RHIZOME DIGEST: 02.17.06

discussion

Posted Feb. 16 2006 19:00

RHIZOME DIGEST: 02.17.06

RHIZOME DIGEST: February 17, 2006 ++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++ Content: +opportunity+ 1. Kanarinka: Art Interactive: Call to Curators 2. Kangok Lee: CALL FOR ENTRY : Seoul Net Festival 2006 3. Dena DeBry: Call for Speakers/SIGGRAPH 2006 Panels 4. rtvideo01@yahoo.com: Video Professor - Tenure Track 5. Sarah Kanouse: Digital Culture & Intermedia Arts Positions (2) 6. andrew bucksbarg: Perform.Media +announcement+ 7. Myron Turner: artport gatepage Feb. 06: The Bstat Zero Project by Myron Turner 8. Cary Peppermint: SUPERCOOL: A quicktime interview with Cary Peppermint on Dvblog 9. Christiane_Paul@whitney.org: artport / Tate Online commission: "The Dumpster" by Golan Levin with Kamal Nigam and Jonathan Feinberg 10. Christiane Paul: jihui Digital Salon presents Scott Snibbe - Friday Feb. 24, 6-8 PM 11. Marjan van Mourik: MediaLAB Amsterdam presents: Mark Meadows lecturing on "Spirituality and +comment+ 12. Eduardo Navas: NMF INTERVIEW: Jose Luis Brea + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Kanarinka <kanarinka@ikatun.com> Date: Feb 11, 2006 Subject: Art Interactive: Call to Curators CALL TO CURATORS NEXT REVIEW DEADLINE: May 1st, 2006 Art Interactive, a non-profit exhibition space in Cambridge, MA, invites curators to submit exhibition proposals for 8-week exhibitions. Art Interactive's mission is to provide a public forum that fosters self-expression and human interaction through the exhibition of art that is contemporary, experimental, and participatory. Interested curators should submit: 1) a cover letter 2) a one-page project outline Submit all materials via email, to proposals@artinteractive.org. Deadline May 1. For more details, please visit: <a rel="nofollow" href="http://www.artinteractive.org/curatorial_call/">http://www.artinteractive.org/curatorial_call/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Kangok Lee <program3@senef.net> Date: Feb 12, 2006 Subject: CALL FOR ENTRY : Seoul Net Festival 2006 CALL FOR ENTRY : Seoul Net Festival 2006 The 7th Seoul Net Festival is open for entries in Digital Express (International Competition) in both categories respectively : <Web-Work> and <Cinema 4 Net>. Seoul Net Festival is trying to introduce talented visual artists all over the world and their brilliant works and to lead the new audio-visual experiences based on ¡°the Internet¡± and ¡°New Media¡±. We sincerely hope you consider this an exciting opportunity to show your great endeavors in the digital convergence era. WHEN : May 15 - September 24, 2006 - May 15 - July 31 : screening of competition section and out-of-competition section - August 1 - September 24 : screening of award-winning works WHERE : www.senef.net / Mobile and DMB SEOUL NET FESTIVAL SUBMISSION DEADLINE : April 8, 2006 ELIGIBILITY For the official competition section, only works completed after January 2005 may be submitted to the Festival. Submissions should be creative works produced or adopted through digital technology. There will be no restrictions regarding the genre, length or subject matter of the work and all types of works, including fiction, documentary, experimental, music video, animation, motion graphic, flash animation, game, web-art, etc. will be accepted. MATERIALS REQUIRED FOR SUBMISSIONS : 1. Completed application form (can be downloaded from www.senef.net) 2. Preview material - By Post : DVD / DV6mm / CD / VHS (Seoul Moving Image Forum - Program Dept. of Seoul Net Festival, 1308 Woorim Bobo County, 75-8 Samsung-Dong, Kangnam-Gu, Seoul 135-870, Korea) - By FTP Server (under 300 MB) : FLASH / WMV / MOV / AVI / MPEG * For File-Transferring indications, please mail to program3@senef.net - By E-MAIL : URL address to program3@senef.net 3. Complete script in English (.doc) 4. Photo of the Work (.jpg) : more than 300 dpi 5. Photo of the Artist (.jpg) : more than 300 dpi 6. Any other publicity materials related to the submitted work (optional) * Application form and photos can be submitted by E-MAIL. * Resolution should be more than 640 * 480. Contact Seoul Moving Image Forum - Program Dept. of Seoul Net Festival 1308 Woorim Bobo County, 75-8 Samsung-Dong, Kangnam-Gu, Seoul 135-870, Korea program3@senef.net / Tel. : +82-2-518-4332 / Fax: +82-2-518-4333 www.senef.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Dena DeBry <denas@stanford.edu> Date: Feb 13, 2006 Subject: Call for Speakers/SIGGRAPH 2006 Panels //Call for Participation// SIGGRAPH 2006 is looking for knowledgeable and interesting speakers on topics such as: -Digital Rights, Digital Restrictions -Video Games: Content and Responsibility -Ethics in Image Manipulation If you have strong opinions or are an expert in one of the areas mentioned above, or would like to see if you might have something to say about other topics of interest to attendees at SIGGRAPH 2006, go to : <a rel="nofollow" href="http://www.siggraph.org/s2006/main.php?f=cfp&p=panels&s=topics">http://www.siggraph.org/s2006/main.php?f=cfp&p=panels&s=topics</a> The deadline is March 1st, 2006. Tell us what you know, what's important to you, and why. //SIGGRAPH 2006/The 33rd Internation Conference on Computer Graphics and Interactive Techniques/ Boston/ 30 July-3 August 2006// + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: rtvideo01@yahoo.com <rtvideo01@yahoo.com> Date: Feb 13, 2006 Subject: Video Professor - Tenure Track POSITION ANNOUNCEMENT Position: Television/Video Production—Assistant Professor (tenure track) Department: Radio-Television. Date of Appointment: August 16, 2006 or until filled. Salary: Competitive, commensurate with qualifications and experience. Qualifications: Expertise required in contemporary television/video production, together with capacity to (a) teach production effectively at both undergraduate and graduate levels, and (b) integrate media history, theory, and aesthetic practices in the classroom. MFA or PhD required. Professional experience desirable. Promise of excellence in research and publication. Candidates must be prepared to screen their production projects finished since 2000 at interview. Preference will be given to applicants who can contribute to a climate that values and uses diversity in all its forms to enliven and make more inclusive the mission of the university. Duties: Teach in at least two of the following areas: multi-camera/live event production, field production, editing and graphics, writing, performance, lighting or visual storytelling. Serve on and direct Masters and PhD committees as appropriate. Actively engage in creative work or research. Participate in professional associations and serve on Department, College, and University committees. Application Deadline: March 17, 2006 or until filled. The Department: The Department of Radio-Television is housed in the College of Mass Communication and Media Arts, and offers innovative programs in radio, television, and associated media. The Department features an interdisciplinary approach to electronic media education that emphasizes both theory and practice in such areas as media studies, media criticism, television and video production, sound arts, and media management. The undergraduate program is annually recognized for its outstanding record of award-winning radio and television productions. The faculty participate actively in the MA, MA/MBA, MS, MFA, and PhD programs housed at the College level. The Department is closely associated with WSIU Public Broadcasting, which operates PBS-affiliated television stations and NPR-affiliated FM stations. Faculty have the opportunity to participate in the College's Global Media Research Center. SIUC is a Carnegie Research Intensive university, enrolls approximately 22,000 students each year, and is located 90 miles southeast of St. Louis in Carbondale, a city of 25,000. The Shawnee National Forest, which is famous for its rugged hilly terrain and natural beauty, is immediately to the south of campus. Visit our website at <<a rel="nofollow" href="http://rtv.siu.edu">http://rtv.siu.edu</a>>. TO APPLY: Screening of applications will begin March 1, 2006 and continue until the position is filled. Send letter of application, curriculum vitae, at least two samples of creative work and three letters of reference to: Search Committee Chair Department of Radio-Television 1100 Lincoln Drive SIUC-Mail Code 6609 Carbondale, IL 62901 Telephone: 618-536-7555 SIUC is an affirmative action/equal opportunity employer which strives to enhance its ability to develop a diverse faculty and staff and to increase its potential to serve a diverse student population. All applications are welcomed and encouraged and will receive consideration. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition on the politics of internet appearances, guest-curated by Marina Grzinic from the Rhizome ArtBase. <a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Sarah Kanouse <sarahk@readysubjects.org> Date: Feb 14, 2006 Subject: Digital Culture & Intermedia Arts Positions (2) DIGITAL CULTURE AND INTERMEDIA ARTS POSITIONS: The Department of Cinema and Photography, College of Mass Communication and Media Arts, Southern Illinois University Carbondale is seeking applications for two tenure-track positions. Appointment date: August 16, 2006. Assistant Professor Digital Culture: Qualifications: Ph.D. in Media/ Cinema/ Screen/ Cultural/ Visual Studies, Visual/Digital Culture, Art History, Critical Theory or related fields in the arts and/or humanities required by date of hire. Expertise in the aesthetic, cultural, social, political, and ideological implications of digital culture and a demonstrated understanding of how technology affects media arts practice and the contextualization of digital culture in the history and theory of the still and moving image. Responsibilities: Teach and develop courses in the aesthetics, history, theory and critical studies of digital culture and artistic practices. Engage actively in research/ creative activity. Areas of teaching and scholarly activity could include: history, theory, and critical analysis of contemporary artistic practices, formal and theoretical issues surrounding postmodernity and globalization, new media history and theory, digital reworking of genres such as s! torytelling and documentary, the culture and political economy of digital media. Assistant Professor Intermedia Arts: Qualifications: Terminal degree (M.F.A. or PhD) in Intermedia, New/ Digital Media, Studio Art, Photography, Video, Film or related field required by date of hire. Expertise in the aesthetics and craft of intermedia arts practice and a deep understanding of related technologies. Responsibilities: Teach and develop courses in intermedia arts practice and the media arts. Engage actively in research/ creative activity. Areas of teaching and creative activity could include: installation and performance art that crosses various screens and lived spaces and the development of alternative technologies and methods of dissemination. For both positions: Potential for excellence in teaching at the undergraduate and graduate levels, teaching experience desirable. Potential for excellence in research/ creative activity and contributions to the intellectual/ cultural agenda of the Global Media Research Center. Potential for securing external support for research/ creative activity. Serve on and/ or direct MFA thesis and/or Ph.D. dissertation committees. Participate in professional associations and serve on Department, College, and University committees. Preference will be given to applicants who have a strong interest in addressing the interdisciplinary nature of media culture and the global economy foregrounding class, race, gender, and sexuality. Application deadline: March 1, 2006, or until filled. The Search Committees will only review hard copies of application materials received by mail. For Digital Culture: letter of application, vita, three letters of reference, and samples of scholarly writing and/ or publications. Send to: Chair, Digital Culture Search Committee, Department of Cinema & Photography-Mail Code 6610, College of Mass Communication and Media Arts, Southern Illinois University Carbondale, 1100 Lincoln Drive, Carbondale, IL 62901. For Intermedia Arts: letter of application, vita, three letters of reference, and samples of creative work. Send to: Chair, Intermedia Arts Search Committee, Department of Cinema & Photography-Mail Code 6610, College of Mass Communication and Media Arts, Southern Illinois University Carbondale, 1100 Lincoln Drive, Carbondale, IL 62901. SIUC is committed to developing a diverse faculty and staff population. SIUC is an affirmative action/ equal opportunity employer that strives to enhance its ability to develop a diverse faculty and to increase its potential to serve a diverse student population. All applications are welcomed and encouraged and will receive consideration. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: andrew bucksbarg <andrew@adhocarts.org> Date: Feb 17, 2006 Subject: Perform.Media CALL FOR WORK AND PARTICIPATION ++Art Work and Creative Practices ++Papers Presentations, Panels, Workshops, Intellectual Environments and Practices Perform.Media - A Transdisciplinary Festival of Creativity, Research, Theory and Technoculture September 29th-October 14th, 2006, Indiana University, Bloomington, Indiana Website: <a rel="nofollow" href="http://performthemedia.net">http://performthemedia.net</a> DEADLINE FOR PAPER PRESENTATIONS Deadline for Abstracts: April 30th, 2006 Acceptance Notification: May 15th, 2006 DEADLINE FOR PANELS, WORKSHOPS, INTELLECTUAL ENVIRONMENTS AND PRACTICES Deadline for Proposals: April 30th, 2006 Acceptance Notification: May 15th, 2006 DEADLINE FOR ART WORK AND CREATIVE PRACTICES Deadline: May 15th, 2006 Acceptance Notification: June 15th, 2006 Perform.Media is an international media arts festival and symposium creating an innovative venue for creative and intellectual work around the momentary process and performance in new media art and culture. We begin with the premise that newer media, along with modes of representation and narrative, embody momentary processes from roots in cybernetics and the biological, to the embodied performance of interface, improvised network exchanges and spontaneous social acts in multi-user synthetic worlds. Such mediated experiences and actions form meaning in sense experience and performance along with interpretive processes like depiction and reception. The dynamic, reciprocal process of the user(s) generating, configuring, interacting, choosing and authoring is an important component of new media and technologies, expressed in both the design of the media and in the momentary, improvised performance of the participant. The festival and symposium seeks the accordance and collision of ideas through the lens of interdisciplinarity, exploring the performance of new media and the performative qualities of human-computer and technologically mediated social interaction. Perform.Media will examine sense experience and meaning at the threshold and in the performing action, along with the reflexive construction of narrative, where creative play, social practices, augmented embodiment and exploratory methods establish processes that spin out, overlapping locales of influence, in networked, glocal, mobile, participatory, socially interactive, live processed, locative, responsive and multi-user realms. Perform.Media aims to examine and melt the usual spatial and temporal prescriptions of author and spectator in art, creative work and intellectual practice. Perform.Media traverses transdisciplinary territories in collaborations and social feedbacks of live sound+image, interactive and game media, HCI, improvisations, performance processes, interactive gallery environments, mobile and locative work, live art works, net.art, research practices, theoretical discussion, paper presentations, workshops, intimacy and communication both online and off. SUBMISSION GUIDELINES Submission forms can be downloaded at- <a rel="nofollow" href="http://performthemedia.net/submissions.html">http://performthemedia.net/submissions.html</a> ++Paper Presentations, Panels, Workshops, Intellectual Environments and Practices The Perform.Media symposium welcomes submissions of papers, panel discussions, workshops and intellectual environments around the theme of the festival- performance process in new media, theory, research and technological practice. The Perform.Media symposium seeks to promote discussion and collaboration. The environment of the symposium will be conversation based. Proposals for panels, workshops and presentations that energize into new areas of intellectual exchange will be welcomed. All presentations will be moderated and encourage participation, questioning and debate. An online forum, discussion and net.art exhibition will precede the festival. Paper abstracts will be published on the Perforrm.Media website. ++Art Work and Creative Practices Work criteria- Perform.Media seeks new media work and proposals for black box, white cube or network that engage in the practice of performing media or media performance. We are looking for work that asks the questions- How does the doing, the performing inform us in this new media? How does this media perform, what does it do and how does it engage us? Types of work- Ambient/Ubiquitous Technologies and Creative Practices, Avatars, Dance/Embodied work, Environments and Space Based work, Games, HCI, Interactive/Participatory Installation, Interface Art, Live Art, Locative Media, Mapping, Mobile Screens, Mobile/Wireless Devices, Net.Art, New Media Performances, Simulations and Synthetic Worlds, Theatrical Pieces, Video Processing and VJ/DJ styles Submission forms can be downloaded at- <a rel="nofollow" href="http://performthemedia.net/submissions.html">http://performthemedia.net/submissions.html</a> For questions contact- abucksba@indiana.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Myron Turner <myron_turner@shaw.ca> Date: Feb 12, 2006 Subject: artport gatepage Feb. 06: The Bstat Zero Project by Myron Turner February 06 gatepage for artport, the Whitney Museum's portal to Internet art: The Bstat Zero Project by Myron Turner <a rel="nofollow" href="http://artport.whitney.org">http://artport.whitney.org</a> Bstat Zero is a cooperative project focused on opening up the normally hidden interconnections among new media web sites and so give us some insight into the cultural contexts which make up the world of new media. It is, first of all, a "log analyzer". Whenever you visit a web site, a record of that visit is logged by the web server. Bstat Zero examines these logs and shows the results in your web browser. While Bstat Zero shows most of the standard statistics found in web log analyzers, its emphasis is not statistics but on where the traffic comes from (countries, domains, IP addresses, browsers, operating systems), and how it has been "referred" to the site (search engines, search terms, other web sites). Its most significant feature is its ability to do "cross-site" comparisons. Bstat Zero comes in two versions, one running on the web sites of participating artists and groups and the other on BstatZero.org. On a participating web site, you can view your own results, which are updated daily, and then archived monthly so that you can check back in time. At the end of each month BstatZero.org downloads to its own server the monthly archives from each participant. It's at BstatZero.org that the cross-site facility comes into effect, making it possible to investigate the underlying patterns of viewership and use among new media web sites. >>>>>>>>>>>>>>>> Myron Turner is a multi-media artist whose work combines photography, light-boxes, printmaking and computers. He has exhibited in galleries and artist-run centers throughout Canada, in the US, the U.K. and South America, and his digitally produced woodblock prints have won several awards at Boston Printmakers North American Biennials. Myron Turner has been working with the Internet since 1994. His work for the Web has been included in various on-line exhibitions and collections, including "data/reference/art" at <a rel="nofollow" href="http://no-org.net">http://no-org.net</a>, the <a rel="nofollow" href="http://runme.org">http://runme.org</a> software art repository, the Rhizome artbase, RRF 2004—XP, Machinista 2003 / Artificial Intelligence and Art, and javamuseum.org. He has received New Media grants from the Banff Centre for the Arts, where he has participated as an invited panelist, and in 1994, he co-founded the Manitoba Visual Arts Network. His work can be accessed through his web site at <a rel="nofollow" href="http://www.room535.org/mt/">http://www.room535.org/mt/</a>. >>>>>>>>>>>>>>>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Cary Peppermint <cp70@restlessculture.net> Date: Feb 14, 2006 Subject: SUPERCOOL: A quicktime interview with Cary Peppermint on Dvblog SUPERCOOL A quicktime interview of Cary Peppermint by Christine Nadir will be released midnight Wednesday, February 15th at <a rel="nofollow" href="http://www.dvblog.org">http://www.dvblog.org</a> ?This is the first time in a long while that I have issued a public statement of my thoughts on digital art, performance, practice, and theory. I hope viewers will find this an informative and educational update. Christine?s questions are incisive, pushing me to get at the source of what network art and restless connectivity are at this point in time.? ?C.P. This quicktime video premiered in DVD format at Fran Hill Gallery in Toronto, Canada, August 2005 as part of Wegway?s Exhibition of Primary Culture. It is the first in a series of performances by Peppermint & Nadir that will be posted on Dvblog.org, including chapters from their most recent DVD release titled, ?A Series of Practical Performances In The Wilderness - Summer 2004.? For more information, see <a rel="nofollow" href="http://www.restlessculture.net/practicalperformance">http://www.restlessculture.net/practicalperformance</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Christiane_Paul@whitney.org <Christiane_Paul@whitney.org> Date: Feb 14, 2006 Subject: artport / Tate Online commission: "The Dumpster" by Golan Levin with Kamal Nigam and Jonathan Feinberg "The Dumpster," 2006 Golan Levin with Kamal Nigam and Jonathan Feinberg artport, the Whitney Museum's portal to Internet art <a rel="nofollow" href="http://artport.whitney.org">http://artport.whitney.org</a> <a rel="nofollow" href="http://artport.whitney.org/commissions/thedumpster/dumpster.shtml">http://artport.whitney.org/commissions/thedumpster/dumpster.shtml</a> "The Dumpster" is an interactive online visualization that attempts to depict a slice through the romantic lives of American teenagers. Using real postings extracted from millions of online blogs, visitors to the project can surf through tens of thousands of specific romantic relationships in which one person has "dumped" another. The project's graphical tools reveal the astonishing similarities, unique differences, and underlying patterns of these failed relationships, providing both peculiarly analytic and sympathetically intimate perspectives onto the diversity of global romantic pain. ++++++++++++++++++++ "The Dumpster" is the first in a series of three works co-commissioned in collaboration with Tate Online. See <a rel="nofollow" href="http://artport.whitney.org/commissions/new_commissions.shtml">http://artport.whitney.org/commissions/new_commissions.shtml</a> Critical texts and video interviews with the artists will accompany the works at <a rel="nofollow" href="http://www.tate.org.uk/netart/">http://www.tate.org.uk/netart/</a> ++++++++++++++++++++ Upcoming commissions: Launch Date: March 1 The Battle of Algiers by Marc Lafia and Fang-Yu Lin This work recomposes scenes from the 1965 film The Battle of Algiers by Italian director Gillo Pontecorvo. The original film is a reenactment of the Algerian nationalist struggle leading to independence from France in 1962. The success of the actual battle for independence has been attributed to the nationalists? organization: a pyramidal structure of self-organized cells. For the Whitney's artport, Lafia and Lin recomposed the film along a cell-based structure, in which French Authority and the Algerian Nationalist cells are represented by stills from the film and move according to different rule sets. When cells of different camps intersect, they trigger video cells displaying each side's tactics (as depicted in the film) according to the rules of the system. Launch Date: March 22 Screening Circle by Andy Deck This project adapts the cultural tradition of the quilting circle into an online format. Visitors to the site can enter the drawing area to compose loops of graphics and affect and edit each other?s screens. The pieces can be made by one person or by several people and the arrangement of the segments can be haphazard or precise. In the screening area, the resulting motion graphics will be on view instantaneously. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Christiane Paul <Christiane_Paul@whitney.org> Date: Feb 16, 2006 Subject: jihui Digital Salon presents Scott Snibbe - Friday Feb. 24, 6-8 PM jihui Digital Salon in cooperation with The Project Room@Chelsea Art Museum presents Scott Snibbe Friday Feb. 24, 2006 - 6-8 PM Chelsea Art Museum, 3rd Floor 556 West 22nd Street New York, NY 10011 <a rel="nofollow" href="http://agent.netart-init.org">http://agent.netart-init.org</a> <a rel="nofollow" href="http://www.chelseaartmuseum.org">http://www.chelseaartmuseum.org</a> "Body, Space and Cinema" Scott Snibbe will present recent works that explore interaction between cinematic projections and viewers' bodies along with his most recent work, "Blow Up," which amplifies human breath as a large field of wind. He will discuss the philosophical divide between language and visceral perception that motivates his creation of interactive media art. Working with technologies at the forefront of contemporary research including computer vision and synthetic touch, Snibbe explores how a minimal intrusion of technology can provide insight into the nature of observer's minds and their sense of self. Works shown will range from large-scale body-centric physical installations to interactive sculpture and screen- and web-based interactive graphics. <a rel="nofollow" href="http://www.snibbe.com">http://www.snibbe.com</a> Scott Snibbe's work has been shown internationally at venues including the Whitney Museum of American Art's Artport and The Kitchen, New York City; the InterCommunications Center, Tokyo; Ars Electronica, Austria; and ICA, London. He has taught at several prominent American academic institutions and held research positions at Adobe Systems and Interval Research. Snibbe lives and works in San Francisco. jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc. jihui is where your voice is heard and your vision shared. jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT <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> THE PROJECT ROOM is a special projects and education program that brings together international artists, curators, cultural, educational and corporate organizations. Producer / Curator: Nina Colosi + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Marjan van Mourik <webmaster@targetfound.nl> Date: Feb 17, 2006 Subject: MediaLAB Amsterdam presents: Mark Meadows lecturing on "Spirituality and In this lecture Mark looks at how machines are replacing humans. Addressing such important issues as microwave ovens, Hans Moravec, Spiderman, The Gorillaz, Japan, and new forms of electronic art, Meadows presents his recent work and discusses the rise of the digital human. The lecture promises to be very interesting as he is planning on "throwing one hell of a curveball!" Mark Stephen Meadows (alias pighed) works at the point where visual art, literature, and computer interactivity coincide. He has spent time at Xerox-PARC, Stanford Research Institute, and has co-founded three companies that relate to artificial intelligence, interactive narrative, or virtual reality. His 3D animation and interactive design has been flown by a list of companies that include Lucasfilm, Sony Pictures, and Microsoft. Since 1987 he has been selling his artwork in galleries and museums throughout the United States and Europe, with his work winning awards that include the Ars Electronica Golden Nica, and The Cooper-Hewitt National Design Museum's highest honors. In 2002 he wrote, Pause & Effect; The Art of Interactive Narrative and he is currently writing Simulus & Response: The Art of Digital Humans. He is also working as creative director on a 3-part video game that includes the creative talents of Frank Gehry, Radiohead, and Annie Lennox. He spends his spare time sailing, painting, and playing accordian. His website, 'The BOAR.DOM' consists of www.bore.com, www.boar.com, and www.boor.com. The MediaLAB Amsterdam is a creative, interdisciplinary workplace where high potential professional and technical students, and researchers work together on innovative interactive media ideas. In the MediaLAB Amsterdam the smartest students from the various institutes of the Hogeschool van Amsterdam and the University of Amsterdam study how digital interactive products can contribute to innovative solutions for societal problems. The lecture takes place at the first of March from 17:00 till 18:00 in the auditorium at the Hogeschool van Amsterdam, Weesperzijde 190 (next to Amsterdam Amstel railwaystation). There is free entrance for everyone who is interested and a route description can be found online at <a rel="nofollow" href="http://www.hva.nl/hva/locatie_weesperzijde.htm">http://www.hva.nl/hva/locatie_weesperzijde.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Eduardo Navas <eduardo@navasse.net> Date: Feb 13, 2006 Subject: NMF INTERVIEW: Jose Luis Brea. INTERVIEW: ³Jose Luis Brea. The Critic Operator of the Web 2.0?" by Ignacio Nieto <a rel="nofollow" href="http://newmediafix.net/daily/?p=405">http://newmediafix.net/daily/?p=405</a> <a rel="nofollow" href="http://newmediafix.net/">http://newmediafix.net/</a> February 12, 2006 NMF¹s contributor, Ignacio Nieto interviews José Luis Brea who was formerly Dean of the Fine Arts Academy of Cuenca and Director of Exhibitions for the Ministry of Culture between 1985 1988. As a free lance art critic, he is a regular contributor to Spanish and international art magazines including Frieze, Flash Art and Parkett. He is Spanish correspondent for Arforum and regional editor for Rhizome. He has organized multiples exhibitions as independent curator and has published several books including Auras Frias and El Tercer Umbral. Currently, he is prefessor of Esthetics and Theory of Contemporany Art at Carlos III University in Madrid, editor of the magazine Estudios Visuales and he is director of two new online projects: salonKritik and ::agencia crítica:: ??????? Ignacio Nieto [IN]: With the popularization of blogs, a number of spaces have developed which had no place within the logic of political economy; contained and produced by media, creating a new front for ideas and critical thinking. For you, what would be the advantages and disadvantages that blog technology has over traditional media (newspapers, radio and television)? José Luis Brea [JLB]: I believe that there are two fundamental advantages: an extended possibility of access, and participation. The first is very important, of course, because it proposes access to critical thinking that is made available to a larger part of the population, something that was not possible in the past (this is without exaggeration, of course, one must never forget that the supposition of total access is an illusory fantasy?an interest of Capitalist ideology). Considering television and the culture of diffusion, Bourdieu called this the ³lowering of the level² (of access). Let¹s say that more people heard and saw?maybe even read?for example philosophers; Derrida, and now Zizek, whom they would never have had heard, seen or read before. This is much more evident with new media (especially since the development of the web 2.0) But for the same reason this amplification (possibility to access) would not have an excessive importance; it would be purely quantitative, it would not contribute without making ³more of the masses² the culture of masses, and maybe to incorporate in it cultural objects, of the critical tradition which before belonged to areas in culture less popular, more ³elitist² or more reserved for specialized communities, let¹s say (for example ³deconstruction,² ³Theory of acts of speech,² or ³antagonist thinking²). This is why I think that the quality that is important is the latter, that which I have called ³participation.² This is something that the web 2.0 has re-enforced a lot. Before, of course, it had already occurred that all new media, obviously from radio to video, from ³vietnamita²[1] to photocopy or the fanzine, and of course, the website programmed in HTML, makes possible a certain extension of interactivity (in the construct of collective critical thinking), related to the conversion of the spectator/reader/ receiver into emitter. But with the emergence of the blog, forums postnuke, and phpBB, wikis, and podcasting in general all DIY media publication has grown exponentially, and it is there where a great leap has been produced; its impact on the discursive field we currently entertain, (critical thinking), necessarily is huge; and it will ultimately culminate in those diverse forms authors call ³collective intellectualization.² Let¹s say that all the manifestations of technologies of treatment, gesture, diffusion, archiving, and organization of access to knowledge (not only the tools of e-science, but also those dialogical and interactive prototypes of the web 2.0), necessarily open and submit critical thinking to processes much more intense and, to put it this way, frantic public contrast. The challenge for critical thinking resides in confronting the consequences of its new logic and its social construct. And it is there where it should be pointed out, also, the disadvantage, the danger, which respectively corresponds to new media: that the elusive ³lowering of the level² is not only produced in the terms mentioned above (of more open access), but also produced as a lowering of the level for content. Let¹s say that the public dialogue ends up converting critical thinking into chatter, vulgarity, in an ineventual series of commonalities badly developed and repeated from blog to blog, like echoes each time more hollow of ideas, which in those repostings lose more and more panache and sharpness. In my reflection on the transformation of the tools of cultural criticism with the apparition of these new media, I dedicate an ironic post to this question specifically titled ³Chatter² (of unquestionable Benjamanian references, which surely some readers will recognize). (<a rel="nofollow" href="http://www.agenciacritica.net/criticaeck/archivo/2005/11/chachara.php">http://www.agenciacritica.net/criticaeck/archivo/2005/11/chachara.php</a>) IN: Do you believe that blogs could displace ranking terms in search engines like Google? JLB: If I tell you the truth, I don¹t think so. I don¹t doubt that tools of semantic articulation of content (and in some ways efficient for the organization of searches) like Technorati or del.icio.us, or metablogs, could serve a similar function. But, in any case, its utility would be principally limited to the extended blogosphere, let¹s say projects specific to the web 2.0, linked to the ³personal publication.² Regardless, there are fundamental spaces?all those related to science, with the tools of the web of knowledge, with the new structure of access to the web of academic research (with all the transformations that it is experiencing)?that keep needing tools of organization for navigation, to classify and search, let¹s say. On one side, it is evident that this have not been developed autonomously (for instance, there is no search engine for the ³web of knowledge,² at the periphery of the search engines proper of databases for specific data, for example ISI Thompson), and on another side, search engines like Google do not stop attending also to those necessary searches. I want to say that at the same time that projects are developed, like Blogger, also they place in effect the digitalization of great libraries. Or, let¹s say, that they attend the development of the web of ³publication of personal e-culture² as well as the re-conversion and turnaround of the web of ³high cultural research² and ³academic culture² linked to the development of e-science (I choose general terminology and I use it in an imprecise way, because after all, this is all about trying to understand my response in relation to your question and up to what point I think that the development of those proper mechanisms of the ³web of collective intellect² does not cover aspects of change for which old search engines are still essential). IN: The blogs that work like editors/directors (Salonkritik and Agencia Critica) posses different directions, but they have various areas in common; from the design to the technology that supports them, onto the concept that validates them: criticism. Could you explain the genesis of each of these blogs? JLB: Of course you are right about both things. It is obvious that they have a lot in common: mainly on a formal level and on their development, which come from the same hand; our team is very small and I also confess to you that all the programming and maintenance is done by myself; I do not want, nor can I lose too much time in researching technical questions (nor obviously in design), beyond of what is strictly necessary for the final development of specific projects, logically; even though, in any case, we dispose effectively of all kinds of tools?from wikis to systems of podcasting, forums with postnuke or our own blogs running on MT or Wordpress, and all on our own server, which allows us to launch a new project that we find interesting in a matter of hours. Regarding content and objectives, the two blogs are truly different. SalonKritik basically is a resource of art criticism which is published in Spain, without much pretension other than to align (therefore open to other publics, at the same time and potentially to other debates) something that at a moment occurs only in one medium that simultaneously is elitist and functions very corruptly in Spain like a tool of power, which is the ³cultural supplement.² Let¹s say that salonKritik tries to destabilize a bit the supplemental economy of authority. Open it to other dynamics (even though I have to admit that the success that we have achieved with this project is not reason to launch fireworks), to enable the publication of visions and perspectives that are not published in that media, to which people can answer? ultimately, to validate justly those other qualities that we know new media have in relation to old media specifically in diffusion, contrast, and participation in the construction of critical thought. Regarding La Agencia, it is a more modest and ambitious project. More modest in the sense, I suppose, that it would interest a smaller audience, but which is more ambitious when aiming to make public something that did not exist, and which, in my opinion, tainted the cultural landscape in Spain, which is the critique of artistic and cultural politics. There is Art criticism (quite a bit, which is not very good, of course, but very common) but in contrast there is not a lot of criticism about politics of art. And, well, more specifically that is the objective of the Agencia Crítica. The main problem that I encountered with La Agencia, is solitude (I don¹t know if this is as a forward or a goalie before a penalty, to tell you the truth), although it is true that with time la Agencia receives more collaborations by diverse people, which is what I believe would make it more interesting: that it could cover the most expansive set of multiple points of view; as different as possible. In any case, la Agencia has little time online still, and I am confident that little by little, the number of collaborators that want to participate will grow. IN: A last question: Tell me about your new book? JLB: Well, I have a couple of years working on it. The dense nucleus is a chapter titled ³e-ck: Electronic Cultural Capitalism² which in reality I considered finished two years ago. It basically deals with the process of transformation of Capitalism in which the accumulation of capital is centered mainly on the processes of symbolic and cultural production, and all of the multiplicity of consequences that it has, including in the new political economy of societies of knowledge, as well as the critical position found within these cultural practices. In any case, the title that the book will have is not that one (of Electronic Cultural Capitalism) but of ³Cultura_RAM,² since other previous chapters have focused each time on such conundrum, specifically, of characteristic transformation of cultural practices (and its rules of production, distribution and archiving: there you have the concept of RAM like a new form of characteristic memorization) and the models of production and forms of knowledge, from the university, the museum, to criticism? Some of the texts included, as it always happens with books, have been previously published and distributed online?for example that one on criticism of art, which is the one I referred to above?but many others for now have not been edited. I am definitely finishing the book during the next few weeks, and I hope to send it for publication very soon. (1) Vietnamita: Spanish colloquial term given to ³do it your self² offset machines that were used by the anti-Franco resistance to print pamphlets. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 11, number 6. 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. 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