RHIZOME DIGEST: 6.12.05

discussion

Posted June 11 2005 20:00

RHIZOME DIGEST: 6.12.05

RHIZOME DIGEST: June 12, 2005 Content: +note+ 1. Lauren Cornell: Rhizome Commissions Program - Release +announcement+ 2. [javamuseum]: JavaMuseum: announcement 3. Pete Otis: DATABASE OF VIRTUAL ART : NEW THESAURUS +opportunity+ 4. Paul Koidis: Seeking Animation Chair / Director / India 5. Kevin McGarry: FW: Electra seeks Curator/Producer 6. Kevin McGarry: FW: [NEW-MEDIA-CURATING] -empyre- seeks new facilitator +work+ 7. jimpunk: gu:llotine d4tA - … #2 +commissioned for Rhizome.org+ 8. Ryan Griffis: Review of "A Walk to Remember" at Los Angeles Contemporary Exhibitions + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Kevin McGarry at Kevin@Rhizome.org or Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 6.07.05 From: Lauren Cornell <laurencornell@rhizome.org> Subject: Rhizome Commissions Program - Release Rhizome.org Announces Winners of the 2005 Rhizome Commissions Program FOR IMMEDIATE RELEASE Tuesday June 7, 2005 CONTACT Lauren Cornell, Rhizome.org Phone: 212.219.1288 X208 Email: laurencornell@rhizome.org NEW YORK, NY_ Rhizome.org is pleased to announce that eleven artists/groups have been awarded commissions to assist them in creating original works of net art. Each will receive awards ranging from $2000 - $900. The selected artists for the 2005-2006 commissioning cycle are Hans Bernhard, Annie Brissenden, Dave Burns, Jason Corace, Andy Deck, Victoria Fang, Jason Freeman, Ethan Ham, Peter Horvath, Sean Kerr, Thomas Laureyssens, Alessandro Ludovico, MTAA (M.River & T.Whid Art Associates), Tony Muilenburg, Adriaan Stellingwerff, Matias Viegener, and Austin Young. A panel of jurors including Melinda Rackham, independent curator, artist and founder of the empyre mailing list, Jemima Rellie, Head of Digital Programmes at the Tate, Eduardo Kac, Professor and Chair of the Art and Technology Department at The School of the Art Institute of Chicago, Francis Hwang, Director of Technology at Rhizome.org, and Rachel Greene, former Executive Director of Rhizome.org–selected ten projects from a pool of more than one hundred proposals received by the March 23, 2005 RFP deadline. Members of the Rhizome.org community participated in the evaluation process through secure web-based ballots and selected Fallenfruit.org, a proposal by Dave Burns, Matias Viegener and Austin Young, to receive a commission. Launched in November 2001, the Rhizome Commissions Program makes financial support available to artists for the creation of innovative new media artwork via panel-awarded commissions. To keep the program relevant and timely, requests for proposals (RFPs) will change from year to year to reflect new developments in technology and the current cultural environment. 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. The chosen projects will be publicly exhibited on the Rhizome.org web site at <a rel="nofollow" href="http://rhizome.org">http://rhizome.org</a> <<a rel="nofollow" href="http://rhizome.org/">http://rhizome.org/</a>> starting in January 2006. They will also be preserved in the Rhizome ArtBase, an online archive containing upwards of 1,500 new media art works, and presented at a public event in New York City. ³Rhizome.org has been serving the new media art community since 1996 by providing a place where artists and others can exchange information and resources, present new work, and engage in critical dialogue,² said Lauren Cornell, Executive Director of Rhizome.org. ³We are proud to be able to provide direct financial support to artists. Grants and commissions are especially vital for the new media art field, as it is still quite nascent. Unlike artists working in other mediums, new media artists have limited opportunities to seek compensation for their labor, or achieve financial return on their work. Additionally, the Commissions program lends institutional recognition to the projects, by exhibiting them both on and off-line, and preserving them in the ArtBase.² + + + 2005 COMMISSIONED PROJECTS: $2000 Awards: Google Will Eat Itself By Hans Bernhard and Alessandro Ludovico <a rel="nofollow" href="http://www.gwei.org/rhizome05.html">http://www.gwei.org/rhizome05.html</a> ³We generate money by serving Google text advertisments on GWEI.org. With this money we buy Google shares. We buy Google via their own advertisments! Google eats itself - but in the end we'll own it! By establishing this model we deconstruct the new global advertisement mechanisms by rendering them into a surreal click-based economic model.² Hans Bernhard & Alessandro Ludovico Triptych By Peter Horvath <a rel="nofollow" href="http://www.6168.org/rhizome_proposal/">http://www.6168.org/rhizome_proposal/</a> Triptych is an audio/video, web-based work approximately ten minutes in length, that is structured as a non-linear, generative triptych that explores three dynamics: motion, resistance and stillness. Each panel of the triptych will focus on one dynamic in the context of an urban environment and will be named accordingly. The dynamics will be employed as visual metaphors for universal emotive and cognitive states taken from the artist¹s personal experiences. As the work will be generative, and therefore self-structuring, each time the work is viewed it will be unique. Triptych aspires to expand the conceptual and technical parameters of net-based video. Eternal Sunset By Adriaan Stellingwerff <a rel="nofollow" href="http://www.eternalsunset.net/">http://www.eternalsunset.net/</a> Eternal Sunset continually presents live images of the sunset using existing online webcams from all over the world. As the sunset moves westward, Eternal Sunset tunes into different webcams, chasing the sunset around the globe. Eternal Sunset is a virtual space where time is passing but where the daily cycle of day and night has come to a freeze at sunset. Eternal Sunset comments on the collapse of space and time brought about by technology in general and the Internet in particular. Panel Junction By Andy Deck <a rel="nofollow" href="http://artcontext.org/act/05/panel/">http://artcontext.org/act/05/panel/</a> Panel Junction blends the graphic novel with forms of shared, online authorship. It merges spontaneous drawing with scripting and direction from online visitors. Participants from around the world will contribute dialog, graphics, caricatures, fonts, narrative ideas, internal monologues, jokes, backgrounds, puns, story-boards, coloring, anecdotes, and sketches. This will culminate in a printable (PDF) graphic novel of approximately ten pages. $1500 Awards: music 4 100 computers By Sean Kerr <a rel="nofollow" href="http://www.people.auckland.ac.nz/seankerr/proposals/rhizome_project/">http://www.people.auckland.ac.nz/seankerr/proposals/rhizome_project/</a> music 4 100 computers explores new music, the internet, multi-user environments, the role of the artist and audience in creating meaning from an event, and contains a strong component of social or community interaction. Email Erosion By Annie Brissenden, Ethan Ham and Tony Muilenburg <a rel="nofollow" href="http://www.ethanham.com/rhizome/">http://www.ethanham.com/rhizome/</a> Email Erosion is an installation (viewable via webcams) that automatically creates sculptures using email as a catalyst. A block of biodegradable styrofoam is surrounded by a steel frame. On each face of the frame is a mobile mechanism that can squirt water on the foam, causing it to slowly dissolve. Each mechanism is associated with an email address. Whenever email is received, the mechanism is triggered to either move or squirt water?-the particular action being determined by an algorithm that uses the email¹s content as input data. $1200 Awards: To Be Listened To? By MTAA (M.River & T.Whid Art Associates) <a rel="nofollow" href="http://www.mteww.com/rhiz05/">http://www.mteww.com/rhiz05/</a> To Be Listened To? consists of 10 thematic podcast feeds. Each feed is open to audio programming by the online public. A website (authored in PHP) allows users to upload audio files (MP3-only) and subscribe to the feeds. The artists will not edit the uploads from users, but will seed each feed with audio files commissioned from 8 artists to be determined. Lakshmi By Thomas Laureyssens <a rel="nofollow" href="http://www.toyfoo.com/lakshmi/rhizome.html">http://www.toyfoo.com/lakshmi/rhizome.html</a> Lakshmi is an experiment in the integration of narrative, illustration and interaction. Its story is the Indian creation story called ?the churning of the ocean¹ and its visual style is inspired by Indian miniatures. The main experiment of the piece lies in the hiding of the story interface, merging it with the illustration to make it as immersive as possible. There is no text, just a voice to which you have to listen carefully to decipher the contours of the story. Fallenfruit.org By Dave Burns, Matias Viegener and Austin Young <a rel="nofollow" href="http://www.fallenfruit.org/grant.html">http://www.fallenfruit.org/grant.html</a> FallenFruit.org maps all the 'public fruit' planted on private property that overhangs public space. This project encourages people to harvest, plant and share public fruit. The project is a response to accelerating urbanization, as well as issues of grassroots community activism and social responsibility. The mission of the project is to expand our community fruit maps, photos and essays to create an online, global public fruit resource. $1000 Award: Citypong By Jason Corace and Vicky Fang <a rel="nofollow" href="http://www.citypong.com/">http://www.citypong.com/</a> CityPong allows residents of rival cities to collaboratively compete against each other in a game of Pong. The game is played in the same fashion as the original, but the time, scale, and way in which the players participate is different. In a game of CityPong, players move their respective city's paddles by voting which direction to move the paddle. The voting takes place online or by text messaging a number found on a projected building-side gamescreen. Each player's vote moves their city's paddle a fraction of a pixel. CityPong requires group collaboration and consensus to successfully win the game, and relies on a sense of community and city pride, with team building and trash talking opportunities incorporated into the system. Games are played over the course of several days and matches are won on a best out of three game basis. Unlike professional sports however, CityPong demands active and direct participation. Its fans will also be its players. $900 Award: iTunes Signature Maker By Jason Freeman <a rel="nofollow" href="http://music.columbia.edu/~jason/temp/rhizome/">http://music.columbia.edu/~jason/temp/rhizome/</a> iTSM is software art that scans your music collection and algorithmically generates a short sonic remix of everything you've got. By trying to capture the essence of your musical taste, iTSM seeks to help people learn something about the music they listen to (and by extension about themselves), to share that with others, and to have some fun in the process. ARTIST BIOS Hans Bernhard, lives and works in Vienna & St. Moritz, he is the founder of etoy.com & UBERMORGEN.COM. Hans holds an M.F.A. in visual media from the University of applied arts in Vienna. In 1996, he was awarded with the golden Nica Prix Ars Electronica. Aliases: hans_extrem, etoy.HANS, etoy.BRAINHARD, David Arson, Dr. Andreas Bichlbauer, h_e, net_CALLBOY, Luzius A. Bernhard, Andy Bichlbaum, Bart Kessner. Behind UBERMORGEN.COM we can find one of the most uncatchable identities - controversial and iconoclast - of the contemporary european techno-fineart avantgarde. ubermorgen is a german word for "super-tomorrow". Annie Brissenden is a video and installation artist in Portland, Oregon. She received her Bachelor of Science in Fine Art Sculpture in 2005. Her work typically involves performance, feminist issues, and humor. She occasionally shows her work in local galleries and has received a grant in collaboration with Ethan Ham from Portland's Regional Arts and Culture Council for an installation in 2006. Annie is the Co-coordinator of the Portland State University Film Committee, was the teaching assistant for Intro to Video at PSU and recently started her own multimedia art and videography business, Videre Productions. Dave Burns is an artist who currently teaches at CalArts and lives and works in Los Angeles. He is a graduate of California Institute of the Arts 1993 and has received an MFA in Studio Arts from the University of California, Irvine in 2005. His recent video work has shown in festivals around the world and various galleries including; InsideOUT, ADD-TV, Pressplay, MIX Festival and NEWFEST. Recent art projects have been shown at Track 16 Bergamot Station, OTIS, ArtCenter, Machine Gallery, WORKS gallery, REDCAT, MESSHALL in Chicago, and at Artists Space in New York. Publications about his recent works can be seen in FAB magazine, SCOOP!, The Journal of Aesthetics and Protest, SUPERSONIC catalogue, PLOT magazine and Metropolis Magazine. Jason Corace is a media artist and educator who lives in New York City. He holds an undergraduate degree from the Evergreen State College and an MFA from Parsons School of Design. He currently teaches in the Parson's School of Designs Design and Technology program, researches new forms of data visualization at the Parsons Institute of Information Mapping and works on projects with his friends. Andy Deck is an American artist specializing in Internet art. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Using the site ARTCONTEXT.NET, Deck combines code, text, and images to demonstrate new patterns of participation and control that distinguish online presence and representation from previous artistic practices. His aesthetic program delves into the myth of technological progress, issues surrounding collective authorship, and the cultural context of political passivity. Visitors to Artcontext are engaged in online production processes that suggest both the potential and limits of systematized creativity. His associations include Personal Cinema, a 2005 European Media Art Festival award winner; Turbulence (turbulence.org); and Furtherfield (furtherfield.org), which mounted a retrospective of his online work in 2004. He is a co-founder of the environmentalist arts organization Transnational Temps, which is currently developing Terranode (terranode.org), an earth art project for the new century. Victoria Fang is a multimedia/game designer in New York City. She holds a Masters degree in Design and Technology from Parsons School of Design. Her undergraduate degree is from Williams College in Math and Theatre. Her work seeks to explore the ways in which technology can alter the user experience in traditional and emerging forms of entertainment and storytelling. Prior to her time at Parsons, she spent several years working as a web developer, and an actress/director. She has worked in independent game design and currently freelances as a multimedia developer while working on her own projects. Jason Freeman¹s (<a rel="nofollow" href="http://www.jasonfreeman.net">http://www.jasonfreeman.net</a>) works break down conventional barriers between composers, performers, and listeners, using cutting-edge technology to turn audiences and musicians into compositional collaborators. Recent projects include Glimmer, in which the audience used light sticks to shape a musical performance by the American Composers Orchestra at Carnegie's Zankel Hall; Auracle, a voice-controlled networked sound instrument developed collaboratively by a group led by Max Neuhaus; and N.A.G. (Network Auralization for Gnutella), interactive software art commissioned by Turbulence which was described by Billboard as ³?an example of the web¹s mind-expanding possibilities.² Ethan Ham is a sculptor and installation artist living in Portland, Oregon. His current work has been exploring mechanical kinetic art that generates art in reaction to audience behavior. This spring he received his MFA from Portland State University. Ethan teaches computer game programming and gameplay design at the Art Institute of Portland. Peter Horvath works in video, sound, photo-based and new media. Camera in hand since age 6, he inhaled darkroom fumes until his late 20?s, then began exploring art forms in time based media. Immersed himself in digital technologies at the birth of the Web, co-founded 6168.org, a site for net.art, and adopted techniques of photo-montage which he uses in his net-based and 2D works. Exhibitions include the Whitney Museum Of American Art?s Artport, FILE Electronic Language International Festival (Sâo Paulo, Brazil), Video Zone International Video Art Biennial (Tel Aviv, Israel), the Musée national des beaux-arts du Québec (Québec City, Canada), as well as venues in New York, Tokyo, London, and numerous net.art showings. He is a founding member of the net.art collective Hell.com. He likes to consider a future when high bandwidth will be free. Sean Kerr is an artist and freelance curator. Currently Sean is Associate Head of Elam School of Fine Arts [<a rel="nofollow" href="http://www.elam.auckland.ac.nz/">http://www.elam.auckland.ac.nz/</a>], University of Auckland, New Zealand. He has strong interests in sound and its relationship to image, pop culture and visual art. He explores these themes in multiple formats including installation, live performance, painting and the web. His project site [<a rel="nofollow" href="http://seankerr.net">http://seankerr.net</a>] presents current projects as well as an archive of previous works. His practice strides across distinct camps and elides the distinction between artist, curator and producer. Thomas Laureyssens (Belgium, 1976) holds a degree in Graphic Design and New Media from Sint Lukas Brussels, where he researched interactive storytelling. His goal was to merge illustration, story and interface in a consistent whole, a line of work he has continued after his graduation in 2001. He was part of a video-art collective (Visual Kitchen) with whom he explored the narrative possibilities of video in collaborative live performances. >From 2004 onwards he broadened the screen-based work he has done until then. This has resulted in the development of some independent projects, such as the conceptualisation of the dance performance Cycle and the landscape artwork Pedestrian Levitation.net. With the latter he has analyses and visualises both real and virtual movements of pedestrians by applying a mental layer of motion on the surface of existing architecture. Today his works covers the broad field of media from experimental interface design and video to art installations. Alessandro Ludovico is a media critic and editor in chief of Neural magazine [<a rel="nofollow" href="http://english.neural.it">http://english.neural.it</a>] from 1993 (Honorary Mention, Net.Vision, Prix Ars Electronica 2004). He has written: 'Virtual Reality Handbook' (1992), 'Internet Underground.Guide' (1995), 'Suoni Futuri Digitali' (Future Digital Sounds, 2000). He's one of the founding contributor of the Nettime community and one of the founders of the 'Mag.Net (European Cultural Publishers)' organization. He writes for various international magazines and he's also an expert in the Runme.org board, a collaborator of the Digitalkraft exhibitions, and has curated different new media art exhibitions. Weekly he conducts 'Neural Station' a radio show on electronic music and digital culture and is part of the n.a.m.e. (normal audio media environment) group. >From 2005 he's partner of Ubermorgen's GWEI.org action (Honorary Mention, Net.Vision, Prix Ars Electronica 2005, Rhizome Commission 2005). MTAA (M.River & T.Whid Art Associates) is a Brooklyn, New York-based conceptual and net art collaboration founded in 1996. Their studies of networked culture, the economics of art, digital materials, and the institutional art world take the form of web sites, installations, sculptures, videos and photographs. Their work has been commissioned by The Alternative Museum, Creative Time, New Radio & Performing Arts, Inc., and The Whitney Museum of American Art and has been exhibited by PS1 Art Center, New York, 2000; The Walker Art Center, Minneapolis, 2000; Eyebeam, New York, 2002; Postmasters Gallery, New York, 2004; and The Getty Research Institute, Los Angeles, 2005. Please visit their website, MT Enterprises WorldWide (mteww.com), for more information and to view their net art. Tony Muilenburg is currently studying computer engineering at Portland State University, where he is an active member of the Eta Kappa Nu honor society leadership, and President of the robotics club. His experience includes Hardware Engineering at Intel, Software Engineering at Tektronix, and general construction. Adriaan Stellingwerff has been working in the field of new media and screen-based arts for over 8 years. Combining his technical background as an engineer with his interest in the arts, he started working as a new media arts curator and producer in the Netherlands in 1998. Between 1998 and 2003, Adriaan curated and organised three major international exhibitions of interactive installation art (www.artinoutput.nl). In this period he also acted as the co-producer for two new installation works. In 2003, Adriaan co-founded taste-E.org, an increasingly recognized and successful online portal to websites in the field of the electronic arts for which he continues to be the researcher and editor. Adriaan moved to Australia about two years ago, where he now works as the Program Manager at dLux media arts, a Sydney-based new media arts organisation. Matias Viegener is a Los Angeles based writer who teaches in Critical Studies and the MFA Writing Program at CalArts. His criticism appears in the anthologies Queer Looks: Lesbian & Gay Experimental Media, and Camp Grounds: Gay & Lesbian Style. He has fiction in the anthologies Men on Men 3, Sundays at Seven, Dear World, Suspect Thoughts, and Discontents, edited by Dennis Cooper. He has shown work or performed at Mess Hall in Chicago; The Whitney Museum, The Kitchen, and The Drawing Center in New York; ArtCenter's Windtunnel gallery, LACE, Highways, Beyond Baroque in LA;, New Langton Arts in SF, and the LaJolla Museum of Contemporary Art. He?s editor and co-translator of Georges Batailles' The Trial of Gilles de Rais. He has also published in Bomb, Artforum, Art Issues, Artweek, Afterimage, Critical Quarterly, High Performance, Framework, American Book Review, Fiction International, Paragraph, Semiotext(e) and X-tra. Austin Young's work is primarily photography and video. He currently works and lives in Los Angeles. His work can be seen in Interview Magazine, and has appeared in Surface, Flaunt, Vogue, Spin, Rolling Stone, and many others. He is currently collaborating with Siouxsie Sioux, Diamanda Galas, Margaret Cho, Skinny Puppy, and The Velvet Hammer Burlesque on creating their recent imagery. His portrait subjects include: Miranda July, Leigh Bowery, Lypsinka, Nina Hagen, Debbie Harry, Jimmy Scott, Sandra Bernhard, Ziyi Zhang, Mark Almond, Ann Magnuson. Recent video work has shown at InsideOUT, Mix Festival, Frameline, Reeling, and The Silver Lake Film Festival. "The Stroke" won best short of 2003 on ADD-TV. + + + Rhizome.org is an online platform for the global new media art community. Our programs support the creation, presentation, discussion and preservation of contemporary art that engages new technologies in significant ways. We foster innovation and inclusiveness in everything we do. Rhizome.org is a not-for-profit organization. – Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell@rhizome.org +Rhizome has a New Membership Policy+ For more information: <a rel="nofollow" href="http://www.rhizome.org/support/membership_policy.php">http://www.rhizome.org/support/membership_policy.php</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 6.06.05 From: "[javamuseum]" <virtu@kulturserver-nrw.de> Subject: JavaMuseum: announcement Announcement Monday, 6 June 2005 Memorial Feature and a new structural development ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . JavaMuseum Forum for Internet Technology in Contemporary Art www.javamuseum.org is featuring during June, July and August 2005 in a memorial show the complete online works of Tiia Johannson (Estonia), media artist, who died much too young only 36 years old in June 2002 in Tallinn, the capital of Estonia. . Tiia Johannson was during many years one of the most prominent and active artists who used the Internet for he media artir artistic purposes. In 2001, she received the JavaArtist of the Year Award given by Javamuseum for outstanding artists in the fields of net based art. . It is the mission of Tiia Johannson Memorial <a rel="nofollow" href="http://www.javamuseum.org/tiia_johannson/memorial.html">http://www.javamuseum.org/tiia_johannson/memorial.html</a> at JavaMuseum to keep vivid the memory of this extraordinary talented artist. # JavaMuseum is currently working further on a new structural development. As the start of the "2nd phase" JavaMuseum will launch in September 2005 a new program series of showcases curated from the database of netart from 2000-2004. These showcases will feature only a few artists each time under a new subject or theme. They will also represent the occasion to show JavaMuseum as the host of the exhibited works. Until now, JavaMuseum did not host many works, but was creating exhibition spaces collecting basically the Internet addresses (URLs) of the works. Hosting netart works will mean in the specific cases consequently to guarantee the availability of the repesctive works online for permanent, even if artists removed their works from the net, which happens sometimes rather quickly. However, JavaMuseum will not acquire any work and the artists keep all rights on them. . Currently, Javamuseum is running very successfully the "Final Show" of the "1st phase" <a rel="nofollow" href="http://javamuseum.org/2005/final/index.html">http://javamuseum.org/2005/final/index.html</a> featuring netart from the years 2003 and 2004 including 44 artists . JavaMuseum - www.javamuseum.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net . info provided by Alex Haupt NetEX - networked experience <a rel="nofollow" href="http://weblog.nmartproject.net/index.php?blog=7&cat=20">http://weblog.nmartproject.net/index.php?blog=7&cat=20</a> contact info@nmartproject.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 6.06.05 From: Pete Otis <virtualart@culture.hu-berlin.de> Subject: DATABASE OF VIRTUAL ART : NEW THESAURUS We are pleased to announce the release of the extended Database of Virtual Art. It now provides an enlarged set of features and research opportunities: The major novelty is the freshly implemented Thesaurus featuring a variety of categories and keywords. The Database offers an extensive search tree that permits a targeted set search : e.g. genre: interactive art: <a rel="nofollow" href="http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=164">http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=164</a> <<a rel="nofollow" href="http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=164">http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=164</a>> or theme: body: <a rel="nofollow" href="http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=222">http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=222</a> <<a rel="nofollow" href="http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=222">http://virtualart.hu-berlin.de/common/searchWork.do?keywordId=222</a>> The Thesaurus of the Database constitutes a new approach to systemize the field of Digital Art and the terms and concepts connected to it and will grow over the next few months. Get your own impression and take a look at <a rel="nofollow" href="http://virtualart.hu-berlin.de">http://virtualart.hu-berlin.de</a> <<a rel="nofollow" href="http://virtualart.hu-berlin.de">http://virtualart.hu-berlin.de</a>> . We encourage your remarks and suggestions! As a pioneer in the field, the Database of Virtual Art has been documenting the rapidly evolving field of digital installation art since 1999. It is supported by the German Research Foundation and various other institutions. Our research-oriented, complex overview of immersive, interactive, telematic and genetic art has been developed in cooperation with renowned media artists, researchers and institutions. The database is based on open-source-technologies and allows individuals to post material themselves. Currently it contains hundreds of work descriptions including several thousand digital documents, technical data, institutions and bio-bibliographical information about the artists. As one of the richest resources available online, the database responds to the demands of the field. Video is especially able to document the processual nature of interactive works. Therefore we have strategically integrated this medium into our concept since 2002. Over time the interlinked layers of data will also serve as a predecessor for the crucial systematic preservation of this art. Director: Prof. Dr. Oliver Grau, Oliver.Grau@culture.hu-berlin.de <<a rel="nofollow" href="mailto:Oliver.Grau@culture.hu-berlin.de">mailto:Oliver.Grau@culture.hu-berlin.de</a>> Technical Lead: Christian Berndt, M.A. berndt@kulturtechniker.de <<a rel="nofollow" href="mailto:berndt@kulturtechniker.de">mailto:berndt@kulturtechniker.de</a>> Main Editor and Development Manager: Anna Paterok, M.A. vkunst01@cms.hu-berlin.de <<a rel="nofollow" href="mailto:vkunst01@cms.hu-berlin.de">mailto:vkunst01@cms.hu-berlin.de</a>> Video Documentation: Robert Loessl robert.loessl@channel-unit.de <<a rel="nofollow" href="mailto:robert.loessl@channel-unit.de">mailto:robert.loessl@channel-unit.de</a>> Institution Coordination: Wendy Jo Coones, M.A. wendy@coones.net <<a rel="nofollow" href="mailto:wendy@coones.net">mailto:wendy@coones.net</a>> <a rel="nofollow" href="http://virtualart.hu-berlin.de">http://virtualart.hu-berlin.de</a> <<a rel="nofollow" href="http://virtualart.hu-berlin.de">http://virtualart.hu-berlin.de</a>> Address Kunstgeschichtliches Seminar Humboldt-University Berlin Dorotheenstrasse 28 10117 Berlin, Germany <a rel="nofollow" href="http://www2.hu-berlin.de/grau">http://www2.hu-berlin.de/grau</a> <<a rel="nofollow" href="http://www2.hu-berlin.de/grau">http://www2.hu-berlin.de/grau</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 6.08.05 From: Paul Koidis <pkoidis@centennialcollege.ca> Subject: Seeking Animation Chair / Director / India POSITION VACANCY CHAIR/DIRECTOR, DELHI / HYDERABAD INDIA Centennial College, in Toronto Canada, has one of the most ethnically, racially, and culturally diverse student populations in the Ontario college system and is consequently encouraging applications from qualified women, aboriginal persons, persons with disabilities, and racial minorities. Classification: Administrative Temporary Assignment Salary Range: As per College policy Location: Delhi / Hyderabad, India Position Summary This Temporary Assignment Contract position will involve both administrative and teaching responsibilities for a new Digital Animation School with two campuses located in Delhi and Hyderabad, India. The Chair/Director will provide overall strategic leadership and manage partner relations. In addition, this individual will teach assigned courses; recruit faculty, provide a professional Canadian presence in India for our programming, interview and hire local teachers (in conjunction with the School of Communication Arts); use a variety of teaching/learning strategies and provide these strategies in a professional development setting to local teachers; provide overall coordination for programming of Animation Schools in two locations in India; evaluate student achievement of learning outcomes; provide leadership for all teacher and students at Centennialâ??s satellite location; demonstrate a sensitivity to intercultural communication; and assist in recruiting of students for upcoming fiscal years. Please Note: current full time teachers or staff at Centennial College will be expected to sign a Temporary Assignment Agreement as part of the hiring process. Responsibilities include: - Represents the College and promotes its reputation in India by building and establishing solid linkages and relationships with constituent groups. - Teach a specified number of Digital Animation courses. - Oversee the maintenance of exceptional quality programs and courses according to Centennial Toronto and college/ministry policies. - Provide operational program support including hiring and evaluation of local teachers. - Ensure the effective use of human, physical and other resources for the quality assurance of academic programming. - Work closely with the partner school to offer high quality programming according to Centennial Toronto standards. - Provide accurate and customer-friendly information to current and potential students and the public via telephone, email and in-person at the school, meetings and recruitment fairs. - Conduct first level investigations and initiate the problem-solving process for dispute resolutions involving faculty, staff and students within the Delhi and Hyderabad satellite locations using college/school policy to assist in the dispute resolution process. - Facilitate effective communications between administration, faculty, support staff and students. - Responsible for the overall management, direction and development of reporting staff and ensuring high quality services Qualifications/Experience required: - University Degree or Community College diploma or certification, or equivalent, in a related discipline with demonstrated verbal and written communication skills to achieve high levels of customer service in a culturally diverse environment. - Progressive teaching and/or relevant work experience in Digital Animation field. - Proven demonstrated interpersonal, leadership and organizational skills. - Experience in organization, development and management of Centennial's programs. - Demonstrated independent decision-making ability, initiative and supervisory experience. - Demonstrated sensitivity to diverse learners and ability to work within a multicultural environment. - Proven ability to work independently and as part of a team with proven problem-solving and conflict resolution skills. - Relevant experience in addressing student and faculty issues in a timely and constructive manner. - Demonstrated knowledge of college policies, procedures, and program/course information. - Demonstrated skills in Microsoft Work, PowerPoint and formulas in Excel For more information, please contact: Paul Koidis, at pkoidis@centennialcollege.ca Apply to: Human Resources Department Fax: (416) 752-5021 1960 Eglington Avenue E E-mail: hr@centennialcollege.ca Web: www.centennialcollege.ca POSTING DATE: June 1, 2005 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 6.08.05 From: Kevin McGarry <kevin@rhizome.org> Subject: FW: Electra seeks Curator/Producer —— Forwarded Message From: Lina Dzuverovic <lina@electra-productions.com> Date: Wed, 08 Jun 2005 01:15:42 +0100 To: <irene@electra-productions.com> Subject: Electra seeks Curator/Producer Electra seeks Curator/Producer 2 days per week* Rate: negotiable Contemporary arts agency Electra seeks to bring on board a freelance Curator/Producer to work alongside the directors initially 2 days per week with the possibility of more days the near future. Electra's projects have included events and exhibitions with artists including Christian Marclay, Tony Oursler, Kim Gordon (Sonic Youth), Hayley Newman, Daria Martin, Christina Kubisch, Marina Rosenfeld and others. We have worked on and are currently developing projects at venues such as Tate Modern, The Barbican Centre, South London Gallery, GAS Festival, Sweden, Roma Europa Festival, Rome and others. The curator/producer will be responsible for working with the directors to deliver existing projects (including the forthcoming European tour 'Perfect Partner' and exhibition Her Noise at South London Gallery) while also taking an active role in developing and shaping the future of Electra. The candidate should have an existing network of contacts and a track record of successful working relationships with artists, producers, galleries and festivals. He or she will be expected to bring on board and develop new projects in collaboration with international and national partners as well as to fundraise and contribute substantially to the strategic development of Electra. The Curator/Producer should have extensive experience in project management, curating, producing, and touring international projects. Commercial gallery experience would be an advantage. An understanding of event and performance-based practice is an advantage, but we are primarily looking for someone with their own vision, initiative and an extensive knowledge of contemporary art and a desire to initiate and realise large scale art projects irrespective of medium. To apply please send a covering letter outlining any relevant experience, with relevant documentation (press clippings, catalogues etc) alongside contacts for two referees to the address below, marking 'Curator/Producer' on the envelope. The deadline is Monday 27 June 6pm. *The curator will need to be London based and work from the Electra office. —————————— ELECTRA 38 Kingsland Road Unit 4 Perseverance Works London E2 8DD UK e: lina@electra-productions.com phone: +44 (0) 207 871 0955 mob: +44 (0) 7968 141 152 fax: +44 (0) 20 7739 5266 <a rel="nofollow" href="http://www.electra-productions.com">http://www.electra-productions.com</a> —————————— —— End of Forwarded Message + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 6.08.05 From: Kevin McGarry <kevin@rhizome.org> Subject: FW: [NEW-MEDIA-CURATING] -empyre- seeks new facilitator —— Forwarded Message From: Melinda Rackham <melinda@SUBTLE.NET> Reply-To: Melinda Rackham <melinda@SUBTLE.NET> Date: Thu, 9 Jun 2005 09:00:22 +1000 To: NEW-MEDIA-CURATING@JISCMAIL.AC.UK Subject: [NEW-MEDIA-CURATING] -empyre- seeks new facilitator -empyre- mailing list at <a rel="nofollow" href="http://www.subtle.net/empyre">http://www.subtle.net/empyre</a> is one of the most respected media arts discussion lists in the world today, with an ongoing and changing array of guests drawn from diverse aspects of networked and new media theory and practice globally. We are currently seeking a new facilitator to work as part of a team, developing the lists direction, themes, topics and sourcing guests. To maintain gender and cultural and time zone integrity this person would ideally be a woman and be located in the Asian or Australian region. If you dont fit into these categories, yet have a passion to be involved, please apply! Unfortunately there is no financial remuneration for this position, however the experience is invaluable. Some experience with mailing lists, web design or event programming would be an advantage, but it's easy to learn. Please send expressions of interest to empyre-owner@gamera.cofa.unsw.edu.au Melinda Rackham artist | curator www.subtle.net —— End of Forwarded Message + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 6.12.05 From: jimpunk <www@jimpunk.com> Subject: gu:llotine d4tA - … #2 <a rel="nofollow" href="http://www.jimpunk.com/guillotine.d4tA/">http://www.jimpunk.com/guillotine.d4tA/</a> PC onlY -Click logo & - Alt F4 - to quit :F Mac >>> screensho++ |/ #2 (l. m.r… popup.w:dow. the w:dow pops Up / + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 6.12.05 From: ryan griffis <grifray@yahoo.com> Subject: Review of "A Walk to Remember" at Los Angeles Contemporary Exhibitions Review of ³A Walk to Remeber² Los Angeles Contemporary Exhibitions February 9 - May 8 2005 Organized by Jens Hoffman, Director of Exhibitions, ICA, London The concept of ³walking² in the city of Los Angeles conjures up all kinds of cliches and jokes about how ³no one walks in LA,² and the amorphous qualities so often ascribed to its social and natural geography. Such an impression is easily adopted, as typically one moves by car from one part of town to another, only getting out upon reaching desired destinations or to refuel at gas stations. The language used to describe LA¹s paved circulatory system belies the indifference to the space that lies between points A and B. On the one hand, there is the web of interconnected freeways that allow one to move from destination to destination, as if in some kind of congested time-space portal, and on the other are the ³surface streets,² existing at ground level, where daily life plays out. This February, Los Angeles Contemporary Exhibitions provided access to this surface world through a series of artist-led walks curated by Jens Hoffman of the Institute of Contemporary Arts in London. Titled ³A Walk to Remember,² the exhibition brings together walks by LA-based artists John Baldassari, Jennifer Bornstein, Meg Cranston, Morgan Fisher, Evan Holloway, Paul McCarthy, Rubén Ortiz Torres, Allen Ruppersberg and Eric Welsey. Participants on each of the walks will be given a disposable camera with which to document the event, with the results being displayed in LACE¹s exhibition space. Of course, walking already has established historical ties to performative and conceptual art practices. Richard Long and Andy Goldsworthy¹s formal traversals into the non-urban, the illegal border crossings of Christian Philipp Müller and Heath Bunting, and the urban derivés of the Situationists are but a few examples of the aestheticization of bipedal transportation. The LA Times recently celebrated LA¹s own amateur walkabout, an engineer named Neil Hopper, who documents his extensive hikes around the city on walkinginla.com. The descriptions of the walks hosted by LACE range from a leisurely walk below the Hollywood sign in Griffith Park (Bornstein and Wesley) to a trip to Sherman Indian High School, one of three remaining off-reservation Native American boarding schools in the country (Cranston). Fisher and Ruppersberg set out to explore the intersections of personal and collective memory in the ever changing urban landscapes of Santa Monica and Hollywood, respectively. There are also ³instruction² pieces, where walkers are asked to either photograph all the street signs from Baldassari¹s studio or perform their own walk ten consecutive times, per McCarthy¹s request. By the time of this writing, this writer was able to attend the first two walks - Ortiz Torres¹ trip to El Pedorrero (²the farter²), a muffler shop and museum in East LA, and Holloway¹s walk from his studio near MacArthur Park. The tour of El Pedorrero, an ultra baroque environment shaped by the imagination and efforts of its owner, known as ³Bill Al Capone,² revealed an aesthetic vision of the ³American Dream² that recombines both the utopian and vulgar aspects of modernity into one seamless architectural space. Holloway¹s walk from his studio to the Alvarado/7th St Metro Station, in an area known for gang activity and the infamous LAPD Rampart Division scandal, is the only walk that explicitly offers danger as bait to participants. The artist even pointed out the location where he was mugged almost three years before. Art that involves any sort of interaction with a community, outside of its own, has been the subject of a fair amount of criticism from wildly different perspectives. ³A Walk to Remember² may not situate itself as a form of ³community art,² but it certainly shares more than a few concerns and formal strategies. It may be worthwhile, then, to reexamine Hal Foster¹s critique of the ethnographic urge found in some site-specific art of the previous decade. The slippages Foster found between artists¹ identifications with an ³outside² and the ability of institutions to assimilate those identities seem an appropriate area of inquiry for current work also dealing with an ³outside.² In presenting this exhibit, LACE painted one of their rooms to resemble a blank landscape - the walls split by a horizon line separating blue and green fields - which are decorated with maps of the artists¹ walks and photos documenting them. Perhaps, the artist-as-ethnographer is not the model found here, as any specific identities play only a secondary role. Like much current site-specific art, emphasis is placed on spatial understandings of history and urban geography - with maps being the formal device of the day. The concerns of urban planning and real estate seem to have replaced those of anthropology, as we¹ve learned that identities are only as valuable as the land they occupy. - Ryan Griffis + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Kevin McGarry (kevin@rhizome.org). ISSN: 1525-9110. Volume 10, number 24. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +