RHIZOME DIGEST: 10.25.02

discussion

Posted Oct. 24 2002 20:00

RHIZOME DIGEST: 10.25.02

RHIZOME DIGEST: October 25, 2002 Content: +editor's note+ 1. Rachel Greene: Membership Fees @ Rhizome? +announcement+ 2. Marieke Istha: Call for proposals Playing Field +work+ 3. textz.com: textz.com has been relaunched today 4. scott pagano: RELINE - a video art DVD compilation 5. Michael Naimark: camera zapping +review+ 6. ryan griffis: Violence Online Festival Version 2.0 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 10.25.02 From: Rachel Greene (rachel@rhizome.org) Subject: membership fees @ Rhizome? We ask all Rhizomers to take part in a survey about paying annual membership fees. The context of this survey is wide, involving arts funding in the United States, Rhizome's history as a non-hierarchical project, our current size (over 19K members) and programming roster, and Web-community and content traditions. It's too much to cover in this editorial note, so please read about the current state of affairs in Mark Tribe's email on the topic, <a rel="nofollow" href="http://rhizome.org/object.rhiz?10852">http://rhizome.org/object.rhiz?10852</a> And, please contribute your opinion via our survey at <a rel="nofollow" href="http://rhizome.org/survey.rhiz">http://rhizome.org/survey.rhiz</a> YOU MUST BE LOGGED INTO THE SITE TO PARTICIPATE. It's worth noting that thus far, very few Rhizomers, at least those active on Rhizome Raw, are opposed to paying membership fees. We want your input!! – Rachel + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ DIGITAL H@PPY HOUR: Interactivity and Time, Oct 30, 6PM, $8 A look at the effect of interactivity on time as experienced in hypertext, music, and games. The first of a 3-part series on THE MYTH OF INTERACTIVITY. Moderator Susan Morris and panelists Jane Yellowlees Douglas, Todd Winkler, Bernie Yee. For details: www.thekitchen.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 10.21.02 From: Marieke Istha (istha@montevideo.nl) Subject: Call for proposals Playing Field (2nd & 3rd period) Call for proposals Playing Field (2nd & 3rd period) Playing Field is an international co-production of the Netherlands Media Art Institute in Amsterdam, IMG in Mainz and Mecad in Barcelona, aimed at the creation of streaming media art especially for Internet. Internet and advanced technologies used on the Internet were originally developed to cope with huge technological challenges in science. Co-operating groups in different countries needed a fast communication system in order to work on the same experiment in different locations. Satellites collecting amounts of data needed a way to send information to ground stations in real-time, the first examples of data streaming. Today the data networks are expanding. Advanced technologies are becoming available for other purposes. It is time for artists to explore the possibilities of new technologies. Looking for new ways of expression that were not possible without new technology rather than reformatting existing art. Also time has come to reflect on the meaning of streaming technology for our lives and culture in this modern world. New technologies can also put restrictions on existing ways of expression. The quality of video streamed on the Internet is poor, due to the speed of the average Internet connection. Knowing the restrictions we have to look for new ways of expression that take advantage of the specific qualities of streaming, creating art that could never exist without streaming technology. One of the challenges is to create streaming media art that establishes its own position in the context of existing video art. Playing Field aims at the creation of streaming art especially for Internet, exploring the added value of Internet technology. Specific features of streaming media are for example: live broadcast, interactivity, time-dependent behaviour, 24 hour availability for a worldwide public, multi-user communication, using several video, audio and interactivity channels at the same time. Also the restrictions of Internet and streaming media will be explored and exploited: small bandwidth, small video image size, slow connections, waiting time caused by signal buffering. The way the work is displayed on the screen has to be taken into account and can be designed, the situation and the context in which the work is shown is important and can be used in the concept. Call for proposals Media artists can submit a project proposal for streaming media content for the Internet. One artist will be selected by the Netherlands Media Art Institute for each working period of two months. Main research fields: 1. Work specially made for low quality display 2. Non-linear work 3. Interactive work 4. Multi-user work 5. Pseudo-live streams created from existing content on the Internet We ask: Computer knowledge; basic knowledge of digital video processing; experience with computer art/ internet art; strong artistic quality; interested in new media; interested in international co-operation; available during working period (see below); willing to work with art students; based in The Netherlands. We offer: Computer and desk facilities, technical and organisational assistance, presentation budget, international dissemination of the work via the Internet and on DVD, participation in closing seminar 23-24 May 2003 at the Netherlands Media Art Institute in Amsterdam. Artist fee: 3000 euro. Proposals: Proposals can be written in English or Dutch. They should include a project description: description of content and technical implementation; a time schedule: description of the work that has to be done in the time that is available; equipment list; description of technical and organisational assistance needed; biography, with documentation on your previous projects. Working periods: Period 2: 6 January - 27 February 2003; Deadline proposals 2: 15 November 2002 Period 3: 3 March -24 April 2003; Deadline proposals 3: 31 January 2003 Send proposals before the deadline to: Mrs. Claud Biemans, project manager Playing Field Keizersgracht 264 1016 EV Amsterdam claud@montevideo.nl (<a rel="nofollow" href="mailto:claud@montevideo.nl">mailto:claud@montevideo.nl</a>) For more information please contact: claud@montevideo.nl T (+31) 020-6237101 / (+31) 06-44566395 F (+31) 020-6244423 Background information: <a rel="nofollow" href="http://www.playingfield.net">http://www.playingfield.net</a> Playing Field is sponsored by: XS4ALL, Thuiskopiefonds, European Commission + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ ARTMEDIA VIII CO-SPONSORED BY LEONARDO/OLATS in PARIS http:://www.olats.org From "Aesthetics of Communication" to Net Art November 29th - December 2nd 2002 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.24.02 From: textz.com (sebastian@rolux.org) Subject: textz.com has been relaunched today +—————————————+ | | | textz.com has been relaunched today | | | | –> <a rel="nofollow" href="http://textz.com">http://textz.com</a> … thanks | | | | o__o |_ /) \/ |_ ^/ /^ /\ |/|/| | | /::\_ \_ \_ /\ \_ /_ o \_ \/ | | | | | we are the & in copy & paste | | | +—————————————+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Metamute continues with its specially commissioned series of articles. The latest are Stewart Home on Martin Amis, Benedict Seymour on Border Crossing, and Nat Muller in conversation with Palestinian filmmaker Azza El Hassan. <a rel="nofollow" href="http://www.metamute.com">http://www.metamute.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 10.25.02 From: scott pagano (spagano@netspace.org) Subject: RELINE - a video art DVD compilation RELINE is a DVD from artists world wide employing custom software and modified hardware to create work that focuses on graphic abstraction, the broken output of dysfunctional systems, and the desire to re-vision both old and new technologies. Bringing together a diverse array of work, this collection showcases artists engaged with the creation of new visual forms derived from experimental processes and techniques, often foregrounding the un-criticized role technology plays in our lives. 1 hour of work by 10 artists with full piece descriptions and artists' biographies Pre-Order RELINE now (available 10.31.02) - only 12.00 (incl. shipping within the usa) WWW.RELINE.NET a FORM RECORDS / neither-field release www.formrecords.com / www.neither-field.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 10.24.02 From: Michael Naimark (michael@naimark.net) Subject: camera zapping A couple weeks ago John Markoff did a NY Times story featuring my work on "camera zapping" (how to stop cameras with simple laser pointers). It was reprinted the next day in the International Herald. My full report can be found at: <a rel="nofollow" href="http://www.naimark.net/projects/zap/howto.html">http://www.naimark.net/projects/zap/howto.html</a> NY Times story can be found at: <a rel="nofollow" href="http://www.nytimes.com/2002/10/07/technology/07ZZAP.html?ex=1034992484&ei=1&amp">http://www.nytimes.com/2002/10/07/technology/07ZZAP.html?ex=1034992484&ei=1&;</a>; en a4f133655e9638b1 IHT story at: <a rel="nofollow" href="http://www.iht.com/articles/73022.htm">http://www.iht.com/articles/73022.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 10.24.02 From: ryan griffis (grifray@yahoo.com) Subject: Review Violence Online Festival Version 2.0 Ryan Griffis Review Violence Online Festival Version 2.0 <a rel="nofollow" href="http://www.newmediafest.org/violence/index.htm">http://www.newmediafest.org/violence/index.htm</a> current venues: Computer Space Festival 2002 Sofia (Bulgaria), 18-21 October Liberarti Festival Liverpool Bienniale 2002, 10 October - 01 December "One major difference between the age of the virtual and more primitive times is that the contemporary idols have no metaphysical referent. The ones that have been constructed are? end-points, empty signs. To this paper master, sacrifice has no limit. The stairs of the temple flow with blood every day." Critical Art Ensemble Agricola de Cologne¹s recent (and ongoing) work, "Violence Online Festival," brings together the diverse works of many artists, ranging from networked productions to digitized flat works to documented performances and numerous other forms all addressing in some way "violence". These various works are assembled within a Flash site created to appear as a corporate interface for the fictional Violence Media Incorporated (VMI). One accesses the different artistic products through navigating the "departments" of VMI, "Violence Marketing," "Violence Broadcasting," etc. As many current "New Media" works seem to be dealing with the relationship between the "virtual" and the corporeal, and how to reconcile (or not) these realms, the Violence Online Festival is an interesting and tangible aesthetic and critical project. The physical and social relations brought about through networked culture have been theorized and discussed, but it¹s obvious that more work can, and should, be done to continue the dialogue. Thankfully, there are enough efforts included in the VMI interface that bring other aspects of the dialogue to the table, aspects that should be necessary for any examination of the relationship between violence and representational media. Institutional violence, especially in the form of state repression acting in the interests of capital, and against the interests of citizen collectives, plays a major role in several of the productions included in VMI. Francesca da Rimini and Michael Grimm¹s "Los Dias y Las Noches de Los Muertos" visualizes the connections between nationalistic imperialism, Western capital, and public displays of death. Words of the Zapatistas, Napolean¹s "How to Make War," images referencing the "Day of the Dead" celebration, and photos of the deadly results of police force on protestors at the G8 Summit in Genoa are juxtaposed in a disorienting grid. Other works, like Joy Garnett¹s "Smokescreens," Babel¹s "Protestors, Police, Politicians," Deb King¹s "Collateral Assets," and Rika Ohara¹s "Une Semain de Bonté" take on the institutional (mis)representation (or denial) of violence. While it may be easy to see the connections between mediated representations and institutional (in the form of organized entities) violence from a critical perspective, the intersections of less organized forms of violence and representation are, apparently, more difficult to get at from a constructively critical perspective. The difficulty of dealing with desire and its disparate forms of expression on a personal and institutional level (especially in the US, where the representation of violence and sexuality is simultaneously repressed and exploited for profit) makes it even more important to explore. Though many "groups" become the targets of repressed institutional violence, "domestic abuse" and other forms of oppression against women would seem to be the most virulent and pervasive. (I may feel this way due to my relationship with women working in the field of domestic violence prevention, but the case they make is a compelling one.) Cindy Gabriela Flores¹s "Subway" examines the mass transit system of Mexico City in the current (sociological and personal) condition of "riding while a woman". Depicting the "compulsory gender border" (the use of women only and co-ed trains) active in the subway through textual narrative and second-person, sequential images, Flores presents us with the observation that segregated travel is self-chosen by women (it¹s not enforced). But, as she makes clear, the context creating the gender border was not. Self-segregation is a matter of safety and survival, as the rate of abuse against women in the co-ed trains, and the acceptance it enjoys, is high, and especially violent offenses not unheard of. With a lot of ongoing discussion occurring around issues of borders, "Subway" adds a problematic and complex statement into the mix. Other interrogations of the connections between personal and societal expressions of desire are also present in VMI. Jody Zellen¹s "Crowds and Power" is a web-based work that uses multiple, repeated images and texts, revealed in varying levels of ambiguity and clarity, often through suggestive cropping (a method used by the artist in "Ghost City" as well). As the title suggests, "Crowds?" takes on the psyche of masses and how perception and action can shift based on the proximity and personal identification of subjects. The relationship between architecture and crowds is interestingly explored through dynamically displayed images of crowds of people and the empty shells of architecture meant to accommodate them. "Hate," a series of acted, interview-like statements by Humberto Ramirez, presents us with one reason why Zellen¹s crowds can be frightening rather than comforting collectives. The speakers, all represented in close-up interview fashion, proceed - in a one-after-the-other barrage of sound bytes to declare their hatred for other people. Seen in the visual, sequential form, these recorded statements can be dismissed as easy targets (who advocates open hatred and racism?), although we definitely can¹t deny the persistence of such thoughts and actions, even for ourselves. This all brings me to looking at VMI as a project in itself, alongside the individual components that are included. In Ramirez¹s video work, there is a diversity of people speaking, mostly seeming North American, but at least diverse in those terms. Obviously, hate (and violence) is not the exclusive property of white males, but what is gained from representing hate as a "multicultural" phenomenon, other than a vague sense of humanism that says "Hey, we all hate, we¹re all really the same." VMI, it its attempt to encompass the wide range of desires and actions called violence, creates a similar problem. The curatorial tone, deeply rooted in universalist tendencies that override the specific and critical pursuit of many of the artistic projects included, can be discerned in the project¹s introduction: "The human character contains both a light and a dark side, good and bad, individually manifested. Deeply rooted is a dark-sided element: Violence." The representation of a corporate entity (VMI) rightly replicates the personification of capital¹s interests and its increasing, global ubiquity, but becomes overwhelmingly self-referential and metaphysical: from the eerie opening audio track "Violence is fun, Violence Festival is pure happiness"; the classification of the works into whimsical departments whose names float and pulsate; to the saturated red ground that envelops the entire experience. Although I¹m not sure it adequately represents the interests of all its various works, VMI is ambitious, interesting, and necessary. Unfortunately, the specter of disembodiment is strong and ever present; it¹s too easy to connect to the network and not question the latent violence in that act alone. As Bruce Sterling once (sarcastically) wrote: "The price of liberty is said to be eternal vigilance but that¹s a pretty steep price, isn¹t it? Can¹t we just automate this eternal vigilance thing? Maybe we can just install lots of 24-hour networked videocams." + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks and money orders may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Contributions are tax-deductible to the extent allowed by law and are gratefully acknowledged at <a rel="nofollow" href="http://rhizome.org/info/10.php">http://rhizome.org/info/10.php</a>. Our financial statement is available upon request. 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 Rachel Greene (rachel@rhizome.org). ISSN: 1525-9110. Volume 7, number 43. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +