für moderne Kunst Nürnberg. Bilingual (german/english). Translated by David Hudson 264 pages with 136 pics, most of the in color. Softcover. 32 Euro ISBN 3-933096-66-9 The saga contines. Since the publication of the book "net.art - Materialien zur Netzkunst" (exclusively in german) by Tilman Baumgärtel in 1999, developments in the area of Net art have been continuing apace. "net.art 2.0" describes more recent developments in Net art, this time giving voice to Nam June Paik and Douglas Davis among others. It was the work of artists such as these in the 1970s and '80s that paved the way for Internet art. Moreover "net.art 2.0" brings to light a series of works challenging the computer itself as an artistic medium, or putting it to artistic uses for which computers were never conceived. "net.art 2.0" primarily consists of interviews with some of the main players of Net art–artists whose keynote work and mojor projects in recent years (such as Julia Scher, Peter Halley, Blank & Jeron, Jodi, etoy, Micromusic.net, Ken Goldberg and Lisa Jevbratt) were carried out in this medium, thereby rising the profile of the field and giving it new focus. The interviews are complemented by the inclusion of an appendix and a comprehensive essay by the author. This investigates what is peculiar to Internet art, and seeks to identify its relevance to the debate in contemporary art. "net.art 2.0" provides access to the innovative terrain of Internet art. <a rel="nofollow" href="http://www.vfmk.de/028.html">http://www.vfmk.de/028.html</a> <a rel="nofollow" href="http://rhizome.org/store/">http://rhizome.org/store/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Read Peter Anders article "Anthropic Cyberspace" in the latest LEONARDO Digital Salon Volume 34 Number 5. Learn first hand about defining electronic space and give yourself space to think. Visit our web site @ <a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/Leonardo">http://mitpress2.mit.edu/e-journals/Leonardo</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 2.12.02 From: Eryk Salvaggio (eryk@maine.rr.com) Subject: Six Rules Towards A New Internet Art Boundaries are what inspired the "heroic period" of early net.art– boundaries such as bandwidth, browser design limits, etc. Ironically; as bandwidth has expanded and browers more flexible, we have also seen a homoginization of net.art. A design aesthetic prevails; as we see slicker and slicker "art" sites with no message or point or content. Several of the following limitations are designed to deflect the trappings of tradition set up by the original net.art form which we seem mired in. The new net.art will not appeal to net.art purists nor the designers with a bent towards untraditional displays; instead it is a reflection of what I see as "the new cliches." The following was drawn up in my frustration at viewing work on the internet as of late, in an attempt to find for myself what it is that has started to bore me so much about art on the web. The "manifesto" was written as a means of provocation to thought in other artists on the web who are not looking at the traps they are falling into; as well as tendencies in my own work that I was unsatisfied with. You will notice that the work I list below is not "boring" but merely rampant; I am not saying that work created against the rules I'm setting forth can't be interesting; but merely that these modes are already prevalent, and that steps should be taken by any artist who is interested in expanding the medium by posit rather than reproduction. Work created under the New Net Art Banner will work within the following selected boundaries–at least 7 of these criteria must be met for a work to be considered "New Net Art." If no one responds to it, I am quitting the list. + + + 1. No Flash. This has nothing to do with corporate/anti-corporate; and should not be mistaken as the most radical rule. The no-flash rule is in effect by simple virtue of its rampant use in net.art work at the expense of diversity. Because flash is so common, we see common systems of animation; common color schemes, common layouts. This rule should be taken with the understanding that under the rules for "new net.art" there is an allowance for up to 30% of a site to consist of flash and shockwave. 2. No introduction pages. There will be no thesis; critical reviews or explanations of intent or content before displaying the work. The use of such pages is alienating and self-important and detracts from the responsibility of the viewer to interact with the work in order to discover its meaning; this results in a decreased sense of intimacy within net.art. 3. No more art for the sake of error. No more art will be produced using broken code; flashing gifs or anything relating to computer viruses or corrupted data. This work is already a predominant aesthetic. 4. Images must be unique to the sitemaker. Any images used on the site must be scanned or photographed by the artist embedding it into html. Images found on the internet may not be recycled or re-appropriated. This is intended to develop a unique, localized feel to all new net.art; as well as contribute to a new exploration of the documentary in net.art. 5. Technology is not a subject. The internet is not a subject. New net.art cannot be "reflective of the internet or technology or its impact." These subjects are irrelevant; as the internet is not "new" and its impact has been largely explored. 6. The work stands alone. No CV may be included in the promotion or distribution of communications art. The CV is irrelevant to the experience of any art and should not be included in any materials used to promote the site. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE ART ISSUE** Peter Fend 10 page special, Andrew Gellatly on selling art online, Benedict Seymour on the closure of London's Lux Centre, Michael Corris on Conceptual art, Hari Kunzru in Las Vegas. Reviews: Don't blow IT conference, Wizards of OS, Wolfgang Shaehle's 2001 Show <a rel="nofollow" href="http://www.metamute.com/mutemagazine/current/index.htm">http://www.metamute.com/mutemagazine/current/index.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 2.14.02 From: La Societe Anonyme (lsa@aleph-arts.org) Subject: Redefinition of artistic practices in the 21st century (LSA47) Redefinition of artistic practices in the 21st century (LSA47) a 37 scenes/statements webfilm/manifesto La Société Anonyme* <a rel="nofollow" href="http://aleph-arts.org/lsa/lsa47/">http://aleph-arts.org/lsa/lsa47/</a> a few excerpts: 1. […] Nobody is author: every producer is an anonymous society– indeed we would say: the product of an anonymous society. 2. The figure of the artist is living on borrowed time. […] 3. "Works of art" do not exist. What do exist are labours and practices that we can call artistic. They have to do with meaningful, affective and cultural production, and they have specific roles in relation to the subjects of experience. […] 7. Artistic work no longer has to do with representation. […] 9. The transformations of current societies determines the complete inadequacy of the presently hegemonic regime of public circulation of artistic production. […] 10. In the societies of the 21st century, art will not be exhibited. It will be broadcasted. 12.The more the new artistic practices move away from their objectives of object production, the less pertinent such traditional articulations of their marketing and their collection will appear. […] 13. In the societies of the 21st century, artists will not receive their income from the appreciation associated with the merchandising of the objects produced by their work, but instead […] 20. The work carried out by the artist as producer is situated in the orbit of any other activity, of whatever activity. […] 21. Art no longer belongs to the order of a symbolic economy presided over by the anthropological figures of waste […] In the new economies of false sustained opulence, artists cannot accept that their practices be inscribed in any way in the registers as any updated form of luxury. 22. The transformation of the new societies puts in the forefront immaterial labour , the production of meaning and emotions, the making of intellectual and affective labour. The most important challenge that the contemporary artistic practices face is the redefinition of their anthropological role in relation to this great displacement. 25. Intellectual property and authorship rights, as such, will become the main battle horse of this contemporary re-centering of the relations of production. […] 26. It is necessary of find formulas that respect authors" rights while simultaneously respecting the collective right to public and open access to the totality of knowledge and practices of symbolic production, profoundly revising the concept of intellectual property. […] 27. The refocusing brought about by the immaterial labour at the very operational core of the new economies supposes a great transformation: the whole spectrum of a production that used to be considered "superstructural" has now become the nucleus of the contemporary anthropological commerce. 28. If the new societies can nowadays be defined as societies of immaterial labour, societies of knowledge, it must then be recognized that the practices of symbolic production […] take on a leading role, one that is absolute and of utmost priority. […] 29. First responsibility: that acquired insofar as the production of forms of socialization and individualization. […] 30. The artist as producer is a) a generator of narratives of mutual recognition; b) an inducer of intensified situations of encounter and socialization of experience; and c) a producer of mediations for their exchange in the public sphere. 31. The artist as producer intervenes, more and more, in the real time of the dominion of experience, not in the deferred time of representation. […] More and more, the artist is a producer of "live" 32. The second great responsibility of the artistic producer in contemporary societies: the one that concerns her in relation to the process of diffuse "aesthetization" of the contemporary world without which the new capitalism would not be thinkable. […] 33. The religion of our time is called: aesthetic justification of existence–worshiped under an evidently cheapened, trivialized form […] 36. What is at stake in the new societies of advanced capitalism is the process by which it is going to be decided which are and which are going to be the mechanisms and apparatus of subjection and socialization that are to be constituted as hegemonic […] 37. Resisting the effect of deintensification, qualitative impoverishment and expropriation of what is authentic in experience inherent in its management by the entertainment industry, could be the leitmotiv of a new politics. […] <a rel="nofollow" href="http://aleph-arts.org/lsa/lsa47/">http://aleph-arts.org/lsa/lsa47/</a> + + + * La Société Anonyme is a fluctuating group of artists and theoreticians who work specifically on the relations between critical thinking and artistic practices. LSA was founded in 1990 and has so far produced 45 works, including texts, videos, installations and web pieces. La Société is currently working on the problematics of the web, as related to a critical extinction of the separated existence of art in contemporary societies. <a rel="nofollow" href="http://aleph-arts.org/lsa/">http://aleph-arts.org/lsa/</a> <a rel="nofollow" href="http://aleph-arts.org/lsa/lsa47/">http://aleph-arts.org/lsa/lsa47/</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 a grant from 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 7. 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>.