<br />RHIZOME DIGEST: November 11, 2005<br /><br />Content:<br /><br />+note+<br />1. Lauren Cornell: Hello/ rhizome upcoming<br /><br />+opportunity+<br />2. Charlie Breindahl: Artifact - a new journal from Routledge<br />3. Doug Easterly: enure Track Position in Film - Syracuse University<br /><br />+work+<br />4. t.whid: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances?<br /><br />+announcement+<br />5. tom holley: Ultrasound Festival 2005<br />6. Greg Smith: vagueterrain.net 01: digital detritus<br />7. nat muller: INFRActures exhibition project [V2_, 2-18 Dec]<br />8. Christiane Paul: jihui Digital Salon presents Cory Arcangel – Thurs.<br />Nov. 17, 6-8 PM<br />9. marc garrett: nza: Abuse of the Public Domain AT HTTP Gallery<br /><br />+thread+<br />10. carlos katastrofsky, judsoN, Regina Pinto, patrick lichty, Luís da<br />Silva, Lee Wells, G.H. Hovagimyan, Rob Myers, Jim Andrews, t.whid, Pall<br />Thayer, Geert Dekkers: 10 questions a net.artist has to be aware of<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org><br />Date: Nov 11, 2005 12:15 PM<br />Subject: Hello/ rhizome upcoming<br /><br />Hello,<br /><br />It's been just over 5 months since I started with Rhizome, and I thought<br />it was time to share some ideas and priorities that the Rhizome staff has<br />set.<br /><br />First, it¹s important to say that all our plans have formed with the work,<br />commentary and criticism of the Rhizome Community in mind. One of the most<br />significant challenges that Rhizome, as a community-based organization,<br />faces is how to make the relationship between the Rhizome staff and the<br />broader base of participants and members meaningful. At the moment, we see<br />our task as synthesizing feedback, and working to enhance the programs and<br />services we offer. We are open to exploring other structures of project<br />responsibility and administration in the future.<br /><br />Below, I lay out several upcoming projects to elicit any thoughts or<br />questions you might have, and just for your information. A couple of them<br />will call on your collaboration and insight; all of them relate to overall<br />improvements of our existing services and online infrastructure.<br /><br />1) New site design. We are currently in the process of developing and<br />implementing a new design for Rhizome.org. I initiated the new design<br />because I felt the current one had become, over the course of the three<br />years since it was launched, difficult to navigate and overburdened with<br />information. The new site will aim to be more clear, easier to use for<br />our current constituency and hopefully more straightforward for people who<br />are<br />new to Rhizome. With our new membership policy in place, our site traffic<br />has increased dramatically and we¹d like the new visitors to our site to<br />return.<br /><br />Another important goal of the new site is to make important Rhizome<br />features more prominent. By important features, I mean our online<br />discussions, member art work, membership, the archives, exhibitions, etc.<br />Rhizome has changed<br />over the years, added programs, developed earned income initiatives and<br />switched membership policies; this new structure needs to breathe better<br />through the design.<br /><br />We have hired a designer and graduate student at MIT, Sarah Dunbar, to do<br />the re-design. She has been tremendously generous with her time, given<br />the extremely limited resources and budget we were able to put towards the<br />project. We expect it to be launched mid-December, but I¹ll write out<br />when we've confirmed a date.<br /><br />2) Advanced Search. We are currently in the planning stages of<br />significant improvements to our advanced search, both the tools and the<br />results. Francis made some initial fixes to it late summer. More thorough<br />improvements are<br />slated on our tech timeline to begin after the new site Keep in mind, our<br />tech department is a very busy department of one: Francis.<br /><br />3) Metadata Project. Our current system of metadata was created (by<br />previous Rhizome staff Mark Tribe, Alex Galloway and Jennifer Crowe)<br />around 1999 when the ArtBase was launched. Understandably, the new media<br />art field<br />has shifted since then: tools, programs and concepts have developed, and<br />the keywords that index our archive need to address this. This, plus the<br />frequent comments and inquiries on the part of the artists associated with<br />the ArtBase or Rhizome, are the impetus for the Metadata Project, through<br />which we hope to generate a new set of terms that will specifically<br />address the works in the ArtBase, and on a broader level, be available to<br />other art organizations and archives interested in the preservation of new<br />media.<br /><br />We¹d like to involve the Rhizome Community in this project, and also<br />representatives from other organizations. The project will start with a<br />blog on our new site which will be a forum for an open conversation on<br />relevant keywords, and for debate over slight terminological differences<br />that hold significance: such as ?sound¹ vs. ?audio¹. Rick Rinehart,<br />Director of Digital Art at the Berkeley Art Museum, has agreed to blog, as<br />has Marisa, I will too. (If anyone else would like to get involved in the<br />blog, please contact me directly. Thanks. ) After this initial<br />conversation, we are hoping to convene artists and staff of other<br />organizations to synthesize the open conversation, and set the terms. For<br />the blog and for these summary conversations, we would like to involve<br />people with knowledge of new media, and also experience with archives or<br />new media preservation. As a slight disclaimer, I understand that a<br />process addressing taxonomy and tagging could take so many different<br />forms, but we think this process is best to deal with the ArtBase, and the<br />limited resources financial and human we can realistically put towards<br />the project.<br /><br />These are a few headlines on our organizational horizon. Other upcoming<br />projects include improvements to our Member Directory (more details to<br />come), and our tenth anniversary program in Fall 2006 which we are<br />envisioning as a festival of exhibitions, performances and events that<br />will be based in New York and also take place in other cities around the<br />U.S. and internationally, and hopefully be a wide-ranging and diverse<br />celebration of new media. We are looking to partner with other<br />organizations for this, so please get in touch with me and Marisa -<br />marisa@rhizome.org - if you are interested in exploring possibilities for<br />collaboration.<br /><br />Wow, this letter has gone on. I appreciate your reading, and any comments<br />you might have. For those, who have contributed during the Campaign,<br />thank you so much. I assure you every contribution is being put towards<br />efforts to build a stronger, more effective Rhizome.<br /><br />Yours,<br />Lauren<br /><br />–<br />Lauren Cornell<br />Executive Director, Rhizome.org<br />New Museum of Contemporary Art<br />210 Eleventh Ave, NYC, NY 10001<br /><br />tel. 212.219.1222 X 208<br />fax. 212.431.5328<br />ema. laurencornell@rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Please Support Rhizome!<br />Rhizome launched its membership drive, the Community Campaign, on<br />September 19th. The campaign is incredibly important to Rhizome's<br />survival and growth over the next year, and we sincerely hope that you<br />will help us meet our goal of $25,000 by December 1st by becoming a <br />Member or making a donation today! This targeted amount will go into<br />strengthening our current programs, and seeding our energy into new<br />initiatives. Higher-level donors are thanked on our support page and have<br />an opportunity to secure limited-edition works by Cory Arcangel, Lew<br />Baldwin, and MTAA. This is a very exciting time for the organization, and<br />a great time to get involved. Thank you for your ongoing support.<br /><a rel="nofollow" href="http://www.rhizome.org/support/">http://www.rhizome.org/support/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Charlie Breindahl <charlie.breindahl@gmail.com><br />Date: Nov 6, 2005 1:42 PM<br />Subject: Artifact - a new journal from Routledge<br /><br />CALL FOR CONTRIBUTIONS<br /><br />Artifact - a new journal from Routledge<br /><br />Artifact is a new international, peer-reviewed academic journal treating<br />the impact of computerization on design.<br /><br />VISION<br /><br />The computer has had a profound impact on the look, feel, and function of<br />our everyday world. As a tool, the computer has become indispensable for<br />the design professional, profoundly changing the design process. As a<br />design material, the computer is extremely versatile, enabling intelligent<br />objects and processes. As a medium, the computer transforms our<br />understanding and stores our experiences. The combined impact of these<br />forces is changing the relations between humans and our technology in<br />unprecedented ways.<br /><br />Artifact does not draw an artificial line of demarcation between the<br />virtual and the physical. It strives to illuminate the problems and<br />possibilities in their interaction. The journal does not frame digital<br />design as a design discipline such as industrial design or graphic<br />communication. The unique role of the computer as tool,<br />material, and medium, makes digital design an integrated element of almost<br />any design project today, with designers in all fields and disciplines<br />using digital design in some way.<br /><br />Artifact assumes an open position. The journal strives to promote<br />transdisciplinary design research. It will not create or maintain<br />disciplinary boundaries. Rather, Artifact will encourage<br />cross-fertilization, interconnections, and crossbreeding among different<br />scientific disciplines, the design industry, and the arts.<br /><br />PUBLICATION<br /><br />The journal appears in both a print version and a digital version. The<br />journal is published using a 'Web first' concept. Each issue is first<br />published on the web. The year's issues are gathered together into a full<br />paper volume published at the end of the year. In some cases, web<br />technology will mean that the web version supports special interactive<br />features and links that can only appear in the print volume as<br />illustrations and references.<br /><br />SUBMISSION<br /><br />We welcome contributions which seek to understand and reflect the<br />different aspects and impacts of virtuality within the field of design<br />from theoretical or applied perspectives. Artifact brings contributions in<br />the form of academic articles, book reviews, design case post mortems, and<br />design company profiles.<br /><br />To point to possible directions, we have selected themes for the first<br />four issues of Artifact:<br /><br />- Volume 1, issue 1: What is an artifact?<br /><br />- Volume 1, issue 2: Soft artifacts. Tracing 'soft movements' in several<br />creative domains, notably architecture and<br />digital film.<br /><br />- Volume 1, issue 3: The third place? The ontological status of objects<br />and events in computer games.<br /><br />- Volume 1, issue 4: Digital design processes. What impact has digital<br />technology had on the design process?<br /><br />The themes are not meant to be exhaustive. We hope they will trigger ideas<br />and encourage submissions from a range of<br />disciplines.<br /><br />Deadline for the first issue of Artifact is 18 November. Articles will be<br />published 1 March 2006. However, contributions addressing the theme of the<br />first issue may be published on-line at a later date and appear in the<br />print volume.<br /><br />Please send submissions and queries by e-mail to Ida Engholm at<br /><br /><ida.engholm@karch.dk><br /><br />or to Charlie Breindahl at<br /><br /><hitch@hum.ku.dk>.<br /><br />Articles should be sent as attachments in Microsoft Word .doc format or as<br />PDF files. Please send articles with a cover letter containing full author<br />information. Articles should be prepared for double-blind review using<br />anonymous format and full references in APA style. In addition, we welcome<br />suggestions for design case post mortems, book reviews and designer<br />profiles.<br /><br />EDITORS<br /><br />Charlie Breindahl<br />External Lecturer<br />University of Copenhagen + IT University of Copenhagen<br />Denmark<br /><br />Ida Engholm<br />Associate Professor<br />Center for Design Research<br />Royal Academy of Fine Arts, School of Architecture<br />Copenhagen<br />Denmark<br /><br />Judith Gregory<br />Faculty of Design<br />Institute of Design<br />Illinois Institute of Technology<br />USA<br /><br />Erik Stolterman<br />Director, Human-Computer Interaction Design<br />Professor of Informatics<br />Indiana University School of Informatics<br />USA<br /><br />ADVISORY BOARD<br /><br />Thomas Binder<br />Director<br />Center for Design Research<br />Royal Academy of Fine Arts, School of Architecture<br />Copenhagen<br />Denmark<br /><br />Jeanette Blomberg<br />Director of Experience Modelling<br />Sapient<br />Professor of Human Work Science<br />University of Karlskrona/Ronneby<br />Sweden<br /><br />David Durling<br />Professor of Design<br />Director of the Advanced Research Institute<br />Middlesex University<br />UK<br /><br />Lars Dybdahl<br />Associate Professor<br />The Department of Art History<br />University of Copenhagen<br />Denmark<br /><br />Pelle Ehn<br />Professor<br />School of Arts and Communication<br />Malmö University<br />Sweden<br /><br />Ken Friedman<br />Professor of Leadership and Strategic Design<br />Norwegian School of Management and Denmark's Design School<br />Norway and Denmark<br /><br />Susan M. Hagan<br />Postdoctoral Fellow<br />Carnegie Mellon University<br />USA<br /><br />Marius Hartmann, Ph.D.<br />Designer<br />Danish Broadcasting Corporation<br />Denmark<br /><br />Steve Jones<br />Professor and Head<br />Department of Communication<br />University of Illinois at Chicago<br />USA<br /><br />Klaus Krippendorff<br />Gregory Bateson Term Professor<br />University of Pennsylvania<br />USA<br /><br />Lev Manovich<br />Professor of Visual Arts<br />University of California, San Diego +<br />Director, Lab for Cultural Analysis<br />California Institute for Telecommunications and Information Technology<br />USA<br /><br />Bonnie Nardi<br />Associate Professor<br />School of Information and Computer Science<br />University of California, Irvine<br />USA<br /><br />Jannie Nielsen<br />Professor<br />Department of Informatics<br />Copenhagen Business School<br />Denmark<br /><br />Christiane Paul<br />New Media Curator<br />Whitney Museum of American Art<br />New York<br />USA<br /><br />Martin Pingel<br />Technological Coordinator<br />Denmark's Design School<br />Denmark<br /><br />Sharon Poggenpohl<br />Professor<br />Institute of Design<br />Illinois Institute of Technology<br />USA<br /><br />Johan Redström<br />Research Director, studio Design Göteborg<br />Interactive Institute<br />Gothenburg<br />Sweden<br /><br />Michael Schmidt<br />Createch Director<br />k10k and Cuban Council<br />Denmark/USA<br /><br />Lisbeth Thorlacius<br />Associate Professor<br />Department of Communication, Journalism, and Computer Science<br />Roskilde University<br />Denmark<br /><br />Wendy Siuyi Wong<br />Department of Design<br />Faculty of Fine Arts<br />York University<br />Canada<br /><br />Kristoffer Åberg<br />Senior Interaction Designer<br />Sony Ericsson<br />Sweden<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: Doug Easterly <playfight@mac.com><br />Date: Nov 6, 2005 1:35 PM<br />Subject: Tenure Track Position in Film - Syracuse University<br /><br />The Film Program in the Department of Transmedia, College of Visual and<br />Performing Arts, Syracuse University is searching for a senior faculty in<br />film, Associate or Full Professor. Tenure is possible for highly qualified<br />candidate. Salary will be commensurate with experience and professional<br />status.<br /><br />Applicant should have a well established record of excellence in teaching<br />and production and exhibition of creative filmmaking. We are looking for a<br />person able to teach all aspects of 16mm, super 16mm and digital<br />filmmaking as well as some areas within history/theory/criticism.<br />Collegiality and collaboration is critical in a department that includes<br />video, computer art, and photography and encourages cross discipline<br />studies.<br /><br />Applicant should send a letter of intent, full CV, tape or DVD of creative<br />work (full works, not sample reels), several course syllabi, and names of<br />references and a SASE to:<br /><br />Film Search Committee, Syracuse University, Department of Transmedia, 102<br />Shaffer Art Building, Syracuse, NY 13244-1210.<br /><br />Deadline: December 15, 2005.<br /><br />Syracuse University is an affirmative action/equal opportunity employer.<br />Women and minorities are encouraged to apply.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome ArtBase Exhibitions<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a><br /><br />Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie<br />Kamiya of the New Museum of Contemporary Art in New York and designed by<br />T.Whid of MTAA.<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: t.whid <twhid@twhid.com><br />Date: Nov 9, 2005 9:23 AM<br />Subject: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances?<br /><br />Hi Rhizome,<br /><br />Tell Us What To Do!<br /><br />MTAA's "10 Pre-Rejected, Pre-Approved Performances"<br />(<a rel="nofollow" href="http://www.mteww.com/approve/index.php">http://www.mteww.com/approve/index.php</a>) is a project that allows you, the<br />dirty mob of the unwashed Internet public, to decide what performance we<br />do for an upcoming show!<br /><br />Break down the clean, white walls of the rarified New York gallery world<br />by telling us, MTAA, the elitist NYC net art snobs, what to do (via a<br />simple on-line form)!<br /><br />It's fun! Go there now and vote!<br /><a rel="nofollow" href="http://www.mteww.com/approve/index.php">http://www.mteww.com/approve/index.php</a><br /><br />It's easy! Go there now and vote!<br /><a rel="nofollow" href="http://www.mteww.com/approve/index.php">http://www.mteww.com/approve/index.php</a><br /><br />It's anti-establishment! Go there now and vote!<br /><a rel="nofollow" href="http://www.mteww.com/approve/index.php">http://www.mteww.com/approve/index.php</a><br /><br />You get to pick from a selection of 10 titles and descriptions. Your<br />choice is the performance we'll complete! The curator of the show and<br />gallery directors have already agreed! The best part? All these ideas have<br />already been rejected by other curators! Haha!<br /><br />MTAA's "10 Pre-Rejected, Pre-Approved Performances" will be exhibited at<br />Artists Space (<a rel="nofollow" href="http://www.artistsspace.org/">http://www.artistsspace.org/</a>) in a show entitled "We Are<br />All Together: Media(ted) Performance" curated by Marisa Olson<br />(<a rel="nofollow" href="http://lifeofmo.blogspot.com/">http://lifeofmo.blogspot.com/</a>), which is in turn part of Empty Space With<br />Exciting Events (<a rel="nofollow" href="http://www.artistsspace.org/exhibitions/">http://www.artistsspace.org/exhibitions/</a><br />current_exhibition_bottom.html) which is itself presented in partnership<br />with Performa '05 The Performance Biennial (<a rel="nofollow" href="http://05.performa-arts.org/">http://05.performa-arts.org/</a>).<br />(Damn the NYC gallery world is complicated ? it's like a mystery wrapped<br />in an enigma then slathered with special confusion sauce.)<br /><br />===<br /><twhid><a rel="nofollow" href="http://www.mteww.com">http://www.mteww.com</a></twhid><br />===<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via<br />panel-awarded commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: tom holley <tomholley@the-media-centre.co.uk><br />Date: Nov 7, 2005 2:35 PM<br />Subject: Ultrasound Festival 2005<br /><br />Ultrasound 2005<br /><br />www.ultrasound.ws<br /><br />Mon 21 - Sat 26 Nov 2005<br />The Media Centre and Bates Mill<br />Huddersfield<br />England<br /><br />Ultrasound 2005 presents a diverse programme of live performances,<br />installations, workshop and talks by UK and international artists working<br />in new interdisciplinary ways across the interrelated fields of new media,<br />contemporary electronic music, software production, new technologies and<br />audiovisual performance.<br /><br />We are pleased to announce the 'Finnish Partition' of the festival,<br />programmed in collaboration with Helsinki based artist, organiser and<br />curator Juha Huuskonen. The 'Finnish Partition' represents a cross-section<br />of the new and emerging creative talent practising media arts in Finland<br />today, supported by established names such as Pan Sonic.<br /><br />The festival takes place at The Media Centre and Bates Mill, two<br />contrasting venues. The Media Centre is home to over 60 creative<br />industries enterprises, while Bates Mill is a traditional Mill complex<br />just outside Huddersfield town centre. The performances at Bates Mill are<br />located in the old 'Blending Shed' a 5,000 sq ft industrial space.<br /><br />Ultrasound Outline Programme:<br /><br />Live Performances<br />=================<br />Pan Sonic [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/pan-sonic.html">http://www.ultrasound.ws/pan-sonic.html</a><br /><br />Grey Zone [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/greyzone.html">http://www.ultrasound.ws/greyzone.html</a><br /><br />Memnon [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/memnon.html">http://www.ultrasound.ws/memnon.html</a><br /><br />Sue Costabile [USA]<br /><a rel="nofollow" href="http://www.ultrasound.ws/costabile.html">http://www.ultrasound.ws/costabile.html</a><br /><br />AGF [Germany]<br /><a rel="nofollow" href="http://www.ultrasound.ws/agf.html">http://www.ultrasound.ws/agf.html</a><br /><br />Aymeric Mansoux [France]<br /><a rel="nofollow" href="http://www.ultrasound.ws/mansoux.html">http://www.ultrasound.ws/mansoux.html</a><br /><br />O Samuli A [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/oa.html">http://www.ultrasound.ws/oa.html</a><br /><br />Marloes de Valk [Holland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/de-valk.html">http://www.ultrasound.ws/de-valk.html</a><br /><br />Owl Project [UK]<br /><a rel="nofollow" href="http://www.ultrasound.ws/owl-project.html">http://www.ultrasound.ws/owl-project.html</a><br /><br />Jaap Blonk [Holland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/blonk.html">http://www.ultrasound.ws/blonk.html</a><br /><br />Golan Levin [USA]<br /><a rel="nofollow" href="http://www.ultrasound.ws/levin.html">http://www.ultrasound.ws/levin.html</a><br /><br />Zachary Lieberman [USA]<br /><a rel="nofollow" href="http://www.ultrasound.ws/lieberman.html">http://www.ultrasound.ws/lieberman.html</a><br /><br />The World of PIKU [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/piku.html">http://www.ultrasound.ws/piku.html</a><br /><br />Pardon Kimura [Japan]<br /><a rel="nofollow" href="http://www.ultrasound.ws/kimura.html">http://www.ultrasound.ws/kimura.html</a><br /><br />The Sancho Plan [UK]<br /><a rel="nofollow" href="http://www.ultrasound.ws/sancho-plan.html">http://www.ultrasound.ws/sancho-plan.html</a><br /><br />Installations<br />=============<br />Scrollbars<br />by Jan Robert Leegte and Edo Paulus [Holland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/scrollbars.html">http://www.ultrasound.ws/scrollbars.html</a><br /><br />Kick Ass Kung-Fu<br />by Perttu Hämäläinen, Mikko Lindholm, Ari Nykänen [Finland]<br /><a rel="nofollow" href="http://www.ultrasound.ws/kung-fu.html">http://www.ultrasound.ws/kung-fu.html</a><br /><br />Workshop<br />========<br />Tiletoy<br />A Modular Electronic Game Prototype<br />by Tuomo Tammenpää & Daniel Blackburn [Finland / UK]<br /><br />Open software / open hardware<br />TileToy is an open project. Both the source code and the hardware will be<br />made available via open licenses. The aim of TileToy is not just to create<br />something that we ourselves can use to create interesting games and demos<br />for, but as a platform that anyone can use to create unique content.<br />Making the software open will allow people to create their own<br />applications and games and feed these back into the community to spark<br />further innovation. The open hardware will also allow people to make their<br />own TileToys cheaply without paying a third party potentially leading to<br />new projects that branch off to make new versions of TileToy based on the<br />original hardware.<br /><br /><a rel="nofollow" href="http://www.ultrasound.ws/tiletoy.html">http://www.ultrasound.ws/tiletoy.html</a><br />Further additions to the programme will be announced soon. Please visit<br />the website or sign up to the electronic mailing list.<br /><br />Contact<br />=======<br />Tel: +44 [0]870 990 5007<br />Email: info@ultrasound.ws<br /><br />www.ultrasound.ws<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: Greg Smith <smith@serialconsign.com><br />Date: Nov 8, 2005 5:36 AM<br />Subject: vagueterrain.net 01: digital detritus<br /><br />Announcing the launch of <a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a><br /><br />Vague Terrain is a new quarterly web-journal showcasing work from various<br />Canadian and International artists, musicians, and writers. Our intent is<br />to stake a unique claim which will sample the focus and methodologies of<br />academic and art journals while commissioning parallel excursions in the<br />sonic realm. The first issue of Vague Terrain is now online and features<br />contributions related to the theme of "digital detritus" from: des<br />cailloux et du carbone, greg lynn form, intercom, kero, liav koren, willy<br />le maitre & eric rosenzveig, neil hennessy, robin armstrong, tasman<br />richardson, tony scott (aka beflix), and tomas jirku.<br /><br />This notice serves as a statement of intent. We plan on carving out a<br />unique niche for ourselves not only on the net, but through a series of<br />upcoming Toronto based, immersive electronic music showcases which will<br />feature a blend of aural and visual work in a live environment. We hope to<br />provide a platform through which established and emerging artists can<br />promote their work online, and stimulating event-spaces where mediums and<br />disciplines intersect.<br /><br />Greg Smith<br /><a rel="nofollow" href="http://www.vagueterrain.net">http://www.vagueterrain.net</a><br /><a rel="nofollow" href="http://www.serialconsign.com">http://www.serialconsign.com</a><br />greg@vagueterrain.net<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: nat muller <nat@xs4all.nl><br />Date: Nov 9, 2005 7:03 AM<br />Subject: INFRActures exhibition project [V2_, 2-18 Dec]<br /><br />[apologies for cross-posting]<br /><br />*****************************************<br />INFRActures: Translations between the Sonic, Spatial and Temporal<br /><br />Date: Friday 2 to Sunday 18 December 2005<br />Opening hours: 11:00?18:00 hrs (Thu to Sun)<br />Location: V2_, Eendrachtsstraat 10, Rotterdam<br />Admission: 2,50 euro<br />Tel. + 31 10 206 72 72<br /><a rel="nofollow" href="http://www.v2.nl/infractures">http://www.v2.nl/infractures</a><br />*****************************************<br /><br />INFRActures is an exhibition project transcending the sensory perceptible<br />at the convergences of sound art and architecture. Artists Edwin van der<br />Heide, Cevdet Erek, mxHz.org and STEALTH.ltd have been commissioned to<br />create four new works which make tangible what is not registered by our<br />senses within an urban environment, such as ultra-<br />and infra-sonics, and different perceptions of time and spatiality. Cities<br />as Rotterdam and Istanbul make up the source material and points of<br />departure for the installations, which are interactive in character and<br />allow for a participative and layered audiovisual experience.<br /><br />* Edwin van der Heide: Sound/Light/Street<br />* STEALTH.ltd: Street/Appropriation/Struggle<br />* Cevdet Erek: Avluda | In The Courtyard<br />* mxHz.org: TICS [THIS INAUDIBLE CITY SOUNDS: Reading through Pamuk's<br />Istanbul]<br /><br />Curator: Nat Muller in collaboration with Stephen Kovats<br /><br />INFRActures has been made possible with the support of ThuisKopie Fonds,<br />Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, VSBfonds and<br />Prins Bernhard Cultuurfonds Rotterdam.<br /><br />*-*-*<br /><br />TANGENT_FRACTURE (INFRActures vernissage)<br /><br />Date: Thursday 1 December 2005, 17:00-19:30 hrs<br />Location: V2_, Eendrachtsstraat 10, Rotterdam<br />Admission: free<br /><a rel="nofollow" href="http://www.v2.nl/tangents">http://www.v2.nl/tangents</a><br /><br />The exhibition is inaugurated by an opening intervention of artist and<br />architect Kyong Park, and framed by two live sound performances of sound<br />artist Cevdet Erek and media artist mxHz.org, taking you beyond the<br />boundaries of the audible. The INFRActures vernissage is the first in<br />V2_'s new series of monthly TANGENTS live and interactive streamed events.<br /><br />*-*-*<br /><br />laurie halsey brown: beingthere.v2.r'dam.05<br /><br />Date: Sunday 18 December 2005, 15:00-17:00 hrs<br />Location: V2_, Eendrachtsstraat 10, Rotterdam<br />Admission: 5 euro (seating limited!)<br /><a rel="nofollow" href="http://www.movinginplace.net/welkom2rdam">http://www.movinginplace.net/welkom2rdam</a><br /><br />Many Rotterdam architects tend to leave the city due to a shortage of<br />local projects. Rotterdam profiles itself as a city of architecture but<br />how does this image chime with everyday reality? Artist laurie halsey<br />brown organizes during the finissage weekend of INFRActures a bus tour<br />through the city that includes an onboard experimental documentary of<br />local architects discussing the validity of the city?s slogan ?The City of<br />Architecture?, with stops at several sites built by local architects and<br />access to a public intervention project placed throughout the city.<br /> The tour begins and ends at V2_<br />*****************************************<br />V2_, Institute for the Unstable Media<br />Eendrachtsstraat 10, NL-3012 XL Rotterdam<br />PO Box 19049, NL-3001 BA Rotterdam, NL<br />Tel + 31 10 206 72 72 | Fax + 31 10 206 72 71<br />E-mail info AT v2.nl | URL <a rel="nofollow" href="http://www.v2.nl">http://www.v2.nl</a><br />*****************************************<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Submit to a Rhizome Commissioned Art Project!<br />Panel Junction is a project co-produced by media artist Andy Deck and many<br />volunteers. It combines the graphic novel with forms of shared authorship<br />that are unique to the Internet. Contributions from visitors become<br />material and base imagery for the narrative of the novel, which will<br />culminate in a free document good for online viewing and printing on any<br />standard inket printer. All images and text contributed to the project<br />will remain free for non-commercial use with attribution under a Creative<br />Commons license. Panel Junction received and 05-06 Rhizome.org Commission.<br />Check it out, here:<br /><a rel="nofollow" href="http://artcontext.org/act/05/panel/feature.php?page=3D6">http://artcontext.org/act/05/panel/feature.php?page=3D6</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Christiane Paul <Christiane_Paul@whitney.org><br />Date: Nov 10, 2005 9:48 AM<br />Subject: jihui Digital Salon presents Cory Arcangel – Thurs. Nov. 17, 6-8 PM<br /><br />jihui Digital Salon<br />in cooperation with The Project Room@Chelsea Art Museum<br />presents<br />Cory Arcangel<br /><br />Thursday Nov. 17, 2005 - 6-8 PM<br />NEW LOCATION:<br />Chelsea Art Museum, 3rd Floor<br />556 West 22nd Street<br />New York, NY 10011<br /><br /><a rel="nofollow" href="http://agent.netart-init.org">http://agent.netart-init.org</a><br /><a rel="nofollow" href="http://www.chelseaartmuseum.org">http://www.chelseaartmuseum.org</a><br /><br />Cory Arcangel will be discussing his recent works and collaborations, as<br />well as future projects, including the music group Van Led, a<br />self-produced version of MTV cribz, and various assorted computer hacks.<br />His presentation will include topics as varied as Simon and Garfunkel,<br />google, Biggie Smalls, AOL IM, and homemade video games.<br /><br />Cory Arcangel is a computer artist, performer, and curator who lives and<br />works in Brooklyn. His work centers on his love of personal computers and<br />the Internet. He is a member of the artist groups BEIGE and R.S.G. His<br />work has been shown in the 2004 Whitney Biennial; The Guggenheim Museum,<br />New York; the Museum of Modern Art, New York; the Migros Museum in Zurich;<br />and Team and Deitch galleries in New York. Except for gallery<br />installations, most of his projects can be downloaded with source code<br />from his website<br /><a rel="nofollow" href="http://www.beigerecords.com/cory/">http://www.beigerecords.com/cory/</a><br /><br />jihui (the meeting point), a self-regulated digital salon, invites all<br />interested people to send ideas for discussion/performance/etc.<br />jihui is where your voice is heard and your vision shared.<br />jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT<br /><a rel="nofollow" href="http://www.netart-init.org">http://www.netart-init.org</a> | <a rel="nofollow" href="http://www.intelligentagent.com">http://www.intelligentagent.com</a><br />THE PROJECT ROOM is a special projects and education program at the<br />Chelsea Art Museum that brings together international artists, curators,<br />cultural, educational and corporate organizations.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: marc garrett <marc.garrett@furtherfield.org><br />Date: Nov 11, 2005 12:48 PM<br />Subject: Stanza: Abuse of the Public Domain AT HTTP Gallery<br /><br />HTTP Press Release.<br /><br />Stanza:<br />Abuse of the Public Domain.<br /><br />Private View Thursday 8th December 7-9pm<br />9th December 2005- 23rd January 2006<br /><br />HTTP presents Abuse of the Public Domain, the first solo show of networked<br />media art by Stanza.<br /><a rel="nofollow" href="http://www.http.uk.net/docs/exhib8/exhibitions8.htm">http://www.http.uk.net/docs/exhib8/exhibitions8.htm</a><br /><br />This exhibition features two large video projections, which use live<br />real-time data from CCTV cameras sited in two cities, London and New York.<br />Security tracking data is Stanza's chosen medium for these process-led<br />artworks.<br /><br />You are my subject uses data from a single fixed camera in New York,<br />focusing on subjects as they pass below it. Authenticity [Trying to<br />imagine the world from everyone elses? perspective, all at once] draws its<br />imagery from cameras all over London. Other works can be viewed in a web<br />browser via the Internet and turn us all into voyeurs of eerie 'parallel<br />realities'.<br /><br />?CCTV systems are everywhere in the public domain. Millions of hours worth<br />of data are recorded every day by these cameras. We are all unwitting bit<br />part actors, in the filming of our own lives. Usually we cannot watch. The<br />results are not collected for broadcast back to the public. Rather they<br />are monitored, filtered, distributed and archived without our knowledge or<br />permission. The city has millions of CCTV cameras. One can take the sounds<br />and images off live web streams to offer them back to the public for new<br />interpretations of the city. In essence the city of London can be imagined<br />as the biggest TV station in existence.?<br /><br />About Stanza:<br />Stanza is a London-based artist, who specialises in net art, multimedia,<br />and electronic sounds. His award winning online projects have been invited<br />for exhibition in digital festivals around the world, and Stanza also<br />travels extensively to present his net art, lecturing and giving<br />performances of his audiovisual interactions. His works explore artistic<br />and technical opportunities to enable new aesthetic perspectives,<br />experiences and perceptions within the context of architecture, data<br />spaces and online environments. <a rel="nofollow" href="http://www.stanza.co.uk">http://www.stanza.co.uk</a><br /><br />Awards:<br />Videoformes Multimedia First prize France 2005, Netsa Dreamtime 2004, Art<br />In Motion V.First prize USA 2004, Vidalife 6.0 first prize 2003,<br />Fififestival Grand Prize France 2003, New Forms Net Art Prize Canada 2003,<br />Fluxus Online first prize Brasil 2002, SeNef Online Grand Prix Korea 2002,<br />Links first prize Porto 2001, Videobrasil Sao Paulo 2001<br />first prize, Cynet art 2000 first prize, Dresden. Stanza: Abuse of the<br />Public Domain AT HTTP Gallery. For more information and images, please<br />contact Stéphanie Delcroix, stephanie@furtherfield.org or 0207 700 7859.<br />Open Friday to Sunday 12noon-5pm.<br /><br />HTTP [House of Technologically Termed Praxis] is one of London's foremost<br />galleries dedicated to showing net art, new media and sound art. HTTP was<br />opened on the initiative of Furtherfield (<a rel="nofollow" href="http://www.furtherfield.org">http://www.furtherfield.org</a>) in<br />the vibrant and culturally diverse Green Lanes area of North London. HTTP<br />works with a wide range of artists and audiences to explore the potential<br />of current network technology and to promote distributed creativity. HTTP<br />is supported by Arts Council of England. Furtherfield is an online<br />platform for the creation, promotion and criticism of net art, new media<br />and sound art. <a rel="nofollow" href="http://www.http.uk.net/">http://www.http.uk.net/</a><br /><br />Getting to HTTP://<br />Tube: Manor House<br />Buses: 341, 141<br />Train: Haringey Green Lanes.<br /><a rel="nofollow" href="http://www.http.uk.net/docs/gettingto.htm">http://www.http.uk.net/docs/gettingto.htm</a><br /><br />Past Exhibitions at HTTP:<br /><a rel="nofollow" href="http://www.http.uk.net/docs/exhib7/exhibitions7.htm">http://www.http.uk.net/docs/exhib7/exhibitions7.htm</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />10.<br /><br />Date: 07-11 Nov 2005<br />From: carlos katastrofsky <carlos.katastrofsky@gmx.net>, judsoN<br /><office@plasmastudii.org>, Regina Pinto <reginapinto@arteonline.arq.br>,<br />patrick lichty <voyd@voyd.com>, Luís da Silva <silva.luis@netcabo.pt>, Lee<br />Wells <lee@leewells.org>, G.H. Hovagimyan <ghh@thing.net>, Rob Myers<br /><rob@robmyers.org>, Jim Andrews <jim@vispo.com>, t.whid <twhid@twhid.com>,<br />Pall Thayer <p_thay@alcor.concordia.ca>, Geert Dekkers <geert@nznl.com><br />Subject: 10 questions a net.artist has to be aware of<br /><br />+ carlos katastrofsky posted: +<br /><br />1) what is it?<br />2) why is it art?<br />3) is programming art?<br />4) why are you doing that?<br />5) who is paying for such a s**t ?<br />6) do you make a lot of money with your art?<br />7) are you famous?<br />8) what are you talking about?<br />9) are you a hacker ? (read: are you a criminal/ terrorist?)<br />10) have you ever had sex?<br /><br />+ judsoN replied: +<br /><br />seems like your kidding, but kinda not kidding. seriously, i actually<br />don't think any of these questions should be answered until AFTER several<br />years of making "net.art". like kids discouraging themselves by saying<br />"this finger painting is bad". practice and you get better. don't<br />discourage practicing. computers and the web are just more<br />materials to get used to. and so few appear used to them even still.<br /><br />but the need to put it out there is really dubious.<br /><br />the litmus test questions are really: why distribute it? what is there to<br />gain from this particular piece for not only the artist, but the audience?<br /> would my grandmother enjoy this or ask "what is it"? if not her, are<br />they people who think like me/have the same perspectives/assumptions or an<br />audience of people outside my supportive club?<br /><br />everything has a target audience, whether we intend it or not. so the<br />first thing we learn is that that audience doesn't have to be OURSELVES. <br />and then we practice, we gradually learn to identify, listen. understand<br />that audience. i'm still on that path, but far further than i was 5 years<br />ago. i've been learning for 10+ years now,<br />and it never ends.<br /><br />and it's a good challenge to work within, that non practicing<br />"net.artists" generally don't sympathize or "get" the web/computers.<br />people should feel free to experiment and play, without all this<br />encouragement to show everyone. when everyone is fluent in programming<br />(just the words you type to tell those grey boxes you sit with ever day<br />what you want from them), people will "get" more. those people should<br />play too, without the goal of being "an artist".<br /><br />instead, all too often "net.artists" go for the easy option and pick an<br />ideal audience, often pretty much just themselves. finding words for and<br />about the art is counter-productive. never mind what it is, if eventually<br />you are going to make things people are interested in.<br />+ Regina Pinto noted: +<br /><br />Hello,<br /><br />Read the article:<br /><br />"The Web.Artist Craft: some considerations" at:<br /><br /><a rel="nofollow" href="http://www.sporkworld.org//index.php">http://www.sporkworld.org//index.php</a><br /><br />and browser at: <a rel="nofollow" href="http://arteonline.arq.br/web_art_considerations/">http://arteonline.arq.br/web_art_considerations/</a> to visit a<br />work in progress about this subject.<br />+ patrick lichty replied: +<br /><br />Interesting questions, but almost too much like a net.chainmail.<br />Here goes:<br /><br />1) what is it?<br />Depends on your context, the way you look at it, etc.<br />I can only go half way on this - the rest is up to you.<br /><br />2) why is it art?<br />To paraphrase Cage, "What else would it be?"<br /><br />3) is programming art?<br />Some programming is art, but not all art is programming.<br /><br />4) why are you doing that?<br />Because I can't see myself doing many other things with such conviction.<br /><br />5) who is paying for such a s**t ?<br />The two asterisks leave open a lot of words. Shit, Shot, Slut, Shut,<br />Slot, Scot, Spot (my favorite), Spit, Spat, Scat…<br />I am - as usual.<br /><br />6) do you make a lot of money with your art?<br />Occasionally, but not lately.<br /><br />7) are you famous?<br />Sometimes, but a lot of people don't realize it's me.<br /><br />8) what are you talking about?<br />Again, depends on the context. Futures of grad students, synnoetics,<br />codes and deconstruction, transhumanism, Spinach pie, djembe drumming,<br />multiple human/machine languages, culture jamming, VJ culture, my cat's<br />illness, and so on.<br /><br />What are you talking about in asking this?<br /><br />9) are you a hacker ? (read: are you a criminal/ terrorist?)<br />Would I really tell you if I were? Not the best question.<br />Also, hacking is not necessarily criminal. Look at makezine.com.<br /><br />10) have you ever had sex?<br />Sure, after I quite my job at Wal-Mart as a stock boy, dropped my Ritchie<br />book on C programming, and quit the Star Trek club…<br /><br />Another odd question. Why should I say so?<br />Ask my wife. She's the best judge of this.<br />+ Luís da Silva responded: +<br /><br />Why should a net artist be awareof these questions?<br /><br />I think I am missing the point<br /><br />:P<br />+ carlos katastrofsky replied: +<br /><br />this was a kind of an emotional statement, partly to the readers, partly<br />to myself. sometimes i'm missing questions that people on the street would<br />ask, so i asked myself which questions this could be and which clichés are<br />around this type of art…<br />so, to me it's like this:<br />1, 2, 4, 5, 6, 7, 8 are standard questions about works from the art - field<br />3, 9, 10 are more related to net (or even web-) art.<br />(two notes:<br />9) i personally don't think a hacker is a criminal - far away from that.<br />but normally for most of the people it's like hacker = cracker = bad = …<br />10) deals with the "nerd" - clichè: people sitting in front of their<br />computers with no contacts to the "real" world)<br />(surely these 10 questions are not enough, but it was just a momentary<br />reaction)<br /><br />and, yes: judsoN, i think you said much of what i am not able to say this<br />way (my english, writing skills…)<br /><br />thanks for reacting!<br />+ Lee Wells replied: +<br /><br />Is it just as nerdy to be a painter or writer that locks themselves up in<br />their studio.<br /><br />The internet also does add up to some very personal sexual experiences.<br />+ judsoN replied: +<br /><br />we need a lot more people making computer art. most computer art is<br />pretty bad. if you think about all the bob rosses and weekend nature<br />water colorists most paintings are pretty bad too. but that's how the<br />world is and that's cool. too much emphasis on quality is just<br />discouraging. being bad is fine. however, there are so many painters<br />that if even 5% are good, that's still a huge number. if 5% of<br />net.artists are good that might be someone's little toe. more artists<br />have more art to take as an example. the quality of the art doesn't<br />matter. simply more examples will be helpful to us all.<br /><br />carlos:<br /><br />would it be more or less effective of a piece if you did it in a language<br />of your choice?<br /><br />open to list:<br /><br />not that these very questions don't occur to many of us along the way in<br />our development. but the vast majority of folks (a few of whom<br />considering themselves net.art-friendly) have never actually gotten very<br />deep into the process of creating computer art. they can (rightly so)<br />barely imagine it. whereas we all can pretty well imagine how we<br />bring in what we see, experiences and translate them into graphics on<br />paper, canvas, etc. we can easily relate to what makes a michaelangelo<br />sculpture impressive. many can further appreciate the conceptual leaps of<br />a given contemporary artist, as beyond the obvious but a culmination of<br />extensive thought. they just imagine typing code (hitting keys is hardly<br />impressive), but not the logic puzzles doing it (hitting keys is merely a<br />vehicle to get to the logic of how to say things literally and<br />explicitly); but appreciation for these logic puzzles only comes with<br />practice.<br /><br />how many curators can make an ball on the screen move in a circle using<br />only text? now, how many get exactly why deciding what a machine's<br />favorite color is beyond what can be coded? how many see exactly why<br />animating how birds fly in flocks with no leader, is a challenge to make<br />code-able? the creativity comes from pushing the border of what is<br />code-able and what is not. but if a person has no clear notion of the<br />details of that border, they can only make a wild guess based on areas<br />they do know.<br /><br />actually, "who is paying for it?" is a VERY important question. but<br />really it is for the person on the road to making a career of art.<br />wondering, after years of steady playing, if they should call it a hobby<br />or commit effort to another side of the work. but it's important because<br />someone out there has to be convinced of the value or potential value of a<br />piece. the proposal is really not the art, it is the marketing for the<br />art. concepts that are related to art like a dense smoke and fire. fire<br />is generally accompanied by smoke, but the reverse is hardly a given. <br />smoke obscures seeing anything, particularly finding the fire. all<br />language distorts and obscures all art (but some artists are after just<br />that.)<br /><br />the folks who write the check, may not (and often don't) have much<br />exposure to computer art compared to other traditional forms, they tend<br />to see CA as a variant of visual art that can be summed up in a still<br />image, slide or even video, audio art that is represent-able with a linear<br />recording, or conceptual art, that can be summed up in<br />verbiage. so, in a round about way of applying a different perspective to<br />your question, often the road to answering "who pays?" is a different, but<br />tangentally related skill, than creating it. like smoke and fire.<br /><br />asking if net.art is programmed, is actually like asking if the winner of<br />the kentucky derby rode a living horse. i guess there's always the remote<br />possibility that all the other horses died on the track too. but silly to<br />consider. not programming seems silly too. programming is simply the way<br />to talk to one kind of machine. few other machines<br />react much when you talk to them. you CAN have a computer and choose to<br />use it as a door stop. but at these prices, i can recommend a far cheaper<br />alternative. i can't recommend a better machine for reacting to what you<br />tell it.<br /><br />it's not that computers should be programmed on at all, but that<br />programming has to be on a computer, and computers are expensive. so if<br />you aren't programming, there are better ways to spend your money/time<br />than a computer. if you want to do something that involves interactivity,<br />auto-generation, extensive calculating, dynamically unpredictable<br />graphics, i can recommend these machines.<br /><br />unfortunately, with net.art, many people have IP accounts, but do not take<br />much advantage of what they can do with them. the gap is probably as<br />wide, if not wider. but folks seem even more content with their lack of<br />use. for most, the extent seems to be choosing whether or not to "skip<br />intro" on a flash animation or hyperlinks that simply are the equivalent<br />of page turning. blogs primarily used to simply make our most trivial<br />diary blather public. seems like an enormous waste. but technology seems<br />to promote throwing away cash.<br />+ G.H. Hovagimyan replied: +<br /><br />Computer programing and art are two different methods of thinking and<br />perception. When you write a program you already know what the result<br />will be. Art doesn't function in the same way. Often an artist uses<br />chance and accidents to create new ways of thinking and perception. Art is<br />an ongoing cultural discussion. Computer art, digital art etc. needs to<br />engage in the larger cultural discourse.<br />Your statements about "good or bad" painting/computer art begs the<br />question who is the judge? Usually in a larger cultural discourse there is<br />an ongoing debate about what constitutes "good" art.<br />I find the insistence by some in the digital art realm that only people<br />who know programming are truly digital artists to be rather narrow minded.<br />The "who signs the checks" question is really amusing. Think about what<br />the support structures are for art. You have collectors, museums, and<br />governments. You can add the University and Academic realm as a support<br />structure for art. Right now digital art has the most support from the<br />Academic structure. In other words you get a teaching job.<br />Once the novelty of using computers in art works wears off (which it has )<br />the question becomes how does digital art challenge and advance the art<br />discourse. That's a much larger dscussion than whether someone knows<br />programming or how a computer repaints a screen.<br />+ Rob Myers replied: +<br /><br />> Computer programing and art are two different methods of thinking<br />> and perception.<br /><br />Unless you are creating a program to make art. Painting and art are two<br />different modes of thinking and perception. Otherwise every wall is a<br />masterpiece.<br /><br />> When you write a program you already know what the result will be.<br /><br />Even for a functional program like Emacs this is not the case. And for art<br />hacking it may certainly not be the case. Software may, and often will, be<br />unexpected. Only corporate managerialism prevents this.<br /><br />> Art doesn't function in the same way.<br /><br />It depends what kind of art.<br /><br />> Often an artist uses chance and accidents to create new ways of<br />> thinking and perception.<br /><br />This is the same as programming. A complex program will make demands and<br />afford possibilities during development that could not be predicted.<br /><br />> Art is an ongoing cultural discussion.<br /><br />As is computing. If there are domains outside cultural discussion, this<br />would be a very interesting phenomenon.<br /><br />> Computer art, digital art etc. needs to engage in the larger<br />> cultural discourse.<br /><br />The larger "discourse" needs to take notice of computer/digital culture<br />*and its content*.<br /><br />> Your statements about "good or bad" painting/computer art begs the<br />> question who is the judge?<br /><br />Why? If standards are established, any competent individual can judge.<br />Unless we are assuming an institutional theory of art, in which case<br />computing can simply be nominated as art.<br /><br />> Usually in a larger cultural discourse there is an ongoing debate<br />> about what constitutes "good" art.<br /><br />Yes, the market demands this. If each season doesn't bring new fashions,<br />sales will drop.<br /><br />> I find the insistence by some in the digital art realm that only<br />> people who know programming are truly digital artists to be rather<br />> narrow minded.<br /><br />Why? If someone who did not know about the support structures of art made<br />pronouncements on support structures their ignorance would not be a badge<br />of honor.<br /><br />> The "who signs the checks" question is really amusing. Think about<br />> what the support structures are for art. You have collectors,<br />> museums, and governments. You can add the University and Academic<br />> realm as a support structure for art. Right now digital art has the<br />> most support from the Academic structure. In other words you get a<br />> teaching job.<br /><br />This puts digital art on a par with science, literature and "critical"<br />"discourse". Hardly a bad thing.<br /><br />> Once the novelty of using computers in art works wears off (which<br />> it has ) the question becomes how does digital art challenge and<br />> advance the art discourse.<br /><br />For people who are interested in "challenge, "discourse" and "advance".<br />But there are more serious concerns for an art that regards itself as not<br />simply a lackspace for the projection of the critical/market ego into.<br /><br />> That's a much larger dscussion than whether someone knows<br />> programming or how a computer repaints a screen.<br /><br />But it is a different discussion. I can't decide whether trying to bring<br />art computing to its heel is parochial or imperialistic.<br />+ Jim Andrews replied: +<br /><br />> Computer programing and art are two different methods of thinking<br />> and perception.<br /><br />You're very quick to drive a wedge between programming and art.<br /><br />> When you write a program you already know what<br />> the result will be.<br /><br />I have hundreds of files that consist of experiments in programming like i<br />have hundreds of files that consist in experiments in writing. Far fewer<br />finished pieces of each. When you read a published piece of writing or a<br />published work of computer art, you can be fooled that the author knew<br />what the result would be and just sat down and wrote it out, but that's<br />not the way it proceeds. Much changes in the writing. This is true in art<br />and programming. Unless, of course, it's someone else's idea that they<br />just want written out. Imagine if it were typical that the artist just<br />worked on the conceptual level and gave the painter or the musician or<br />whomever instructions on what they wanted. Here, make a piece with these<br />qualities and properties. The results would be pretty boring.<br /><br />> Art doesn't function in the same way. Often<br />> an artist uses chance and accidents to create new ways of<br />> thinking and perception.<br /><br />So does an artist-programmer.<br /><br />> Art is an ongoing cultural discussion.<br /><br />Yes it is.<br /><br />> Computer art, digital art etc. needs to engage in the larger<br />> cultural discourse.<br /><br />Sure.<br /><br />> Your statements about "good or bad" painting/computer art begs<br />> the question who is the judge? Usually in a larger cultural<br />> discourse there is an ongoing debate about what constitutes "good" art.<br />> I find the insistence by some in the digital art realm that only<br />> people who know programming are truly digital artists to be<br />> rather narrow minded.<br /><br />I don't know any artist-programmers who believe that. But the good digital<br />artists who aren't programmers understand that the art of programming is<br />very important in works that involve programming, and they do not try to<br />relegate it to a technician position but, instead, work with the<br />programmers as artists. If they don't, that arrogance will get them<br />nowhere. It certainly won't allow the production of significant art. If<br />the programmer is indeed an artist, not simply a technician, then you can<br />see how that would go. Basically nowhere slowly. If the programmer is a<br />technician, it goes nowhere quickly.<br /><br />> The "who signs the checks" question is really amusing. Think<br />> about what the support structures are for art. You have<br />> collectors, museums, and governments. You can add the University<br />> and Academic realm as a support structure for art. Right now<br />> digital art has the most support from the Academic structure. In<br />> other words you get a teaching job.<br /><br />I think I'm missing your point. Are you saying artists should get jobs<br />teaching? To be able to sign the checks?<br /><br />> Once the novelty of using computers in art works wears off (which<br />> it has ) the question becomes how does digital art challenge and<br />> advance the art discourse. That's a much larger dscussion than<br />> whether someone knows programming or how a computer repaints a screen.<br /><br />Ah, well, nice to know what the question is. Thanks.<br />+ t.whid replied: +<br /><br />re: need to know programming to be a digital artist?<br /><br />This has been a discussion around here for a while. Here's a short post on<br />my blog from.. it's says august of this year, but that can't be right…<br />oh well the blog is f'd up:<br /><br /><a rel="nofollow" href="http://www.mteww.com/mtaaRR/news/twhid/programming_and_digital_art.html">http://www.mteww.com/mtaaRR/news/twhid/programming_and_digital_art.html</a><br /><br />In the post I argue that to make the analogy btw 'code' and 'paint' is<br />faulty. The real analogy is between 'code' and 'form', that is, knowing<br />programming as a digital artist is akin to knowing 2d formal theory as a<br />painter (color, shape, line etc).<br /><br />Obviously a painter doesn't need to understand 2d form to be a painter (a<br />quick tour of Chelsea will prove that). One doesn't need to know it to be<br />a *good* painter either (Darger being a somewhat flawed example). One<br />doesn't need to know programming to be a digital artist. So the question<br />goes back to what GH said, look at a thing in a larger<br />discourse (not nm art, not digital art – but art) and decide if you think<br />it's good.<br /><br />But some types of work need programming skills by the artist and even the<br />audience. I think much net art, if you don't *really* understand how the<br />Internet works, you won't get. If part of the subject of the work is<br />computer languages, the Internet or if computation is part of the work the<br />audience won't understand it if they don't grasp certain concepts.<br /><br />I think GH is arguing for a 'big tent' sort of philosophy – include<br />everyone working in digital art? But that begs the question if we're<br />urging folks to remove nm art from the nm ghetto, then why would you want<br />to be in the tent at all?<br /><br />On the other hand, there's nothing more annoying than having computer<br />programmers look at nm or software art and judge it using standards of<br />programming rather than look at it as art. For example, when Galloway<br />released Carnivore, it was slashdotted. Many of the geeks there judged it<br />by it's (to them) rather simple structure ('it's just a wrapper to some<br />tcp-ip sniffer tool, etc blah, blah, etc'). They obviously missed the<br />point.<br />+ Pall Thayer replied: +<br /><br />Digital art is an extremely broad term. It's a bit like saying that all<br />sculptors have to know how to carve stone or that all painters have to<br />know how to draw. However, although both of these statements sound quite<br />absurd, it is possible to find a tiny shimmering of truth in them. Both of<br />these things provide a fundamental understanding of the respective fields.<br />Call me old-school, but I still believe that drawing is a fundamental<br />artistic process and when I meet someone with a degree in visual arts who<br />has never drawn a nude or still life in an academic setting, I find that<br />absurd. To me it's like learning multiplication without learning addition<br />first. I'm not saying that to be an artist you have to be good at drawing,<br />just familiar with it as a process of visualizing things. In the same way,<br />I think that programming is a fundamental process in digital arts. You<br />don't have to be good at it, but it will give you added insight into how a<br />computer works. It tells you what's going on under the hood and the more<br />artists know about their medium, the more compelling the work is going to<br />be. Remember when various institutions were soliciting ideas from artists<br />for internet-based artwork? They always said that the artist wouldn't have<br />to produce the work, they could get a computer programmer to do that. The<br />artist just had to provide the idea. All of that work was garbage.<br />Something gets lost in the translation between artist and programmer. G.<br />H. Hovaginyam's statement, "Computer programing and art are two different<br />methods of thinking and perception." is right as long as your talking<br />about computer programming by a computer programmer and art by an artist.<br />But an artists methods of thinking and perception remain the same whether<br />he/she's painting, sculpting, writing or programming. So, no. A digital<br />artist doesn't need to know how to program. However, I think he/she would<br />only benefit from knowing about programming and the more the better.<br />However, if we change the discussion to programmed art, specifically. Then<br />yes, the artist needs to know how to program.<br />+ Jim Andrews replied: +<br /><br />Computing is much more radical a departure from old media than is commonly<br />appreciated. There is no proof, and probably never will be, that there are<br />thought processes of which humans are capable and computers are not. So it<br />isn't simply a matter of the poem departing from the page (or the painting<br />from the canvas, etc) and taking on a slight change of properties owing to<br />a change in medium. It also involves the page departing from the poem, as<br />it were. The medium itself–computing–is as the stuff of the living. It<br />can reproduce or alter itself. It can change its own code. It can do<br />anything thinkable, can think anything thinkable and then some. Writing<br />poems on an animal is a vain and pointless exercise. This animal is a<br />language machine. Poetry and poetics, in such a situation, need take some<br />very lively turns. And analogies that basically preserve the notion that<br />computing is very like old media miss the radical departure. They just<br />miss it.<br /><br />Digital art can be radically different from what has gone before.<br />Computing isn't simply an art medium but the protean itself. It is<br />possible to understand this without knowing how to program or knowing any<br />computer science. But to really act on it, the more you know, the better.<br />+ carlos katastrofsky replied: +<br /><br />hi,<br />just a few notes on the comments to the "10 questions":<br />————<br />@judsoN<br /><br />> would it be more or less effective of a piece if you did it in a<br />language of your choice?<br /><br />this is a bit difficult to answer for me. a piece of net.art itself isn`t<br />more or less effective in different languages, unless it deals with the<br />additional layer of "language" itself. but language is a point in making<br />net - related art. to me its very important to discuss some pieces because<br />a kind of "audience" is always a part of it. either the people i discuss<br />with on different topics or the ones who look at my stuff and react upon<br />it. in this sense the language makes a piece more effective,because if i<br />do something in english more people react to it. i tried many times to<br />start discussions or presenting pieces on german (which is my native<br />language) mailinglists. the only answers came from a troll…<br />and, in fact, real >discussions< on these lists are generally very rare.<br /><br />———–<br />painting vs. coding<br /><br />- is programming just a skill or an artistic process?<br />i think both is possible. i once got to know a sculptor who made exactly<br />the sculptures he had (eidetic) in mind/ planned. so sculpting was just a<br />tool to visualize his thoughts/ cocepts. on the other hand there are many<br />who use sculpting as a process. i think it's the same with programming, so<br />in my opinion the question if someone has to have programming skills or<br />not to be a "new media" - artist isn't the point. important is just the<br />quality of what he/ she does (and i don't think here in "good" or "bad" -<br />terms).<br /><br />————<br />"art"<br /><br />to me it's very interesting that most of the people here use the term<br />"art" for their work. i'm far from judging if something is actually art or<br />not, but why "art"? in my opinion the term itself focusses (strictly seen)<br />on something that began with the renaissance and ended in the 19th century<br />- l'art pour l'art. before this it was just an attribute of religion,<br />afterwards it's more a kind of discourse.<br />+ Geert Dekkers replied: +<br /><br />I think "art" is just a name for a certain class of products. I do realize<br />that the word has been weighted by the romantic history of "art" – and to<br />use this word still has a certain haughtiness about it. I hope – for<br />myself – to get rid of this weight, and just use the word as another<br />might use a word like "bookkeeping" or "construction work".<br /><br />Furthermore, I think getting rid of the weight or content of the word<br />"art" could be an artistic project. Thoughout history we've seen this<br />"emptying out" happening time and time again. Examples? Perhaps not<br />Barnett Newman (see <a rel="nofollow" href="http://nznl.com">http://nznl.com</a> for a long list of my pre-suppositions<br />and preconceptions on this subject…). so much as a figure like Blinky<br />Palermo, assembling what may be called "dummy" abstract paintings.<br /><br /><a rel="nofollow" href="http://images.google.com/images?q=blinky%20palermo">http://images.google.com/images?q=blinky%20palermo</a><br /><a rel="nofollow" href="http://nznl.com/geert/pop.php?dag=20051003">http://nznl.com/geert/pop.php?dag=20051003</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the<br />New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation,  The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council on<br />the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 10, number 45. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
