RHIZOME DIGEST: 4.22.05

discussion

Posted April 21 2005 20:00

RHIZOME DIGEST: 4.22.05

RHIZOME DIGEST: April 22, 2005 Content: +announcement+ 1. Trebor: NYC Conference on New Media Education 2. Luci Eyers: [] low-fi update 29 - The New Readymades 3. Jo-Anne Green: RE:WRITING: WRITERS, COMPUTERS AND NETWORKS +opportunity+ 4. Kevin McGarry: Rhizome Seeks Summer Intern to Work on ArtBase Development 5. Kevin McGarry: Rhizome.org Seeks Intern to Work on International, Scholarly Outreach Program 6. Anuradha Vikram: Call for Proposals: The C4F3 at ISEA2006/ZeroOne +commentary+ 7. Joy Garnett: Open Source Painting +thread+ 8. Jason Van Anden, patrick lichty, ryan griffis>, curt cloninger, "zanni.org", Plasma Studii, Regina Celia Pinto, Rob Myers, Jason Nelson, Geert Dekkers: Net Art Market +commissioned for Rhizome.org+ 9. Melinda Rackham: Screenfull.net: THE BOOK + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005 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 Rhizome Commissions, seven artists were selected to create artworks relating to the theme of Games: <a rel="nofollow" href="http://rhizome.org/commissions/2005.rhiz">http://rhizome.org/commissions/2005.rhiz</a> The Rhizome Commissioning Program is made possible by generous support from the Greenwall Foundation, the Jerome Foundation, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 4.18.05 From: Trebor <trebor@buffalo.edu> Subject: NYC Conference on New Media Education >Share, Share Widely A Conference on New Media Education >Friday, May 6th, 11am - 8pm The Graduate Center Elebash Recital Hall City University of New York 365 Fifth Avenue (at 34th street) New York City <a rel="nofollow" href="http://conference.newmediaeducation.org">http://conference.newmediaeducation.org</a> – website After-Party Friday, May 6th, 9pm The Thing 459 W. 19th St (between 9th and 10th Ave) New York, NY 10011 Join us for an intensive one day conference about new media education. Connect with new media researchers and educators, present, discuss, and exchange syllabi or other public domain materials in a temporary gift economy zone. Bring your USB memory key and laptop. The conference will be podcast. <a rel="nofollow" href="http://podcast.newmediaeducation.org">http://podcast.newmediaeducation.org</a> – podcast "Share, Share Widely" is organized by the Institute for Distributed Creativity (iDC) in collaboration with the Office of the Associate Provost for Instructional Technology and the New Media Lab (The Graduate Center, City University of New York). Please RSVP to idc [@] distributedcreativity.org >Participants: Josephine Anstey (SUNY at Buffalo), Joline Blais (University of Maine), Beatriz DaCosta (UC Irvine), Ben Chang (School of the Arts Institute Chicago), Alison Colman (Ohio University School of Art), Mary Flanagan (Hunter College, CUNY), Pattie Belle Hastings (Quinnipiac University), Tiffany Holmes (School of the Arts Institute of Chicago), Jon Ippolito (Guggenheim Museum and University of Maine), Natalie Jeremijenko (UC San Diego), Hana Iverson (Temple University), Molly Krause (Berkman Center for Internet and Society, Harvard University), Patrick Lichty (Intelligent Agent Magazine), Martin Lucas (Hunter College, CUNY), Colleen Macklin (Parsons School of Design), Dave Pape (SUNY at Buffalo), Daniel Perlin (Interactive Telecommunication Program), Andrea Polli (Hunter College, CUNY), Douglas Repetto (Columbia University), Stephanie Rothenberg (SUNY at Buffalo), Chris Salter (Concordia University, Montreal), Brooke Singer (SUNY at Purchase), Liz Slagus (Eyebeam), Thomas Slomka (SUNY at Buffalo), Mark Tribe (Columbia University), McKenzie Wark (New School), Ricardo Miranda Zuniga (The College of New Jersey). >Respondents: Stanley Aronowitz (The Graduate Center, CUNY) Timothy Druckrey (Media Critic, NYC, and MICA) Trebor Scholz (SUNY at Buffalo) >Concept/Production: Trebor Scholz (Institute for Distributed Creativity) >Remote Contributors (see Media Blog): Saul Albert (University of Openess), Richard Barbrook (Westminster University, London), Susan Collins (Slade School, London), Eugene I. Dairianathan (Nanyang Technological University, Singapore), Brian Goldfarb (UC San Diego), Alex Halavais (SUNY at Buffalo), Jeff Knowlton (UC San Diego), Paul Benedict Lincoln (Nanyang Technological University, Singapore), Geert Lovink (Hogeschool van Amsterdam/ University of Amsterdam), Nathan Martin (Carnegie Mellon University), Kevin McCauley (City Varsity, University of Cape Town/University of Stellenbosch, South Africa), Jason Noland (University of Toronto), Ricardo Rosas (Comum Lab, Sao Paulo, Brazil), Joel Slayton (San Jose State University), Paul Vanouse (SUNY at Buffalo) >Interviews Leading Up To Conference: (as part of WebCamTalk 1.0) Megan Boler (University of Toronto), Joline Blais (University of Maine), Axel Bruns (Queensland University of Technology), Lily Diaz (University of Art and Design, Helsinki), Elizabeth Goodman (San Francisco Art Institute), William Grishold (UC San Diego), Lisa Gye (Swinburne University), John Hopkins (Neoscenes.net), Jon Ippolito (Guggenheim Museum, University of Maine), Adriene Jenik (UC San Diego), Molly Krause (Harvard University), Patrick Lichty (Intelligent Agent Magazine), Wolfgang MÃ¼nch (LASALLE_SIA, Singapore), Anna Munster (University of New South Wales, Sydney), Eduardo Navas (UC San Diego), Randall Packer (American University, Washington), Simon Penny (UC Irvine), Warren Sack (UC Santa Cruz), Christoph Spehr (Berlin), Ricardo Miranda Zuniga (The College of New Jersey) <a rel="nofollow" href="http://newmediaeducation.org">http://newmediaeducation.org</a> – WebCamTalk 1.0 <a rel="nofollow" href="http://mailman.thing.net/pipermail/idc/">http://mailman.thing.net/pipermail/idc/</a> – iDC List Archives >Conference Advisory Committee: Stephen Brier (The Graduate Center, CUNY) Timothy Druckrey (Media Critic, NYC) Richard Maxwell (Queens College, CUNY) >Acknowledgments: Many thanks to Nikolina Knezevic (visiting scholar at New School University, intern at the Institute for Distributed Creativity). >Introduction: Over the past ten years new-media art programs have been started at universities. Departments are shaped, many positions in this field open up and student interest is massive. In China, India, Indonesia, Singapore and Thailand enormous developments will take place in the next few years in "new media" art education. At the same time technologists, artists and educators acknowledge a crisis mode: from Germany to Canada, Finland, Ireland, Australia, Taiwan and Singapore to the United States and beyond. But so far, at least in the United States there has been surprisingly little public debate about education in new-media art. Many educators point to a widespread tension between vocational training and a solid critical education. There is no stable "new media industry" for which a static skill set would prepare the graduate for his or her professional future in today's post-dotcom era. Between Futurist narratives of progress with all their techno-optimism and the technophobia often encountered in more traditional narratives– how do we educate students to be equally familiar with technical concepts, theory, history, and art? How can new media theory be activated as a wake-up call for students leading to radical change? Which educational structure proves more effective: cross-disciplinary, theme-based research groups or media-based departments? Does the current new media art curriculum allow for play, failure, and experiment? How can we introduce free software into the new media classroom when businesses still hardly make use of open source or free software? How can we break out of the self-contained university lab? What are examples of meaningful connections between media production in the university and cultural institutions as well as technology businesses? How can we introduce politics into the new media lab? Between imagined flat hierarchies and the traditional models of top-down education, participants will give examples based on their experiences that offer a middle-ground between these extremes. Further questions address anti-intellectualism in the classroom and the high demands on educators in this area in which technology and theory have few precedents and change rapidly. In response to this– several distributed learning tools will be presented that link up new-media educators to share code, theory, and art in real time. -Vocational training versus solid critical education -Open Source Software, open access, open content, technologies of sharing -Edblogging, blogsperiments -Creation of meaningful connections between art, theory, technology, and history -Education of politics, politics in education -Shaping of core curriculum without fear of experiments and failure -Distributed learning tools: empowering for the knowledge commons (organizing academic knowledge and connecting new media educators) -Intellectual property issues in academia -Diversity in the new media art classroom -Use of wifi devices to connect people on campus and in the classroom -Uses of social software in the classroom (wikis, and weblogs, voice over IP, del.icio.us, IM, and Flickr) -Battles over the wireless commons -Models for connecting university labs with outside institutions and non-profit organizations. A network of new media educators will be formed as result of this conference. <a rel="nofollow" href="http://mailman.thing.net/cgi-bin/mailman/listinfo/idc">http://mailman.thing.net/cgi-bin/mailman/listinfo/idc</a> – join mailing list ————————————————- Institute for Distributed Creativity <a rel="nofollow" href="http://distributedcreativity.org/">http://distributedcreativity.org/</a> The Graduate Center, CUNY <a rel="nofollow" href="http://www.gc.cuny.edu/">http://www.gc.cuny.edu/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships 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 Kevin McGarry at Kevin@Rhizome.org or Rachel Greene at Rachel@Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 4.20.05 From: Luci Eyers <giraffe@easynet.co.uk> Subject: [] low-fi update 29 - The New Readymades [] low-fi update 29 [] low-fi selection: The New Readymades (2005) This low-fi list explores the relationship of net based art projects to the conceptual concerns and parameters of the readymade. [] <a rel="nofollow" href="http://www.low-fi.org.uk/?session=lowfi_list&lid=19">http://www.low-fi.org.uk/?session=lowfi_list&lid=19</a> [] The Found Tapes Exhibition [Harsmedia, Harold Schellinx] A project that was inspired by Zoë Irvine's "Magnetic Migration Music" project. HarS collects cassette tape wherever he goes and posts them to his website. [] <a rel="nofollow" href="http://www.harsmedia.com/Chronson/FT/index.html">http://www.harsmedia.com/Chronson/FT/index.html</a> [] The Mashin' of the Christ [Negativland] A video response to Mel Gibson's The Passion of the Christ. Negativland took fragments of the film and blended them with other Hollywood depictions of Christ to create their own ³not-for-public-viewing² collaged version of his last moments. [] <a rel="nofollow" href="http://www.negativland.com/mashin/">http://www.negativland.com/mashin/</a> [] On Kawara Generator [Darrel O'Pry] An automated, simulated, distributed version of On Kawara's laborious 'Today Series' paintings. [] <a rel="nofollow" href="http://onkawara.thing.net/">http://onkawara.thing.net/</a> [] Foundphotos [10Eastern (Rich Vogel)] Foundphotos displays photos found during searches through open P2P networks. Readymade or theft? [] <a rel="nofollow" href="http://www.10eastern.com/foundphotos/">http://www.10eastern.com/foundphotos/</a> [] 1 year performance video [MTAA] This piece continues M.River and T.Whid's series of Updates, described as, "re-sounding seminal performance art from the 60s and 70s in part by replacing human processes with computer processes." [] <a rel="nofollow" href="http://turbulence.org/Works/1year/">http://turbulence.org/Works/1year/</a> [] DocumentaX [Vuk Cosic] After DocumentaX closed, the website was set to shut down. Emails were sent, many mailing lists informed: enjoy before it's gone, they said. The site closed, but not before Vuk Cosic copied it. Page for page. And it's still up. It was the slightest of acts–he simply mirrored it. [] <a rel="nofollow" href="http://www.ljudmila.org/~vuk/dx/">http://www.ljudmila.org/~vuk/dx/</a> [] David Still [David Still] David Still invites you to send an email to anyone you want, as if you were David Still. His site provides the form and the identity. If this is a readymade, then what's being appropriated is David Still's identity. [] <a rel="nofollow" href="http://davidstill.org/">http://davidstill.org/</a> [] My Boyfriend Came Back from the War [abe linkoln] Abe Linkoln's blog version of this now classic (or classicized) piece of net.art 'My Boyfriend Came Back from the War' picks up and amplifies the harmonies between Olia Lialina's original work (1996) and blogs. [] <a rel="nofollow" href="http://myboyfriendcamebackfromthewar.blogspot.com/">http://myboyfriendcamebackfromthewar.blogspot.com/</a> [] SUBMITTING PROJECTS TO LOW-FI - new and archived. Artists are welcome to submit info on new projects to the database - please use the submission form on low-fi locator. We are working on a system to incorporate information on 'dead' or archived projects so if you want to submit an earlier defunct net art project please send us a screenshot as well [if you have one], preferably .jpg or .gif to low-fi@low-fi.org.uk [] LOW-FI [] <a rel="nofollow" href="http://www.low-fi.org.uk">http://www.low-fi.org.uk</a> [] net art locator + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Member-curated Exhibits <a rel="nofollow" href="http://rhizome.org/art/member-curated/">http://rhizome.org/art/member-curated/</a> View online exhibits Rhizome members have curated from works in the ArtBase, or learn how to create your own exhibit. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 4.21.05 From: Jo-Anne Green <jo@turbulence.org> Subject: RE:WRITING: WRITERS, COMPUTERS AND NETWORKS RE:WRITING: WRITERS, COMPUTERS AND NETWORKS Within the digital arts there are also letters: works by writers who explore the possibilities of texts controlled by computational processes, or who write in ways that take the network as a medium. Four writers will read from their network-enabled work: John Cayley, Yael Kanarek (04/25)/Thalia Field (04/26), Nick Montfort, and Noah Wardrip-Fruin. April 25, 2005: Brown University, Providence April 26, 2005: Boston Public Library, Boston For more information, go to <a rel="nofollow" href="http://turbulence.org/elo/index.htm">http://turbulence.org/elo/index.htm</a> "Re:Writing: Writers, Computers and Networks" is a collaboration between the Electronic Literature Organization and New Radio and Performing Arts, Inc./Turbulence.org. It is made possible by the Department of Literary Arts, Brown University and the LEF Foundation. BIOGRAPHIES JOHN CAYLEY is a London-based poet, translator and publisher. He has lectured at Brown University and the University of California, San Diego, where he was also a Research Associate of the Center for Research in Computing and the Arts (CRCA). Cayley's most recent work explores ambient poetics in programmable media, with parallel theoretical interventions concerning the role of code in writing and the temporal properties of textuality. He won the Electronic Literature Organization's Award for Poetry in 2001. <a rel="nofollow" href="http://www.shadoof.net/in/">http://www.shadoof.net/in/</a> THALIA FIELD is the author of "Point and Line" (New Directions, 2000), "Incarnate:Story Material" (New Directions, 2004), and the forthcoming ULULU (Clown Shrapnel) (Coffee House Press, 2006). Her collaborations with choreographer and media artist Jamie Jewett include "After the Fall" (premiered at Danspace, 2004), "Seven Veils" (premiered at Slought Networks Gallery, Philadelphia, 2003) and "REST/LESS," an interactive poetry environment for dance that can be seen at Green Street Studios as part of the Boston CyberArts Festival on May 6 and 7, 2005. YAEL KANAREK is a new media artist who has been developing her integrated-media project World of Awe since 1995. At the core of "World of Awe" is "The Traveler's Journal"-an original narrative that uses the ancient genre of the traveler's tale to explore the connections between storytelling, travel, memory and technology. Selected for the Whitney Biennial 2002, Kanarek is the recipient of numerous awards, including a Turbulence commission for "Portal," an interactive net.dance in collaboration with dance filmmaker Evann Siebens and composer Yoav Gal. She is represented by Bitforms gallery in New York City. <a rel="nofollow" href="http://www.treasurecrumbs.com/">http://www.treasurecrumbs.com/</a> NICK MONTFORT is a poet and computer scientist who has developed pieces of interactive fiction and other types of online writing and art, often in collaboration with others. He wrote the first academic book about interactive fiction, Twisty Little Passages (MIT Press, 2003), and co-edited The New Media Reader (MIT Press, 2003) with Noah Wardrip Fruin. Montfort is co-vice president of the Electronic Literature Organization. Montfort is the recipient of a 2004 Turbulence commission. <a rel="nofollow" href="http://nickm.com">http://nickm.com</a> NOAH WARDRIP-FRUIN has recently co-edited two books: The New Media Reader (2003) and First Person: New Media as Story, Performance, and Game (2004). His artwork has been presented by the Whitney and Guggenheim museums. Wardrip-Fruin is co-vice president of the Electronic Literature Organization. Wardrip-Fruin is the recipient of a 2003 Turbulence commission. <a rel="nofollow" href="http://hyperfiction.org">http://hyperfiction.org</a> For more information, go to <a rel="nofollow" href="http://turbulence.org/elo/index.htm">http://turbulence.org/elo/index.htm</a> – Untitled Document Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: <a rel="nofollow" href="http://new-radio.org">http://new-radio.org</a> New York: 917.548.7780 ? Boston: 617.522.3856 Turbulence: <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a> New American Radio: <a rel="nofollow" href="http://somewhere.org">http://somewhere.org</a> Networked_Performance Blog and Conference: <a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 4.21.05 From: Kevin McGarry <kevin@rhizome.org> Subject: Rhizome Seeks Summer Intern to Work on ArtBase Development Rhizome Seeks Summer Intern to Work on ArtBase Development Rhizome.org, a nonprofit organization focused on new media art, is seeking an Intern to work on maintaining and expanding the ArtBase, a unique online archive of over 1500 new media artworks established in 1999. We seek a person to work with the Content Coordinator to invite artists to submit their work to the ArtBase, and to reconfirm and, where needed, update the accuracy of metadata and links associated with older works in the ArtBase. The position primarily involves Internet research and email correspondence with artists, plus maintaining careful records of the information that is collected. The successful candidate will be articulate, interested in new media art and archives and able to take charge of and report regularly on their progress. Rhizome.org is among the oldest and most well-respected organizations in the field of new media art. For more information about the organization and our programs, please check out our web site: <a rel="nofollow" href="http://rhizome.org">http://rhizome.org</a>. PRIMARY RESPONSIBILITIES: + Emailing artists to invite them to submit their work to the ArtBase + Updating obsolete data in existing ArtBase records + Searching online for and compiling information about artists and specific artworks + Writing descriptions of artworks REQUIRED QUALIFICATIONS: + Excellent written and spoken communication skills + Knowledge of contemporary art and new media art + Familiarity with Excel + Must be highly organized Exceptional candidates will also have the following skills: + Advanced training in art history, curatorial practice, or library sciences START DATE: May or June, 2005. END DATE: TBD HOURS: One day per week on-site (Chelsea). Willingness to keep up with emails remotely is a plus. SALARY: This is an unpaid internship. It would be ideal for a student who receives academic credit for internships. LOCATION: Rhizome is located at the New Museum of Contemporary Art in New York City. TO APPLY: Please email a cover letter, writing sample, and resume to Kevin McGarry, Content Coordinator: kevin@rhizome.org Please note the days of the week you will be available this summer, and if you have a laptop (which is a plus, but by no means a requirement). Kevin McGarry Rhizome.org New Museum of Contemporary Art 210 Eleventh Avenue NY, NY 10001 212.218.1288 X 220 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 4.21.05 From: Kevin McGarry <kevin@rhizome.org> Subject: Rhizome.org Seeks Intern to Work on International, Scholarly Outreach Program Rhizome.org Seeks Intern to Work on International, Scholarly Outreach Program Rhizome.org, a nonprofit organization focused on new media art, is seeking an Intern to work on an international outreach program building the subscriber-base of our site and email lists. We seek an exceptionally smart, web-savvy, people-person to take on responsibilities relating to our organizational subscriptions program. This intern's primary responsibility is to oversee the invitation and sign-up process for organizations subscribing to Rhizome.org. The successful candidate will be articulate, interested in new media art, archives, non-profit development and willing to grow the audience of our organization. Rhizome.org is among the oldest and most well-respected organizations in the field of new media art. For more information about the organization and our programs, please check out our web site: <a rel="nofollow" href="http://rhizome.org">http://rhizome.org</a>. PRIMARY RESPONSIBILITIES: + Help maintain an online database of libraries, centers and schools that might benefit from subscriptions to Rhizome.org (we use a unique, easy-to-use web-based software) + Send out invitations to the appropriate people at these institutions + Conduct follow-ups. Answer any questions about Rhizome.org that might arise + Help negotiate subscriptions + Organize accounts such that the Director of Technology can implement new subscriptions REQUIRED QUALIFICATIONS: + Good communication skills (i.e. letter-writing, follow-up, phone outreach) + Experience with organizational development + Must be highly organized Exceptional candidates will also have the following skills: + Experience with arts administration START DATE: May or June, 2005. END DATE: TBD HOURS: One day per week on-site (Chelsea). Willingness to keep up with emails remotely is a plus. SALARY: This is an unpaid internship. It would be ideal for a student who receives academic credit for internships. LOCATION: Rhizome is located at the New Museum of Contemporary Art in New York City. TO APPLY: Please email a cover letter and resume to Kevin McGarry, Content Coordinator: kevin@rhizome.org Please note the days of the week you will be available this summer, and if you have a laptop (which is a plus, but by no means a requirement). Kevin McGarry Rhizome.org New Museum of Contemporary Art 210 Eleventh Avenue NY, NY 10001 212.218.1288 X 220 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 4.22.05 From: Anuradha Vikram <durga_akv@yahoo.com> Subject: Call for Proposals: The C4F3 at ISEA2006/ZeroOne Deadline: June 1, 2005 This is an invitation by the ISEA2006 Symposium and ZeroOne San Jose: A Global Festival of Art on the Edge to groups and individuals to submit proposals for an installation of augmented furniture, audio/video/software installations and interactive artwork for The C4F3 (The Cafe) during the ISEA2006/ZeroOne from August 5-13, 2006. The goal of The C4F3 is to create an active ambient space of augmented everyday objects that is not just an art gallery, a restaurant, or a chill space, but a new kind of project space where the whole environment has been rethought in terms of the capabilities of current technology. This Call for Proposals is an invitation to artists, designers and technologists to propose existing work for exhibition and/or use within the cafÃ© and new projects that support this goal. The Inter-Society for Electronic Arts (ISEA) is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and emerging technologies. ZeroOne San Jose is a milestone festival to be held biennially that makes accessible the work of the most innovative contemporary artists in the world. In 2006 it will be held in conjunction with the ISEA2006 Symposium. Submissions will be accepted online ONLY at <a rel="nofollow" href="http://isea2006.sjsu.edu/C4F3/index.html">http://isea2006.sjsu.edu/C4F3/index.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 4.20.05 From: joy.garnett@gmail.com Subject: Open Source Painting hi all, my text on appropriation + painting went live on the NYFA site today: …………………………………………………………………. …………… NYFA Current - straight from the artists <a rel="nofollow" href="http://www.nyfa.org/nyfa_current.asp?id=105&fid=1&sid=17">http://www.nyfa.org/nyfa_current.asp?id=105&fid=1&sid=17</a> <<a rel="nofollow" href="http://www.nyfa.org/nyfa_current.asp?id=105&fid=1&sid=17">http://www.nyfa.org/nyfa_current.asp?id=105&fid=1&sid=17</a>> April 20, 2005 | Vol. 14, No. 8 In Their Own Words: Joy Garnett <a rel="nofollow" href="http://www.nyfa.org/level3.asp?id=349&fid=6&sid=17">http://www.nyfa.org/level3.asp?id=349&fid=6&sid=17</a> <<a rel="nofollow" href="http://www.nyfa.org/level3.asp?id=349&fid=6&sid=17">http://www.nyfa.org/level3.asp?id=349&fid=6&sid=17</a>> *Between Yahoo.com <<a rel="nofollow" href="http://Yahoo.com">http://Yahoo.com</a>> slideshows, 24-hour television news, and competing tabloid newspapers, we've become a culture that's accustomed to the sensations of media imagery. Here Joy Garnett describes how she transforms news photographs into paintings, a slowing-down process to counter what she sees as our culture's mal-absorption of images related to technology, surveillance, and war.* {image} Joy Garnett (2004) (Photo: Bill Jones) I'm an information junkie?well, more like an image junkie. Right now I'm preoccupied with media imagery, particularly representations of conflict?the images people see daily in newspapers and on TV. I think of these images as part of an overarching "media narrative" that permeates the public domain, and also as my raw material. The images stream throughout public consciousness quickly, disappearing almost as soon as they appear to make room for more. They're not meant to stick to you for long, much less get under your skin. Media imagery essentially serves as glossy political spin and advertising, slickified misinformation with high production values. This material offers itself up for examination, re-use, and remixing, á la open source. The term "open source" was coined to describe software whose source code is made freely available to end-users, giving them rights in varying degrees to modify, make use of, and redistribute their innovations freely or commercially. An open source culture is one that encourages and supports this kind of information sharing in the broadest sense. The Wikipedia page on Open Source Culture (OSC) states, "As more domains of contemporary life are affected by technologies of cultural reproduction, the possible domain of OSC expands." For contemporary artists who rely on appropriation, this caveat describes a positive force, a wonderful thing. And though it may be a relatively recent term, "open source" is really the longstanding operative principle for innovation: new artworks and technologies are built on the backs of old ones. Nothing comes out of thin air. The reasonableness and obviousness of the principle of open source should render the current corporate-driven shrinking of the public domain, the increasingly narrow interpretations of copyright law, and the chilling effect on fair use and artistic expression particularly onerous and counter-intuitive. I apply the logic of open source to select the images I use. My paintings are based on photographs from the public domain, and I think of them as being akin to DJ remixes or the work of software hackers, though my method of sampling is strictly eye-hand, more rough approximation than sample. I find images?journalistic photographs?online, save them to a folder, and print them out. Some I eventually make into paintings. I don't use projections, I don't draw grids. I just hold the printout in one hand and a paintbrush in the other. This isn't so different from tweaking and repurposing source code, but instead of code, I seek out news images to tweak and repurpose as paintings. The paintings embody an imprecise, imperfect transformation. They recontextualize documents that describe real-life events, interpret them through the slow filter of the physical body, and remake them as purely subjective, contemplative objects. {image} Joy Garnett Meat (2005) Oil on canvas, Courtesy the artist. The search for images invariably leads me to disturbing source material; the act of painting is a way to deal with it. My visceral attraction or repulsion to images is what gets me into hot water, leading me into areas I might not otherwise seek out. It was in this way, in the mid-'90s, that I was drawn to declassified images of nuclear tests (I was watching Dr. Strangelove on television when suddenly I got an idea), and hence into the realm of military image archives. Until then, I had been concerned with the representation of invisible phenomena via scientific visualization and imaging technologies. I was interested in the notion that photographs and other mechanically produced visual records should be considered objective and "neutral." Having grown up among scientists and photographers, I understood early on that photographs are anything but neutral, that they're sophisticated constructs useful for swaying opinion and demonstrating theories. Soon after seeing Dr. Strangelove, my interest in invisible phenomena grew to include encumbrances other than the purely optical, such as the inaccessibility and omission engendered by government secrecy. Science and technology, surveillance and control, media and war-as-entertainment, our culture's schizoid propensity for utopian and dystopian projections?these became my subjects. I began to read Paul Virilio (Pure War, Desert Screen,) and Manuel DeLanda (War in the Age of Intelligent Machines,), and also got into cyberpunk novels, including the requisites: Bruce Sterling, William Gibson, M. John Harrison, and Geoffrey Ryman. I spent a lot of time online talking with net artists and digital theorists. I wondered what relationship my painting?and painting in general?might have to their ideas, and how such a slow, old-fashioned medium might play a relevant part in the discourse about technology and global politics, communication and creativity. It has been discussed at length how world events are transmitted instantaneously to our living rooms with increasing ease and how our understanding has become altogether mediated, mitigated, edited, and served up according to specific agendas. Our mal-absorption of these transmissions is appropriate, proportionate to, and partly responsible for our constant state of attention deficit. But even the networks can't program everything; political and corporate agendas often spin out of control. As Susan Sontag recently reminded us in Regarding the Pain of Others, the meanings and intentions attached to photographs are not fixed but fluid and fugitive, depending on how they are contextualized and framed. This framing can only be controlled up to a point: photographs are wild things. In regard to understanding and maybe utilizing (not taming) this wildness, painting wields some unexpected power. Since painting carries with it hefty historical baggage, we are conditioned to regard it in a certain way. Painting can't help but stand outside the confabulations of contemporary media representation?no one regards a painting as "reality." Whereas film, video, and photographic forms of artistic expression?though they may offer an insightful or ingenious critique of media?are caught in a complex game, functioning as the very thing they critique. Appropriating media images in order to make paintings entails parsing an endless, indiscriminate surfeit of stuff. The idea is to slow down the rush of media in order to engage it in painterly interplay. The paintings' focus oscillates between the problems of journalistic photographs as we experience them ("Is it real?" "Was that posed?") and the actual realities such photographs are supposed to represent. The paintings reinvent the photographs, absorbing and emphasizing the uncomfortable relativisms and moral ambiguities they contain. They invite the viewer to reconsider these inconsistencies, to engage them in an art context. The contents of the mass media remain locked behind an impenetrable, retentive surface. It, everyone, everything must keep moving in order to make room for the next ad or the next news flash. I think of painting as a way to intercept, infiltrate, indulge in, hold onto, and eventually dismember, eviscerate, and embody the glamour, the gloss, the glitz, the horror, the sublimity, the madness that photographs in the media portray, but nevertheless withhold. Ironically, it's because painting emits from and is aimed at the sensibilities of the slow human animal that I think it gives us a way to do that. Joy Garnett has exhibited internationally and in the US. In 2004 she was awarded a grant from the Anonymous Was a Woman Foundation. For more information on Joy Garnett, visit: www.firstpulseprojects.com/joy.html <<a rel="nofollow" href="http://www.firstpulseprojects.com/joy.html">http://www.firstpulseprojects.com/joy.html</a>> <a rel="nofollow" href="http://newsgrist.typepad.com/underbelly/">http://newsgrist.typepad.com/underbelly/</a> www.columbia.edu/cu/arts/dmc/docs/lectureseries.html#garnett <<a rel="nofollow" href="http://www.columbia.edu/cu/arts/dmc/docs/lectureseries.html#garnett">http://www.columbia.edu/cu/arts/dmc/docs/lectureseries.html#garnett</a>> www.debsandco.com/garnett.php <<a rel="nofollow" href="http://www.debsandco.com/garnett.php">http://www.debsandco.com/garnett.php</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 4.21.05-4.24.05 From: Jason Van Anden <jason@smileproject.com>, patrick lichty <voyd@voyd.com>, ryan griffis <grifray@yahoo.com>, curt cloninger <curt@lab404.com>, "zanni.org" <cz@zanni.org>, Plasma Studii <office@plasmastudii.org>, Regina Celia Pinto <reginapinto@arteonline.arq.br>, Rob Myers <robmyers@mac.com>, Jason Nelson <newmediapoet@yahoo.com>, Geert Dekkers <geert@nznl.com> Subject: Net Art Market Jason Van Anden <jason@smileproject.com> posted: I posted a topic a while ago requesting "payment schemes for digital/online art, sucessful or not". I got one email back - privately. I have a few theories as to why this topic may be considered poison, but then again maybe it was bad timing or my choice of title. At any rate, I feel this is a vitally important issue so I am giving it another try: Does anyone out there know how to sell digital art? Examples would be appreciated. If you consider this a toxic topic - could you clue me in as to why you feel that way? + + + patrick lichty <voyd@voyd.com> replied: I may or may not have replied, not because I consider it poison (which I don't), but mainly in that I don't feel it asks any questions that aren't out there from conceptualism. Selling ephemeral art is not new, but it remains problematic. Now, Toshio Iwai is selling New Media through game art like Electroplankton (GameBoy DS) which is pretty popular in Japan. + + + ryan griffis <grifray@yahoo.com> replied: i'm kinda with Patrick - the commodity question has tagged along with most "experimental" art forms, but i just don't find it that interesting of a problem. think of people working in "old new media" like diana thater who sells limited edition videos, films - and mostly drawings of plans (not unlike christo). people buy and sell art. in terms of payment schemes, didn't rhizome implement one way of doing this - a membership program? it seems somewhat successful, depending on who you ask and how you define success. non-profit arts spaces have used this tactic for a long time. the barnsdall art space in LA (a non-profit space on the site of a FL Wright house) charges $5 just to see the shows, except for their selected free days. not unlike rhizome's free fridays. of course, these fees are to support institutions, who then exhibit (make visible) the work of artists (it doesn't financially support producers in the same way a private gallery system does - but then non-profit directors don't usually make buko bucks either). if you're looking for more entrepreneurial discussions of object selling, maybe contact the folks that started this site that t.whid sent in recently. <a rel="nofollow" href="http://www.softwareartspace.com/">http://www.softwareartspace.com/</a> + + + curt cloninger <curt@lab404.com> replied: Hi Jason, Here are some money-making models: 1. T. just posted this: <a rel="nofollow" href="http://www.softwareartspace.com">http://www.softwareartspace.com</a> [sell software for looping projection purposes] 2. Same artist loops as above, hard-wired into LCD screens, framed, signed, and sold as animated paintings: <a rel="nofollow" href="http://www.bitforms.com/artist_levin.html">http://www.bitforms.com/artist_levin.html</a> [if it's in a frame and signed, it must be "real" art] 3. Here is some net art for sale on a ROM: <a rel="nofollow" href="http://youworkforthem.com/product.php?sku=P0034">http://youworkforthem.com/product.php?sku=P0034</a> [take your old experimental sites offline, put them on a ROM, and sell the ROM. The catch – you have to have had some actual visitors to your site who liked it.] 4. Here is an entire artists' hard drive for sale on a ROM: <a rel="nofollow" href="http://www.eastgate.com/catalog/Praystation.html">http://www.eastgate.com/catalog/Praystation.html</a> [make your .fla files public, and if your action scripting is interesting enough, people will buy it just to view and re-purpose your source code.] 5. a gallery show involving physical ephemera related to ethereal digital art projects: <a rel="nofollow" href="http://nothing.org/net_ephemera/">http://nothing.org/net_ephemera/</a> [with art in the age of mechanical reproduction, don't sell the infinitely reproducible art itself, sell the finite incidental crap associated with the art. scarce crap is more salable than abundant quality.] 6. thing.net has a regular online art auction. some of the pieces are digital. <a rel="nofollow" href="http://web.archive.org/web/*/http://auction.thing.net/">http://web.archive.org/web/*/http://auction.thing.net/</a> [trick somebody into believing that a signed website on a ROM (as opposed to the exact same website, unsigned, online) might someday be worth money in the art market.] 7. charge a subscription fee (by day, month, or year) to view the art website. The site is password protected, it gives a few samples away for free, and then you have to subscribe to see the rest of it. <a rel="nofollow" href="http://www.scottmccloud.com">http://www.scottmccloud.com</a> <a rel="nofollow" href="http://www.demian5.com">http://www.demian5.com</a> [the porn site model. the salon.com model. of course, you have to have art that somebody might want to view repeatedly after they've seen it once, and you have to have art that somebody might want to pay money to view at all in the first place.] 8. use net art as a prototype/portfolio/proving ground, and then get hired to do paying work that's related. <a rel="nofollow" href="http://projects.c505.com/projects/ascii_rock/index.html">http://projects.c505.com/projects/ascii_rock/index.html</a> [the original give-away] <a rel="nofollow" href="http://www.machineproject.com/ASCII_BUSH/">http://www.machineproject.com/ASCII_BUSH/</a> [the turbulence grant] <a rel="nofollow" href="http://www.partizan.us/musicvideos/ais/beck.html">http://www.partizan.us/musicvideos/ais/beck.html</a> [the commercial gig] [this is the artist as performer model. you get paid for gigs (installations, performaces, VJ generative projections of band tours).] 9. Get grants and commissions. 10. Win contests. + + + Jason Van Anden replied: Hi Patrick, I can think of two ways that money has been found to fuel Conceptualism: 1.) public support (ie: DIA, NEA, etc…) 2.) retro-fit into "old art" gallery model (ie: documentation for sale as limited edition prints) Clearly there are plenty of examples of net art that has adopted this approach. It seems to me that where these forms differ is in the distribution. + + + "zanni.org" <cz@zanni.org> replied: altarboy, the server-sculpture <a rel="nofollow" href="http://www.zanni.org/altarboy.htm">http://www.zanni.org/altarboy.htm</a> and <a rel="nofollow" href="http://www.zanni.org/altarboy-interview.htm">http://www.zanni.org/altarboy-interview.htm</a> + + + Plasma Studii <office@plasmastudii.org> replied: >Selling ephemeral art is not new, but it remains problematic. funny, anyone conjures up a problem. probably just a form of xenophobia, a variation of seeing jesus face in a tortilla. people not comfortable with strange things and interpreting it with what they do know, which seldom makes any sense. every piece of art is subject to wear and tear. possibly, for now, you can pretty much guarantee it works by selling the machine and software as a package. and then, like collectors store paintings in temp controlled warehouses, a buyer has the option to just shelve it. if machines malfunction, restoration's a hazard we've always dealt with, (but usually well made ones don't even do that). like Degas' pastels are made with materials prone to degradation. ideally, we can include better built hardware/os. old (mac) laptops are cheap and have all the useful features, or 10 year old interactive pieces work fine on this new machine (even the web). but certainly in a few years, file formats will be even more standardized. probably, we're just in the pony express era, seeing the need for zip codes. there are a few examples like hyper card works that will get lost to most of us in the settling down process, but so did those wax tube recordings for the old victrolas. worrying about processor speed would be like expecting silent movies not to run a little fast. spilled milk. while "new media" to grows past infancy, these things get ironed out, and not always without some disappointments. but we're already in pretty good shape. so you can start selling what are essentially kinetic electric sculptures but mostly balls in the court of the reticent buyers. + + + patrick lichty replied: Maybe. Somehow there doesn't seem to be a social contract that buyers can make sense of at the moment (or many instances of them) + + + Regina Celia Pinto <reginapinto@arteonline.arq.br> replied: Well, browser at: <a rel="nofollow" href="http://arteonline.arq.br/newsletter/debate.htm">http://arteonline.arq.br/newsletter/debate.htm</a> Museum's newsletter has changed some information on this issue since last February. There you will find a link to Edward Picot's interesting article on this subject. + + + Jason Van Anden replied: Hi Curt, Thanks for the feedback. My motives are pretty simple: to find a support system that enables me to devote myself to making art full time. I had a feeling that this topic may have been brought up before, and this is why I was asking about it here; Rhizome community as a collective institutional memory. Where or how else would I find this information if I was not around when the topic got stale? What terms would I Google?: art net business sale etc… try them and you will see how easily that system breaks down. Which brings up another point - it seems like there is a riddle to be solved in that "old art" galleries need to promote their wares online (artnet.com), and yet online artists have so much difficulty finding a market in their own element. I had an excellent aesthetics teacher in college named Larry Bakke, who would rant about how "new" media typically anchored itself to old media before finding its own. Fake wood paneling stuck to the sides of station wagons was a favorite example of his. Of your examples - I think that only #7 starts to transcend the paneling. + + + Rob Myers <robmyers@mac.com> replied: On 21 Apr 2005, at 19:24, patrick lichty wrote: > Maybe. Somehow there doesn't seem to be a social contract that buyers > can make sense of at the moment (or many instances of them) This is a key point. But selling people a signed (or signed and numbered) DVD case with the software and a contract in seems to have worked. Sol Lewitt gets away with similar. And there's the Free Software revenue model: customisation and services. Or commissions and installation as it used to be known. On the subject of the ephemerality of particular platforms: I use Lisp for my software art because it's bitfast. 1. It's been around for fifty years and is still the most advanced programming language there is. Its popularity is on the rise again and it's likely to be around for some time yet. 2. It's very easy to implement, and so would be very easy to re-implement if it should ever fall out of favour. So as long as my code can be copied, and the CLOS and PostScript specs exists, my art can be run. + + + Plasma Studii replied: >Maybe. Somehow there doesn't seem to be a social contract that buyers >can make sense of at the moment (or many instances of them) i agree that social contract is hardly a universal given. but shame on these buyers/curators/collectors/etc. for being so nostalgic, not in touch with modern peoples' real lives. think jason was asking about his options as a web artist. you (patrick) would surely know, wood paneling aside, mostly the obstacle isn't the artists missing out on the paradigm shift, but the astonishing majority of buyers/curators/collectors in positions to be the authority/leaders/teachers. there's only so much we can do to ease them along. we can either A. make new work for new audiences where sales on the web is integral to development. or B. re-present work in a format the audience we are used to, those buyers/curators/sellers who are only used to traditional mediums, are comfortable with. they get "installation", so just don't let em hear the start up chime. hopefully, this issue will be a moot point, the object fetish eventually dies (like support for copyright, resistance to things like napster), value becomes null, can't remain practical or viable. meanwhile, value shifts to the creators of wanted services or objects, (which would also dissolve the upper-class bias in the art world). then web art value wouldn't be a question. but that would really put a flip on the collector (or record company). it ain't happening tomorrow. these may just be the dark ages. + + + curt cloninger replied: Hi Jason, Another idea that transcends the paneling is to make art for free and give it away. There are 8 extra hours to make art between 5pm and 3am. That still gives you 5 hours of sleep per night. Then there are 2 full days on Saturday and Sunday. And if you can get a non-9-5 job like teaching in college, that's often 2 extra days per week and 3 entire months per year. So that's 3 entire months per year to make art all the time. Then 9 months per year making art 4 days per week all the time, and the other 3 days per week you still get to make art 8 hours per day. [Individual mileage may vary. Check local listings for details.] Do you want to spend more time making art (possible in virtually any situation, particularly with net art where your material costs are minimal), or do you want to spend less time working at your day job (a much more challenging prospect)? People regularly confuse these two desires, but they're not necessarily related. On a more personal tack, if you suddenly got a day job that you loved, would that solve the problem? Does your art need to make money in order for you to feel that it/you are good/legitimate? Don't feel obliged to answer these questions publicly. I just think they're useful. + + + Jason Van Anden replied: Hi Curt, Just got home from said day job - decided to reply instead of create art for the moment - you be the judge. I am not sure I understand the make art for free as an alternative to "paneling" comment, but I totally get the rest of what you are saying. Perhaps I am an idealist or naive, but I believe there is a market out there the galleries (and apparently we) do not yet understand - by way of bringing this up I am trying to find clues as to what this might be. + + + Jason Nelson <newmediapoet@yahoo.com> replied: Jason and all, I've been toying with this idea of selling "net art'. It seems to me that what needs to happen is for artists or curators to convince others (companies, wealthy collectors, etc…) that featuring net art on their sites is the same thing as hanging paintings on the wall, or putting sculptures in the main foyer. Obviously websites, for many, are used as the main doorway for their customers. So having some net art work on a site would enchance their image and/or the scope of an art investor's collection. But then where would this artowrk be featured on the site? How big would it be, both in file size and in screen? Would you simply have it linked off the main page or have it hanging somewhere within a table? I honestly feel that this will come to pass eventually. It will just take a few collectors spending some cash and promoting the idea. does this sound feasible? + + + Jason Van Anden replied: I found the softwareartspace website (#1 in Curt's list) intellectually interesting given this discussion, particularly in regards to "paneling". Here we have an actual artwork in the frame of my monitor in the frame of the browser in the frame of a bitmap in the frame of a picture of a monitor in the frame of reference of a frozen someone else interacting with it. Talk about hardcore conceptual digital art! + + + curt cloninger replied: Hi Jason, Sony PlayStation 2 sponsored such an "online gallery" a while back, curated by hi-res.net and commissioning/hosting work by various experimental designers. The space is archived here: <a rel="nofollow" href="http://archive.hi-res.net/thethirdplace.com/">http://archive.hi-res.net/thethirdplace.com/</a> + + + ryan griffis replied: hasn't Altoids and Nintendo also sponsored similar net-based projects? i tried to find the Altoids projects again, but only found promotion of their investments in contemporary art. i know that they had a net art-based project… + + + curt cloninger replied: It seems like the first (and perhaps only) altoids-sponsored net artist was Mark Napier, but I can't remember. I think Diesel sponsors similar stuff, but it's more in the form of contests, and it's more filmic/motion design. + + + Jason Nelson <newmediapoet@yahoo.com> replied: I imagine what needs to happen is for someone (one of us) to convince a paint/clay/print collector who has a website to buy a net art work. The price would probably be low, so the hundred hours it took to make would average out to about five dollars an hour. But then the hope is that the idea would spread, and as collectors love to apply their egos to their objects their fellow collectors would surely hear about it. Doron Golan (of computerfinearts.com) has an interesting model created for collecting net art. But the problem might be how do you know what an original is. But it seems the artist could easily add something to the work to clearly state who owns it (after it was bought), and other add ons to the net artwork could act as a more complex form of signing. So maybe we should put our research skills to use and find some collectors with a presence on the web. […] I've been toying with the idea of contacting art galleries with websites. Not the big sandstone and metal girder ones. But the smaller galleries and attempting to convince them to create online net art galleries. If we could convince a few of them to feature work, then it might translate to more of an acceptance of net art. And then it seems from that acceptance would come the desire to own from collectors. It's not a revolutionary step, but it is one that would help spread what we do. + + + jeremy <studio@silencematters.com> replied: is it possible that there has yet to be a net art project that is large enough or grand enough to call the attention of a collector? I know things dont need to be large to be good, but in order for people to begin to look at net art, dont we need to start looking larger than the average site? or extending beyond the computer in ways? + + + Curt Cloninger <curt@lab404.com> replied: Hi Jeremy, A well-known ongoing, grand scale net art piece: <a rel="nofollow" href="http://www.worldofawe.net">http://www.worldofawe.net</a> It's kind of like saying, "maybe garage rock hasn't attracted the attention of top 40 radio yet because …" When garage rock and top 40 radio are largely incompatible. Maybe net art and contemporary/future art collectors are largely incompatible. I don't see it as a problem to be solved. Can an art movement be historically legitimate, culturally relevant, and intellectually/aesthetically rewarding without ever finding a market? Might it be all the more so without a market? + + + Geert Dekkers <geert@nznl.com> replied: Another thought. Art gallery visitors go from museum to private gallery, browsing, and may perhaps buy something now and then. Gallery owners know their collectors because this is after all a select and small community. Most gallery owners I know sell very little, can barely make ends meet. Most artists I know do worse. Which is unsurprising seeing as the product is this uncopyable unique work of art (well perhaps a series of (wow) 10! prints). This is "Art in the Age of Mechanical Reproduction". Of course this is all obvious, but I thought I might just plaster it all over. It took a whole while for video art to be accepted. Now you can buy it readily – I picked up a copy of the excellent "Lauf der Dinge" by Fishl and Weiss for 30 euros. How much of these have been sold, do you think? And how much did they get out of it? (There are other examples to the contrary, where the work is partly hardware, as in Bill Viola or of course Nam June Paik – these are to be seen as classical art works [just need electricity] – and then again, this Cory Archangel work comes to mind, using the 80's tv and such, which is actually just video art done up as net.art [I did look for the name of the piece, can't find it fast enough]) What I'm trying to say is that a work is either hardware, and unique, in which case the artist and the whole chain of command that goes with the selling can only earn from the one sale, or the work is software, thence copyable, and in that case everything goes for software-type art (music, for example, freed from the carrier – well, you know the rest). So if you know how to make a living off shareware you might find out (and please tell me!!!) how to make a living doing net.art. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Spring Hosting Special from BroadSpire <a rel="nofollow" href="https://www.broadspire.com/order/rhizome/bundlepack.html">https://www.broadspire.com/order/rhizome/bundlepack.html</a> Want to consolidate multiple domains? Rhizome members can sign up for a Bundle hosting package that allows for up to five separate domains under one Broadspire hosting contract – through May 9. 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! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 4.22.05 From: Melinda Rackham <melt2@pacific.net.au> Subject: Screenfull.net: THE BOOK Tempted by Screenfull.net's promise: "we crash your browser with content" I clicked. I waited. I hoped. I prayed . My screen stuttered and jerked–but disappointingly the browser didn't crash. What it does do though is get slower, allowing gaps and rips to appear in the usual illusory fabric of the seamless internet as the space fills with raucous and chaotic content. Appearing before me is an art work that breaks the daily tedium of grazing over cloned and sanitised blog interface design–those sorts of creepily nice blogs that make me shudder on the inside with their readable, balanced, cutesy, clean, neat, artless, self conscious, logical, and organised versions of blandness. So, okay, I may be a bit cynical after a decade online, but is there anything wrong with wanting to be thrilled? With craving entertainment? With desiring to be jolted from my often near comatose screen behaviours of browse, click, copy, delete, send. And thankfully Screenfull.net does all that. When the net is looking more and more like a corporately fortified instantaneous push media, Screenfull is a timely reminder that the internet is a public space, a theatre of disparate dialogue in multiple and asynchronous formats, dumbed down only by lack of imagination and the unchallenged conventions of HTML. Our protagonists are artists jimpunk and Abe Linkoln–personas who both draw on iconic associations with disparate and powerful US cultural historic and animated figures. Together their strength is in working across the history of networked art, design, aesthetics and theory in this remix of the phenomenal blogging paradigm. The latest manifestation of Screenfull.net is grounded in psychedelia and code work, with the seedy cycling and stuttering of a background colour change JavaScript, producing an atmosphere akin to flashing broken neon of a 1970's night club. It completely refreshes with mashed media formats – TV grabs, print posters, Paris Hilton, Flash animation, in-process Photoshop files of art historical imagery, and QuickTimes. Screenfull is completed with a radio blog–Radio Sounds–which in true Dadaesque manner, squishes more random cut-up bytes down the internet pipe to our desktops. But what is really fascinating here is Screenfull.net: THE BOOK–Guns, Duchamp and Magnetic Lassos. This delightfully illogical extension of the blog online diary format (heralded as the liberator of journaling from the page) loops their fulsome screen content back into the usually serene and sedate corporate .pdf– paper page based print format. At last, with THE BOOK, Abe and jimpunk's promise eventuated and the multimedia content crashed my .pdf viewer. Woohoo!! But it was only alerting me I needed a long overdue upgrade. Downloaded and upgraded I start to explore the work. This formatting tempts me to decode the work into a fixed liner narrative as screen content is hermetically sealed into discrete page packets with page numbers. No hypertextual linking here, just numerical jumps and rapid scrolls. I now very badly need to impose meaning. Will the magnetic lasso draw threads between this work and the Duchampian forfeiture of the Dadaist game of art for the equally fascinating strategy of chess? The thematic of THE BOOK revolves around the almost blasphemous possibility of shooting our screens, killing our art and our audience, canceling our connection. I recommend viewing with Auto Scroll . . . however page numbers are very helpful locators. You can catch the artists with guns blazing on pages 20 and 21. The money shot can be viewed on pages 46 and 47. Here the lasso traces an outline of a bullet hole in glass, the glass we have seen in the previous few images of guns represented both on computer screens and in front of computer keyboards. But the magnetic trace renders this image as the memory of an event past, or the faint and unspoken desire of the present which can never be fully realised. This lasso aesthetic, and it continual use thought out the site and book remind me of the lacy translucent outlines present in many paintings of the French Symbolist Gustave Moreau. Moreau's strange fusing of human and inanimate objects, his disregard for the conventions of size and perspective, and his opium dream landscapes of inward sensation and contemplation place him as a forerunner of surrealism. His use of the spidery overlay rendered in the paint technology of the mid to late 19th century, and Screenfull's image processing lasso overlay, give both bodies of work a quality of simultaneous surface and depth, of being at once in creative process and post-operative autopsy. As well there is a lot of smirky-smart doubling and splitting in these portrait/landscape papers/screens. The use of images from a landscape oriented screen, split in half and placed on consecutive portrait oriented .pdf pages, which most likely will never be printed out and read together is intriguing. Print it and you miss Screenfull's competitive soundtracks and QuickTime content; don't print it and the images are cut in half, forcing you to recombine the split images in your head. It's almost like an anaglyph–a 3d red/blue overlapping split image. Different right eye image + left eye image + glasses = let the brain do the interpretation work. Except they are not like that at all, they are consecutive rather than overlapping. However the associations are flowing freely, and isn't that what successful art is all about? It gives you an immediate hit, as well as leaving you to ponder afterwards. Linkoln's previous art curatorial works certainly do that with their rigorous mix of simplicity and humour. A Thousand Plateaus re-examines the mountainous graphical stats for net art sites; Net.art: Those that Can't Teach Do is a cheeky listing of well know artist/educators' course outlines. His linear blog remix of Olia Lialina's My Boyfriend Came Back From the War turns Manovich's prime example of a new media logic of addition and co-existence replacing the cinematic logic of replacement (p 324), back into a logic of temporal replacement plus (rather than instead of) co-existence. Recently Linkoln's curation of Pop Up at Turbulence.org, complete with a Pop Up Manifesto exuding self-evident gems like: "4. Pop up windows neither pop, nor up.", displays an intelligent and maturing engagement with the unique qualities of net worked art. Our co-author, jimpunk, is a talented and elegant artist who capitalises on the Rococo potentialities of HTML, JavaScript and Flash to create sites of infinite variability, detail and unending surprise. His works have been perfectly described by Tricia Fragnito as "a web version of a roller coaster ride: scary and fun and at the end you want to go again." In true networked style, jimpunk often works collaboratively across geographical space, and produces sites which exploit the unique experience of net browsing. He embraces the pixel and what some would call "bad web design" using web safe colour, pop up and flashing graphics in works like www.-reverse.-flash-.-.back-; and in one of my favourites the now offline www.nowar.nogame.org. Although his breed of network art may have had an early Jodi-esque influence, we can see from the intimate and poetic musing of 1n-0ut [meditation], it has grown up to be distinctively "jimpunk." Scrolling around the Screenfull site, with Radio Sounds open in another window, I am reminded that even though THE BOOK is a tightly thematic curatorial collection, the bastard space of the network from which it is comes is a chaotic, asynchronous, competitive, market place. It babbles with recombinant, disjunctive, atmospheric content - designed not to be seen not from a single authoritative cinematic perspective, but to be engaged with at many levels. It is for this reason web will emerge as the dominant media of the 21st century, and as cinema did in the 20th century, it both builds upon and differs from all that has come before. Networked space's most immediate lineage is in what Annmarie Chandler and Norie Neumark call "Distance Art." The activities of telecommunication art–from mail art, sound and radio art, telematic art, assemblings and Fluxus as well as distributed textual authorship. Artists and authors working in these distance fields challenged the stability of the art production and distribution models of the 1960's and 1970s, so that when the net emerged, new aesthetics were already in process. Authoring art in symbiosis with an evolving electronic communications systems, means working with an as yet largely unknown language. Right now artists are connecting half visible dots to form a rapidly shifting template of the future. In less than a decade aesthetic sensibility has radically altered–7 years ago, in 1998, when net.artist's were universally obsessed with making tiny fast clean files and web pages with no more than 4 text lines of text on screen, the now deceased Estonian web artist Tiia Johannson was making massive web works of sometimes single images. Puzzled, I asked her why, and her reply (made even more dramatic by her fabulous Marlene Dietrich accent) was the foretelling "I like to make them wait." If jimpunk & Linkoln want to make us wait while they stuff our browsers with content, we will wait. It is in small shudders of expectation; those sudden shocks; those intimate reminders of packet rhythms, that make Screenfull, in all its format manifestations, succeed. It is both flexible and fixed; distributable and located; doubled and traced; embracing full content and empty potentiality. For me the characteristics of risk taking and shape shifting, together with the rigours of knowing ones medium and a sense of larrikin humour, define networked art. In the words of Johannson–on the Network "you have to be plastic to survive." ______________________________ Abe Linkoln: <a rel="nofollow" href="http://www.linkoln.net">http://www.linkoln.net</a> Annmarie Chandler and Norie Neumark (eds), At a Distance: Precursors to Art and Activism on the Internet, MIT Press, 2005: <a rel="nofollow" href="http://mitpress.mit.edu/catalog/item/default.asp?tid=10451&ttype=2">http://mitpress.mit.edu/catalog/item/default.asp?tid=10451&ttype=2</a> 1n-0ut [meditation]: <a rel="nofollow" href="http://www.jimpunk.com/1n-0ut/">http://www.jimpunk.com/1n-0ut/</a> jimpunk: <a rel="nofollow" href="http://www.jimpunk.com">http://www.jimpunk.com</a> Lev Manovich, The Language of New Media, MIT Press, 2001: <a rel="nofollow" href="http://mitpress.mit.edu/catalog/item/default.asp?tid=8830&ttype=2">http://mitpress.mit.edu/catalog/item/default.asp?tid=8830&ttype=2</a> Pop up: <a rel="nofollow" href="http://turbulence.org/curators/popup">http://turbulence.org/curators/popup</a> Radio Sounds: <a rel="nofollow" href="http://www.screenfull.net/stadium/2005/03/screenfull-radiosounds.html">http://www.screenfull.net/stadium/2005/03/screenfull-radiosounds.html</a> Screenfull.net: <a rel="nofollow" href="http://www.screenfull.net">http://www.screenfull.net</a> Tiia Johannson: <a rel="nofollow" href="http://artun.ee/~tiia/netproject/">http://artun.ee/~tiia/netproject/</a> THE BOOK: <a rel="nofollow" href="http://www.screenfull.net/THE_BOOK_2.pdf">http://www.screenfull.net/THE_BOOK_2.pdf</a> Tricia Fragnito, This is your Browser on ):mpun<, BlackFlash mag, 2004/02/27 : <a rel="nofollow" href="http://www.blackflash.ca/">http://www.blackflash.ca/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the third ArtBase Exhibition "Raiders of the Lost ArtBase," curated by Michael Connor of FACT and designed by scroll guru Dragan Espenschied. <a rel="nofollow" href="http://rhizome.org/art/exhibition/raiders/">http://rhizome.org/art/exhibition/raiders/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. 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