RHIZOME DIGEST: 8.22.05

discussion

Posted Aug. 21 2005 20:00

RHIZOME DIGEST: 8.22.05

RHIZOME DIGEST: August 22, 2005 Content: +announcement+ 1. Jessica Ivins: Mediatopia.2 fresh! 2. Michael Szpakowski: NET:REALITY exhibition +opportunity+ 3. bryan chung: Faculty position in the School of Creative Media, City University of Hong Kong 4. Julie Andreyev: INTERACTIVE FUTURES 06: Audio Visions (Victoria, Canada) (9/23/05; 1/26/06-1/29/06) 5. juha huuskonen: PikseliÄHKY // PixelACHE // Mal au Pixel 2006 - Call for Projects! 6. andrew bucksbarg: Faculty Positions +work+ 7. Lucia Leao <!–<INPUT TYPE=: Hermenetka (2005) +comment+ 8. Jim Andrews: Jared Tarbell's online generative art + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Jessica Ivins <jessica@rhizome.org> Date: Aug 17, 2005 6:09 AM Subject: Mediatopia.2 fresh! <a rel="nofollow" href="http://mediatopia.net">http://mediatopia.net</a> Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the internet, as playground, platform or paintbrush. Mediatopia.net is a recurring network mediated culture space for art, technology and writing. We still believe in networked culture. Mediatopia.net Jessica Ivins Carlos Katastrofsky Michael Takeo Magruder Jillian Mcdonald Mike Mike Carrie Paterson Christina Ray and Dave Mandl Geoffrey Thomas Lara Bank Aerostatic and Andrew Bucksbarg Produced by Adhocarts.org, a non-profit arts organization Curated by Lara Bank and Andrew Bucksbarg —- FOR IMMEDIATE RELEASE August 10th, 2005 Mediatopia.2 fresh! <a rel="nofollow" href="http://www.mediatopia.net">http://www.mediatopia.net</a> Artists create art in cyberspace, but can you hang it on a wall? Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the Internet, both as creative medium and as a channel to share and distribute their output. The Internet, with its network functionality and potential for user interaction, is their creative playground: a form to manipulate and a means of social or political expression. Mediatopia.2 fresh! is a net-based opportunity for artists to gain exposure for their culture work. Mediatopia.2 fresh! is produced by Adhocarts.org, a non-profit media-arts organization. Lara Bank and Andrew Bucksbarg worked together to curate a program from recent work submitted internationally that uses the Internet as a playground, platform or paintbrush. Jessica Ivins?s Retrotype historically traces female representation in video games through an interface that allows the participant to personalize and question the object of their gaze. Do you live in East L.A. and long to live closer to celebrities in a gated community? Carlos Katastrofsky performs Neighborhood and Area Research for you, so you can discover who your IP address neighbors are in cyberspace. On the Internet, distance is collapsed as ideologues are brought closer together. Michael Takeo Magruder?s <event>, is an abstract filtering of headline news that reevaluates and deprograms information by re-visualizing it into a Buddhist-like flow. Jillian McDonald?s interface art, Stand By Your Guns, blends our compulsion toward spectacle with elements of broadcast media, game play, the celebrity, masculinity and the gun. What could be more powerful? Take the complex genetic mixture and dispersion of humanity over time and location, composite this and then make an ideal copy. Mike Mike?s commerce-like site asks us is this The Face of Tomorrow? Carrie Paterson?s Everywhere at Once, and Not Just Once creates a twisted, fictional blog that chronicles the experiences of a girl in a boarding school- ?reader discretion advised.? Psychogeography seeks to understand how our physical environment affects our emotions and behavior. One Block Radius by Christina Ray and Dave Mandl is an obsessive documentation of a city block in Manhattan that creates a detailed archive of the area, blending media interface, database, surveillance and real reality programming. Geoffrey Thomas?s quiet, contemplative works use game-like, animated environments and narrative to exemplify and make sense of moments of loneliness, loss and the tension between passionate response and the cool, scientific analysis in relations. The curators, both artists in their own right, include samples of their own work on the site as well. Together these disparate works signify the production, both singularly and collaboratively, of persons whose concerns go beyond the instance of capital and reach outward to the cultural center of what digital media can mean for human expression and communication. Their work is a mirror before us that traces both our success and failure: together and separate in the network. These words may wish to provide an overview or representation of their work, but fail to provide the one thing these artists considered as they created their work- your interaction. This interaction forms a means to destabilize the relation of the author or creator, bringing in the user as an active director or participant in the process. Artist?s work created for the Internet poses problems for persons, museums or galleries who would collect and display it. Internet Art is not easily installed in these traditional spaces, and although digital information does not degrade, the technology that expresses it is constantly changing and upgrading. Software evolves, computers and their operating systems change, as well as progressive modifications to the human-computer interface, making it difficult to collect and archive this kind of work. Net-based art is ephemeral under these circumstances. Artists who create ?net.art,? have another problem at hand as well. How do you create value for something that is distributed on a network and available to anyone with a computer and connection? Historically, most art, aside from live performance, is based upon its being a one-of-a-kind object that maintains or even gains value as a collected piece. This makes raising funds for or selling this work a difficult proposition. Rachel Greene, author of Internet Art, writes, ?Internet Art has less to do with objects of social prestige, and little, at least currently, to do with the cosmopolitan art businesses that thrive in New York, Cologne, London and other culture capitals.? These limitations have given artists who work with the Internet a kind of freedom and revelry of exploration, as well as a particular tool for cultural and institutional critique. Many artists see the Internet as a cause to really challenge fundamental elements of humanity: identity, methods of communication, technology, politics and the institution. These artists understand that people expanded by the Internet all over the world, are brought together in cyberspace. The Internet was launched in 1989 by the British scientist Tim Berners-Lee. As the use of the Internet grew, so did a community of artists who began to utilize it as a creative medium by the mid 1990s. Some of the early practitioners of Internet Art were Post-Communist East Europeans and organizations like the Ljudmila Media Center in Slovenia, supported by George Soros?s Open Society Institute. Much of the practice of Internet Art also saw support in media arts festivals in Europe during this time. Internet Art has grown over the years as the Internet has seen increased use and is now getting more recognition from the traditional formats of museums and galleries. Artists will continue to participate in the social uses of new technology. They will take part in future network technologies and cultures, where the Internet will be augmented by shared virtual space. People on the network will come together in synthetic worlds to create, communicate and recreate. This is already occurring in online multi-player games and environments like Second Life (<a rel="nofollow" href="http://secondlife.com">http://secondlife.com</a>), which include their own economies. Objects and land can be bought and sold and complex social transactions take place in these ephemeral, digital realms that exist on servers. Some artists, such as Chris Burke, are hacking online multi-user games for other purposes, such as a talk show in game space (<a rel="nofollow" href="http://www.thisspartanlife.com">http://www.thisspartanlife.com</a>). Artists have a long history of socially relevant communication from within the culture they are steeped. Mediatopia.net and its supporting organization, Adhocarts, offer perspective to this process in the continually shifting phenomena of cyberspace. Mediatopia.net is produced by Adhocarts (<a rel="nofollow" href="http://adhocarts.org">http://adhocarts.org</a>), which sponsors a variety of expressions that fall on the lines of interconnecting disciplines, theories, technologies and cultures. Adhocarts.org is a non-profit collaboration supporting arts and culture by producing avenues for creative expression and thought both online and off. Adhocarts.org was founded in 2000 and exists as a catalyst for work that uses technology and hypermedia, such as net.art, installation, digital video, writing and live art. We still believe in net-based culture. Mediatopia.net Press contact: Andrew Bucksbarg Assistant Professor of Telecommunications Indiana University 1229 East Seventh Street Bloomington, Indiana 47405-5501 USA 812-219-5310 Abucksba@indiana.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Michael Szpakowski <szpako@yahoo.com> Date: Aug 21, 2005 12:54 PM Subject: NET:REALITY exhibition HI below is a press release for a show some of us are in here in the UK. After 20/21 it tours round the UK pretty much until 2007. Hope some of you can make it or at least check out the site. best michael NET:REALITY : : : : : Artwork by: Simon Biggs, Glorious Ninth, Neil Jenkins, Jess Loseby, Michael Takeo Magruder, Stanza and Michael Szpakowski : : : : : Blurring the boundaries between the tangible gallery and the transitory Internet, Net:Reality merges the ethereal notions of cyber space with the aesthetics of a physical exhibition. Seven leading UK artists engaged in Internet and New Media practice have been commissioned to create artworks that simultaneously exist virtually and physically. Rather than having a 'theme' for the artworks, the common denominator is the media itself and the unifying connections between the web (Net) and the physical (Reality) elements of the compositions. The artists in Net:Reality have each interpreted and implemented the amorphous relationships between these distinct spaces to create an exhibition of artworks diverse in concepts and aesthetics - harnessing the Internet and the gallery environment to investigate subjects ranging from emerging technologies to social science. : : : : : Off-line until 29 October 2005 at: 20-21 Visual Arts Centre Church Square, Scunthorpe DN15 6TB, UK open: Tues.-Sat., 10am-5pm telephone: +44 (0)1724 297070 On-line permanently at: www.net-reality.org : : : : : Net:Reality is supported by Arts Council England and curated by Michael Takeo Magruder in partnership with 20-21 Visual Arts Centre, Scunthorpe and Q Arts, Derby. The exhibition was generated from an idea by Michael Takeo Magruder and Jess Loseby. for further information contact: Michael Takeo Magruder www.takeo.org email: m@takeo.org or mtakeomagruder@yahoo.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: bryan chung <chungbwc@gmail.com> Date: Aug 15, 2005 4:05 PM Subject: Faculty position in the School of Creative Media, City University of Hong Kong Position for Associate Professor/Assistant Professor in New Media and Interactivity, School of Creative Media City University of Hong Kong is one of eight higher education institutions directly funded by the Government of the Hong Kong Special Administrative Region through the University Grants Committee (Hong Kong). It aims to become one of the leading universities in the Asia-Pacific region through excellence in teaching and research. In two studies, City University of Hong Kong is ranked among the top 200 universities in the world, and among the top ten universities in the Greater China region. The mission of the University is to nurture and develop the talents of students and to create applicable knowledge in order to support social and economic advancement. The student population is approximately 23,000 enrolled in over 100 programmes at the associate degree, undergraduate and postgraduate levels. The medium of instruction is English. The University invites applications and nominations for the post of Associate Professor/Assistant Professor in New Media and Interactivity. The School was founded in 1998, and since then has developed strengths in media/cultural studies, video production, computer animation and computer graphics. It offers an exciting multi-disciplinary research and teaching environment in which technical and creative faculty collaborate on a variety of projects. Its current priority is to expand and consolidate the digital media emphasis, including computer graphics, computer animation, multimedia and interaction. There are several openings and appointees are expected to undertake teaching and research in the areas of new media and interactivity. The qualified candidate is expected to work within a wide spectrum of new media and technological platforms. He/She should demonstrate competence in adopting a cross-disciplinary approach in teaching and research in order to contribute creatively and professionally in the School, and for the benefit of the community and the industries. Areas of focus Interactive media design and production Interaction design, ergonomics, human cognition,usability Game design, production, distribution Multimedia performance, entertainment design Pervasive computing, mixed reality, locative media, embedded computing Courses to be taught Basic electronics for art students Mathematics and physics for interactive media Object-oriented programming for art students Theories of interactivity Physical and embedded computing Pervasive computing User research in technology deployment Kinetic and interactive typography Show control and entertainment design Game design and production Image processing, theories and applications Mixed reality applications Mobile and locative applications Spatial design and virtual environment Network based media Information design and visualization Duties The appointed faculty is required to teach 5 courses in an academic year. He/She is also expected to actively work on research projects which can produce professional, scholarly and creative outputs. Administrative work related to admissions, student matters, facilities, curriculum, industry liaison, etc. will be assigned to the appointee according to his/her expertise and experience. Requirements The qualified candidate should possess a PhD/MFA or equivalent in the School?s areas of focus. Teaching experience at university level is essential. A strong and well presented portfolio that can demonstrate the candidate?s skills and knowledge in the subject areas is required. Successful candidates are expected to have proven track records of strength in the areas of focus, which can be in the form of publication, exhibition records, product development, clients? reference, etc. Salary and Conditions of Service Salary offered will be highly competitive and commensurate with qualifications and experience. Appointment will be on a fixed-term gratuity-bearing contract. Fringe benefits include annual leave, medical and dental schemes, and housing benefits where applicable. Information and Application Further information about the posts and the University is available at <a rel="nofollow" href="http://www.cityu.edu.hk">http://www.cityu.edu.hk</a>, or from the Human Resources Office, City University of Hong Kong, Tat Chee Avenue, Kowloon, Hong Kong [Fax : (852) 2788 1154 or (852) 2788 9334/E-mail: hrojob@cityu.edu.hk]. Please send your application enclosing a current C.V. to the Human Resources Office. Please quote the reference of the post in the application and on the envelope. The University reserves the right to consider nominations, and to fill or not to fill the position. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Julie Andreyev <lic@telus.net> Date: Aug 15, 2005 4:01 PM Subject: INTERACTIVE FUTURES 06: Audio Visions (Victoria, Canada) (9/23/05; 1/26/06-1/29/06) INTERACTIVE FUTURES 06: Audio Visions Victoria Independent Film and Video Festival - <a rel="nofollow" href="http://www.vifvf.com/">http://www.vifvf.com/</a> Co-sponsored by Open Space Artist-Run Centre - <a rel="nofollow" href="http://www.openspace.ca/">http://www.openspace.ca/</a> Parallel event ? Digital Art Weeks, Summer 2006, Swiss Federal Institute of Technology ? <a rel="nofollow" href="http://www.jg.inf.ethz.ch/Group/Front">http://www.jg.inf.ethz.ch/Group/Front</a> Conference hotel - Laurel Point Inn - <a rel="nofollow" href="http://www.laurelpoint.com/">http://www.laurelpoint.com/</a> Victoria, British Columbia, Canada, Thurs Jan. 26 - Sun. Jan. 29, 2006. CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS INTERACTIVE FUTURES is a forum for showing recent tendencies in new media art as well as a conference for exploring issues related to technology. The theme of this year's event is Audio Visions. IF06 will explore new forms of audio-based media art from a diverse body of artists, theorists, and sound practitioners. Sound poetry, web-based audio and multimedia, mobile audio performance, new forms of music theatre, synaesthetic performance, hybrid forms, sound-based installation, video and sound, and environmental sound are all of interest to Audio Visions. The proliferation of audio technologies, audio-visual collaboration, and hybrid forms of live performance in the new millennium is striking. Audio artists are exploring the areas of mobility, virtuality, performance, and audience interaction from an experimental point-of-view. Audio Visions invites scholars, sound-artists, and performers of all stripes to submit paper, panel, performance or installation proposals in one of the three following categories. 1. "Sound and Vision" lecture and panel series - Scholars, artists, and practitioners working in audio or audio-visual-based new media are encouraged to submit proposals for IF06. We are interested in a broad range of audio including: computational, interactive or generative audio; the creation of digital audio tools; synchronization between sound and visuals; performative art that explores language, voice and body; streaming radio and mobile sound works. Presentations should be, in part, demonstrative. We recognize that sound art is evolving and that categories have become increasingly irrelevant - we encourage proposals that push the boundaries of the traditional conference paper. 2. "Earshot" performance series ? "Earshot" is seeking experimental audio-based performances that challenge assumptions about audio forms and performance conventions. Avant-garde, post-avant-garde, techno, electro-acoustic, synaesthetic production, liminal art and hybrid performance are all within our desired range. "Earshot" is primarily interested in new types of electronic audio-visual performance as well as models for audience participation in sound works. "Earshot" will run performances at Open Space for each night of IF06. 3. "Tangible Frequencies" installations ? We are interested in audio installation works that consider site, space, vision, volume and perception and how physical location 'matters' to the reception of audio frequencies. IF06 has identified areas within Open Space Gallery to function as controlled locations for sound installations.* We welcome proposals that respond to the particular characteristics of these locations through their acknowledgement of private and/or public space and use. Installations may provide audio continuity to the existing locations, or respond as intervention and critique. INTERACTIVE FUTURES is part of the Victoria Independent Film and Video Festival and applicants are encouraged to check the Festival website for more information on the broader program. CONFIRMED SPEAKERS / ARTISTS ? Greg Hermanovic of Derivative software is a visionary software-engineer involved in the creation of real-time visual tools. In 2003 he received an Academy Award for the pioneering of modeling in the film industry with PRISMS and Houdini. Greg coordinated the realtime animation at SIGGRAPH 98's Interactive Dance Club, and directed special effects for Michael Snow's Corpus Callosum. Derivative?s Touch software, a range of tactile interfaces, brings advanced realtime animation tools to a diverse cross-section of artists, including Richie Hawtin and Rush. Greg will perform live visuals with Toronto-based DJ Tom Kuo. ? Tom Kuo uses a grounding in techno to pursue a varied range of precise electronic strains. Tom was recently named one of Toronto?s Top Ten DJs by NOW magazine. ? Atau Tanaka is known for his work in interactive music, including performances with biosignal gesture systems. He has conducted research at IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His work with sensor-based musical instruments and network audio installations have received prizes and support from Ars Electronica, the Fraunhofer Institute, the Japan Foundation, and the Daniel Langlois Foundation. His current research at Sony CSL Paris focuses on harnessing collective musical creativity on mobile devices. ? Jürg Gutknecht is a computer scientist with a passion for new hybrid art forms. He has actively participated in culturally-oriented "wearable computing" projects, including "Instant Gain in Grace" (motion tracking of a Butoh dancer), "Going Publik" (distributed orchestra based on mobile electronic scoring), and "On the Sixth Day" (multi-channel video system for interactive storytelling). Together with Sound Artist, Art Clay, he organizes the Digital Art Weeks which offers performances and provides courses in the areas of computer-aided art and music. ? Art Clay is a specialist in the performance of self-created works with the use of inter-media, and has appeared at international festivals. Recently, his work has focused on large-scale performative music-theater works and public art spectacles using mobile devices. ? Jim Andrews publishes vispo.com. It is the centre of his work as a visual poet, audio artist, programmer, and critic. His work in interactive audio and word-based web media has been published and shown widely in such venues as rhizome.org, turbulence.org, and the trAce Online Writing Centre. Since 1999, he has been creating interactive audio at vispo.com/vismu. SUBMISSION GUIDELINES INTERACTIVE FUTURES is interested in artistic and theoretical work that relates to audio performance, production and hybrid forms. ? Papers, Panels, and Presentations can include DVDs, audio CDs, video tapes, games, web-sites, etc. and should be 45-minutes in length. ? Proposed artwork for exhibition may take the form of performances ("Earshot"), installations ("Tangible Frequencies"), or audio-related screenings ("Earshot" or "Tangible Frequencies"). ? Applications should not exceed 500 words. Applicants should indicate one of the three festival categories in the subject of the message. Please include a 200 word max bio. ? All proposals must be submitted in text only format either as an attachment or within the body of the email message. ? Please present examples of your work as a URL to a web-site. ? If your presentation requires specific technologies please describe your needs in detail. Proposals should be submitted electronically to ONE of the following persons: ? "Sound and Vision" lecture and panel series - Randy Adams runran@runran.net ? "Earshot" performance series - Steve Gibson sgibson@finearts.uvic.ca ? "Tangible Frequencies" installations - Julie Andreyev lic@telus.net * SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO ?TANGIBLE FREQUENCIES?: Open Space has the following areas available to install sound installations: ? Parallel gallery (opens onto the street) ? Bathrooms (2) ? Back Stairs (opens onto the back alley) ? Main gallery (low volume or headphones only) A floor plan for Open Space can be downloaded at <a rel="nofollow" href="http://www.openspace.ca/img/floorplan.pdf">http://www.openspace.ca/img/floorplan.pdf</a> Please indicate a preference for one of the above areas in your proposal. Artists should keep in mind that Open Space is a shared space and therefore low volume will be required. Other venues may be organized by special arrangement if louder volume is required. FUNDING INTERACTIVE FUTURES does not have funding for travel or accommodation. Presenters and artists are expected to apply for travel funding from their home institutions and/or granting bodies. INTERACTIVE FUTURES is applying for funding for performance and installation artists exhibiting at Open Space. If this funding is obtained, performance and installation artists will receive a modest fee according to CARFAC (<a rel="nofollow" href="http://www.carfac.ca/">http://www.carfac.ca/</a>) regulations. All presenters and artists will be given a pass to all INTERACTIVE FUTURES events and will have access to the ?Hospitality Suite? at the Festival hotel (food and drinks). All presenters and artists will be eligible for the conference rate at Festival Hotels (between $40-110 per night). DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005. Notification of acceptance of proposals will be sent out on or before October 7, 2005. EQUIPMENT ACCESS Laurel Point Inn ? Presentations The following equipment will be made available for all presenters: ? Mac computer with Monitor, keyboard, DVD/CD-ROM drive. ? Data/Video Projector. ? VHS Player. ? Sound system with amp and two speakers. ? Wireless high-speed internet access. Open Space ? Performances and Installations The following equipment is available for artists at Open Space. Artists should be aware that equipment will have to be shared and therefore should not propose to use all of the below devices simultaneously. Installations and performances should be easy to set-up and take down. Wherever possible artists should apply their own technology. ? 2 Data/Video Projectors. ? VHS Player. ? DVD Player. ? 3-4 Macintosh computers. ? Sound system with amp, 16-channel mixing board, mics, and four speakers. ? Cable modem internet connection. For a full list of resources available at Open Space go to: <a rel="nofollow" href="http://www.openspace.ca/space/resources.htm">http://www.openspace.ca/space/resources.htm</a> CONTACTS: Victoria Independent Film and Video Festival Director: Kathy Kay director@vifvf.com INTERACTIVE FUTURES Co-Curators: Steve Gibson sgibson@finearts.uvic.ca Julie Andreyev lic@telus.net INTERACTIVE FUTURES Paper Editor: Randy Adams runran@runran.net OPEN SPACE New Music: Tina Pearson newmusic@openspace.ca Victoria Independent Film and Video Festival: Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada. Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada. Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival@vifvf.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: juha huuskonen <juhuu@juhuu.nu> Date: Aug 15, 2005 4:09 PM Subject: PikseliÄHKY // PixelACHE // Mal au Pixel 2006 - Call for Projects! CALL FOR PROJECTS - Deadline 10 September 2005! - - - PikseliÄHKY // PixelACHE // Mal au Pixel 2006 Festival of electronic art and subcultures Helsinki & Paris, April 2006 www.pixelache.ac * The Dot Org Boom continues (Le Boom DotOrg!) * PixelACHE will continue as an annual festival but we have decided to focus on one theme in two consecutive festival editions, over a time period of two years. PixelACHE 2006 will thus continue exploring the PixelACHE 2005 theme: The Dot Org Boom, the non-profit grassroot new media revolution. The essential ingredients of this rapidly growing phenomenon are open source community, open content initiatives, media activist networks and myriads of NGOs around the world. In addition to projects related to The Dot Org Boom, we are also looking for projects from following areas: * Experimental interaction and electronics * VJ culture and audiovisual performances * Grassroot networks and politics of media / technology * Experimental games and gaming experience The submitted projects don't have to be existing pieces of work, we are also looking for interesting prototypes and project concepts. The call for proposals is open for everyone: artists and designers, researchers and engineers, architects and activists, amateurs and professionals, etc. - - - * Mal au Pixel 2006 - Bienvenue à Paris! * PixelACHE festival is based in Helsinki but has so far traveled to New York, Montreal and Stockholm. PixelACHE 2006 will add one more destination to the list - Paris! The confirmed collaborators for Mal au Pixel 2006 are Mains d'Ouvres, Confluences with AVRIL.DOT Festival and Ars Longa. PixelACHE in Helsinki is organised together with Kiasma Museum of Contemporary Art and several other collaborators. PikseliÄHKY // PixelACHE // Mal au Pixel events have been initiated and are coordinated by Piknik Frequency, a non-profit media culture organisation (www.piknik.org). - - - * Project submission * Instructions and submission form for PixelACHE 2006 are available on the PixelACHE website, www.pixelache.ac/2006/call. From the site you can also find plenty of documentation from previous events, photos, videos, etc…. >>> The deadline for submissions is 10 September 2005! NOTICE! If you have sent a proposal in October 2004 (for PixelACHE 2005 & 2006), your proposal is still valid and in consideration for PixelACHE 2006. Updated versions of project descriptions are welcome. - - - See you next spring in Helsinki or Paris! :) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: andrew bucksbarg <andrew@adhocarts.org> Date: Aug 18, 2005 10:23 PM Subject: Faculty Positions Two Faculty Positions Department of Telecommunications Indiana University, Bloomington Indiana University?s Department of Telecommunications seeks two new tenure-track Assistant Professors. Applicants should hold the Ph.D., M.F.A, L.L.M. or other appropriate terminal degree and present a promising program of either (1) scholarly research using social scientific, legal, or historical methods related to electronic media / communications or (2) creative activity in interactive new media. Promising candidates must also be able to teach effectively in one or more of the department?s undergraduate areas of concentration: Media and Society, Design and Production or Industry and Management. Graduate teaching is also possible. We offer a B.A. in Telecommunications as well as M.A., M.S. and Ph.D. degrees. Undergraduates can also pursue certificates in New Media and Interactive Storytelling and in Game Studies. There are established M.A. and M.S. programs in Immersive Mediated Environments (MIME). Joint M.S. / M.B.A. and M.S. / J.D. degrees are offered in conjunction with the Schools of Business and Law. Our Institute for Communication Research offers support for faculty research including assistance with stimulus design/creation and data collection using an array of methodologies (psychophysiology, focus groups, personal interviews, and computer-assisted survey/experiment administration). We also have digital audio, video and multimedia production technologies. Salaries, fringe benefits and research and teaching opportunities are consistent with peer Research I institutions. Current research faculty include experts in media psychology and sociology, media economics, political communication, organizational communication, digital games, and media law, policy and technology. Creative faculty emphasize digital and analog media production and digital gaming and interactive storytelling. While we especially seek people in law and policy, management, media psychology, interactive storytelling, game design, 3D modeling, and international communications, our overall objective is to attract the best applicants in the field, regardless of interests, who either enhance current strengths or extend our reach. More about the positions, the department, and our faculty and programs can be found at <a rel="nofollow" href="http://www.indiana.edu/~telecom/">http://www.indiana.edu/~telecom/</a>. and <a rel="nofollow" href="http://www.indiana.edu/~icr/index.htm">http://www.indiana.edu/~icr/index.htm</a>. Applicants should submit (1) a cover letter summarizing their qualifications for the position and explaining how they will add to, supplement or complement existing department strengths, (2) a current vita, (3) selected research publications and/or a portfolio documenting recent creative work (as applicable), and (4) evidence of effective teaching. Three letters of recommendation should be submitted directly by recommenders. Direct questions and applications to Professor Walter Gantz, Chair, Department of Telecommunications, Radio-TV Center, 1229 E. 7th Street, Bloomington, IN 47405-5501. Professor Gantz can be reached by phone at (812) 855-1621, fax at (812) 855-7955 or via e-mail at gantz@indiana.edu. Start date is August 15, 2006. Review of applications will begin October 21, 2005 and will continue until the positions are filled. Indiana University is an Equal Opportunity / Affirmative Action Employer. We strongly encourage applications from women and minority candidates as well as from two-career couples. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Refresh! The First International Conference on the histories of media art, science, and technology. Hosted by the Banff New Media Institute, Leonardo/ISAST, and the Database for Virtual Art. September 28-October 1, 2005 The Banff Centre, Banff, Alberta, Canada For info. and to register Visit: www.banffcentre.ca/bnmi <<a rel="nofollow" href="http://www.banffcentre.ca/bnmi">http://www.banffcentre.ca/bnmi</a>> E-mail: luke_heemsbergen@banffcentre.ca + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Lucia Leao <!–<INPUT TYPE= <lucia.leao@gmail.com> Date: Aug 18, 2005 10:50 PM Subject: Hermenetka (2005) Hermenetka (2005) www.hermenetka.org Hermenetka is a project of Net Art that generates fortuitous cartographies from search engines in data bases. The starting point of the Hermenetka project is the Mediterranean view as spiritual scenery of thoughts, as method and search of knowledge. Hermenetka is an acronym formed from the association of Hermes, Greek god of communication and exchange; Net, from Internet and "Ka", a very complex part of the symbolism in ancient Egyptian mythology, Ka represents the consciousness and the guide of the invisible world, the kingdom of the dead. In contemporary era, the metaphor of the "sea between territories" (Mediterranean) embodies in the flows and the exchanges of cyberspace. The proposal of the Hermenetka is to generate plural cartographies of the seas of data that populate the quotidian of the cyberculture. The project is constituted by two types of mappings. In the first one, it is possible to generate a map in real time from topics that gravitate around the concept of th! e Mediterranean. The second possibility consists in answering the question "What is the Mediterranean for you?". In this case, your reply triggers a research in cyberspace for images and texts that will compose a unique map. The aesthetics project associates remixing, transparencies and revisits the watercolor techniques and collage practices of Robert Rauschemberg. In both cases, the image is generated at random and composed of different sizes and levels of transparent overlaying of images and texts. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Jim Andrews <jim@vispo.com> Date: Aug 21, 2005 1:11 PM Subject: Jared Tarbell's online generative art Here is some unusually good generative visual art available for viewing on the Net: <a rel="nofollow" href="http://www.complexification.net/gallery">http://www.complexification.net/gallery</a> . This is work by Jared Tarbell of New Mexico. I find this work quite exciting. Many of you have probably seen this work before. I have too, but only tonight have something to say about it. What I like about it is the fusion of algorithm and art. Of course there is much generative algorithmic visual art, but this work is rather distinguished in its particular fusion. For instance, Box.Fitting.Img is both beautiful visually and, also, the work grows from an algorithm that one may easily infer from watching the piece. It starts with 5 boxes. The color of the boxes is determined by the color of the pixel of an underlying, invisible image. Though as the piece grows, one gets other indications of the underlying image. In any case, a box grows until it touches another box. Then it stops growing and other boxes start growing in the interstices remaining. Very simple algorithm. Plain to see. But brilliantly so, really, and unusual in its visual results. And much of his work is this way: the algorithms are evident if you watch closely. They are simple but often generative of unusual results. And his sense of color and shape is finely drawn. No clumsy grab bag goin on here. The sense of composition is fascinating. Composition within a pseudo-random generative process. Another wonderful part of the work is that all the source code is available to view. It's all done in a language called Processing invented not too long ago by Casey Reas and Ben Fry. Java based. Some other strong work is emerging from this language such as Martin Wattenberg's, and Marek Walczak's "Thinking Machine" at <a rel="nofollow" href="http://www.turbulence.org/spotlight/thinking">http://www.turbulence.org/spotlight/thinking</a> , which we have discussed a bit on the list. In Tarbell's work we see the strong abstract quality of generative computer visuals. Strong abstract and dynamic properties/mode/process/aesthetic. Also we see the value of the source code to the artist-programmer community. Another *very* strong site by Tarbell is <a rel="nofollow" href="http://levitated.net/daily">http://levitated.net/daily</a> . ja <a rel="nofollow" href="http://vispo.com">http://vispo.com</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 33. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +