RHIZOME DIGEST: 1.2.08

Jan. 1, 2008

Type: discussion

RHIZOME DIGEST: January 2, 2008 Content: +opportunity+ 1. Jordan Crandall- Media Artist search- UCSD 2. Erika Lincoln- Call For Proposals: Video Pool Media Arts Centre 2008 / 2009 Call for Submissions Theme: Resistance 3. teterin- Call For Media Artists: Call for Projects in New Media, Video, Net and CyberArts 4. ana otero- Call For Papers and Projects: Second Inclusiva-net Meeting +announcement+ 5. Rhizomer- Critical Code Studies Blog 6. martin howse- xxxxx-workshops: [in]tolerance 7. Zara Zeitountsian- Black Maria Gallery Presents Discover 3D 8. Klaus Knoll- TRANSARTIST EXHIBITION OPENING, ARTIST TALK, SCREENING, OPEN HOUSE 9. Chris Molinksi- Pirate Cinema Knoxville + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. FROM: Jordan Crandall DATE: December 14, 2007 SUBJECT: Media Artist search- UCSD MEDIA ARTIST UNIVERSITY OF CALIFORNIA, SAN DIEGO - Visual Arts Department <a rel="nofollow" href="http://visarts.ucsd.edu/">http://visarts.ucsd.edu/</a> Assistant Professor, tenure-track, to Associate Professor, tenured, beginning July 1, 2008. Rank and salary commensurate with qualifications and experience and based upon UC pay scales. We seek an artist with a significant exhibition record whose work exhibits an in-depth understanding of film, video, and/or installation practice and its relationship to contemporary art and media discourses. UCSD is a research university that actively promotes and supports creative work in media within a broadly interdisciplinary arts department that includes studio, computing, art history, theory and criticism. Teaching will include both graduate seminars and undergraduate courses, large and small. The candidate will actively participate in the ongoing development of curriculum and facilities. MFA or equivalency and teaching experience required. Applicants are welcome to include in their cover letters a personal statement summarizing teaching experience and leadership efforts and/or contributions to diversity Send letter of application, curriculum vitae, names and addresses of three references (do not send letters of recommendation and/or placement files) and evidence of work in the field. This evidence may be in the form of slides, tapes, discs, publications and/or public lectures and should be accompanied by return mailer and postage. Media Search Committee (Position #M-08) University of California, San Diego Visual Arts Department Mandeville Center (0327) 9500 Gilman Drive La Jolla, California 92093-0327 All applications received by January 25, 2008, or thereafter until position is filled, will receive thorough consideration. Please reference position #M-08 on all correspondence. UCSD is an Equal Opportunity/Affirmative Action Employer with a strong institutional commitment to the achievement of diversity among its faculty and staff. Proof of U.S. citizenship or eligibility for U.S. employment will be required prior to employment (Immigration Reform and Control Act of 1986). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Organizational memberships with Rhizome Sign your library, university or organization up for a Rhizome organizational membership! Give your community access to the largest online archives of digital art and new media art-related writing, the opportunity to organize member-curated exhibitions, participate in critical discussion, community boards, and learn about residency, educational and professional possibilities. Rhizome also offers subsidized memberships for qualifying institutions with limited access to the Internet. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact [email protected] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. FROM: Erika Lincoln DATE: December 19, 2007 SUBJECT: Call For Proposals: Video Pool Media Arts Centre 2008 / 2009 Call for Submissions Theme: Resistance Video Pool Media Arts Centre 2008 / 2009 Call for Submissions Theme: Resistance Deadline: Friday, March 21, 2008 Resistance is a movement, a position, an attitude, and a measure. It is an individual or collective response. It can be political, or it can relate to physical properties of the known universe. It concerns citizens. It concerns artists. It concerns that which is local as well as that which is global. It is about forces, agency, strategy, play, and subversion. It is an argument. It seeks change, or it fights to stay the same. It mobilizes. It is unconscious. It is a side effect. It is intentional and affirmative. Video Pool invites submissions pertaining to the theme Resistance for the 2008/09 programming season. We encourage projects involving: • New media • Experimental electronics • Installation (with media components) • Audio art • Curatorial packages (with media components) Video Pool is particularly interested in projects that intervene in public space or otherwise make use of non-traditional exhibition settings. Video Pool’s 2008/09 programming season will include two programs specifically focused on new media performance and single channel film and video that resist conventional thinking and/or assumptions about what constitute video and new media art practices, and possibly the environs within which they take are expected to place. Submission Requirements: Please note that due to funding requirements, primary consideration will be given to Canadian citizens. All submissions must include: 1. Artist/curator CV including current contact information (mailing address, telephone number, and e-mail address) 2. A short description of the proposed project or video(s), including an outline of the critical and/or curatorial objectives of the work submitted 3. Names of all participating artists 4. Titles of all proposed projects/videos, as well as year of completion and city of origin 5. Exhibition history of each project, including a description of contexts within which the work will be presented in the coming year 6. A statement indicating if the artist(s)/curator(s) plan to be in attendance with the work and, if so, in what capacity they would expect to participate in the screening/exhibition 7. Support material: Please do not send originals as Video Pool will not accept responsibility for the loss of, or damage to, any support material - Still images should be submitted on CD (maximum 20 images, .jpg preferred, please do not exceed 72 dpi or a resolution of 1024 X 768 pixels) - Video support material should be NTSC and submitted on VHS, DVD, or Mini DV - Audio support material should be submitted on CD 8. Complete list of all audio, video, and images submitted 9. Please include a SASE if you would like your support material returned Video Pool is committed to reflecting cultural diversity in it’s programming and thereby encourages applications from artists and curators from all communities. Video Pool encourages the submissions of projects that are already complete or near completion. Fees are paid in accordance with the CARFAC rate scale. Please direct enquiries to: Milena Placentile, Programming Coordinator [email protected] 204.949.9134 ext.1 Please send submissions to: Programming Committee c/o Video Pool Media Arts Centre #300 – 100 Arthur St. Winnipeg, MB R3B 1H3 Canada All submissions must be received by the deadline: March 21, 2008 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Theatre/Video: Assistant Professor (tenure track to begin August 2008). MFA required, Ph.D. or equivalent professional and academic experience considered. Teaching responsibilities may include, but are not limited to, courses in: acting; voice/diction; on-camera performance; directing; script analysis and script writing; digital video production and editing. Other duties may include directing Theatre/Video productions; collaborating with colleagues on other productions and activities, mentoring students with their creative processes; departmental and institutional support. Qualified applicants must submit letter of interest (include email address if applicable), vita, unofficial transcripts, evidence of teaching effectiveness, recent examples of personal work and at least three letters of reference (to be sent directly by references or confidential placement file) to: Dr. Marilyn D. Hunt, Chair, Department of Communication Studies & Theatre, Missouri Western State University, 4525 Downs Drive, St. Joseph, Missouri 64507. Deadline: December 1, 2007 or until filled. Review of applications will begin immediately. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. FROM: teterin DATE: December 26, 2007 SUBJECT: Call for Projects in New Media, Video, Net and Cyber Arts National Center for Contemporary Art, Saint Petersburg Arts Project CYLAND Multimedia Lab Call for Projects in New Media, Video, Net and Cyber Arts <a rel="nofollow" href="http://cyland.ru/index.php?option=com_content&task">http://cyland.ru/index.php?option=com_content&task</a> CYLAND is a new international media art lab organized by St.Petersburg branch of National Center for Contemporary Art (St.Petersburg, Russia) and St.Petersburg Arts Project (New York, USA). CYLAND was established in order to provide new media artists with technical, programming, financial and administrative aid and assistance in realizing advanced media art projects. CYLAND is an equipped creative space for co-operation of artists, engineers, technicians, programmers, etc. in their work on video, media, cyber and net art and other art projects dealing with new technologies. CYLAND is located in NCCA's art residency in the town of Kronstadt (on Kotlin island) 40 km from Saint Petersburg. Kronstadt art residency provides and opportunity for artists from many countries to live and work in Kronstadt within the framewaork of international exchange programs, as well as on individual basis. Applications are accepted via e-mail. Application Form i available via link: <a rel="nofollow" href="http://cyland.ru/index.php?option=com_content&task=view&id=34&Itemid=30">http://cyland.ru/index.php?option=com_content&task=view&id=34&Itemid=30</a>. CYLAND jury will review your application within 2 months' period after the application is received. Authors of approved projects will receive an invitation to come in CYLAND Multimedia Lab (Kronstadt Art residency of NCCA) for implementation of their project. Also, support without accommodation in the residency is possible. Upon implementation of a project, a presentation/exhibition is organized. Accommodation in the residency is free of charge. Please note that NCCA or CYLAND will not cover the resident's travel expenses, per diems or phone calls (unless specially agreed) CYLAND Multimedia Lab aims to: - provide a creative space for interaction of art project of different directions, involving video, audio, cinema, photo, net, computer and electronic experiments; - support and co-organize public events in the field of media art, such as festivals, workshops, master classes, clubs etc.; - develop cultural and artistic activities on the Internet aiming at propaganda and popularization of media art in Russia, and establish inter-regional and international links between institutions and artists to launch new projects, cooperation and exchange; - participate in international cultural exchange and cooperation programs, in Nordic Countries media art programs. NCCA's Kronstadt Art Residency is located in a separate two-storey building in the heart of Kronstadt, in a park, close to the main square and the town's main sight, the Naval Cathedral. The residence includes a living room, an atelier and bedrooms. Total are of the residency now is approx. 150 sq.m. The residency can house 3-4 artists at a time if they are ready to share the atelier, kitchen and bathroom. Next year a small exhibition hall will open which will be also used for seminars and workshops. It takes about 40 minutes to get from Kronstadt to St.Petersburg by car or shuttle bus. Shuttle buses will take you from the center of Kronstadt to some metro stations in St.Petersburg. Contacts: National Center for Contemporary Art 111/3 Nevsky Avenue 193036 Saint Petersburg Russia tel: (812) 431 9905, (812) 717 7967 fax: (812) 431 9905 [email protected] <a rel="nofollow" href="http://www.cyland.ru/">http://www.cyland.ru/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Film/Video/Theatre: Assistant Professor, (tenure-track position to begin August 2008) – dynamic individual to teach courses in progressive integrated video/film and theatre department with emerging interdisciplinary graduate program in applied media arts. Department requires innovative professional to oversee the technical production of video, film, and live production and assist in curricular development of graduate classes. Required: M.F.A. in film, video, multi-media, theatre or closely related field. Must demonstrate evidence of quality teaching/advising and commitment to undergraduate and graduate education. Applicant must have expertise with cinematography, lighting, sound and live theatrical production. Applicant must also have a working knowledge in the Macintosh environment, including the major non-linear applications utilized in post-production. Applicant will teach courses as needed but must be able to teach film, video and live technical production. Qualified applicants must submit a letter of interest including e-mail address; vita; recent examples of personal work; and at least three letters of reference (to be sent directly by references or confidential placement file) to: Dr. M. D. Hunt, Chair, Department of Communication Studies & Theatre, Missouri Western State University, 4525 Downs Drive, Murphy Hall 207, St. Joseph, Missouri 64507. Deadline: December 1, 2007 or until filled. Review of applications will begin immediately. AA/EOE. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. FROM: ana otero DATE: December 27, 2007 SUBJECT: Call For Papers and Projects: Second Inclusiva-net Meeting Digital Networks and Physical Space The purpose of this open participation meeting is to explore the relationship between digital networks and physical space in the context of the increasingly widespread use of portable technology and Web applications in connection with the production and management of geographic information. In this meeting, the impact of these devices and platforms on the development of new dynamics and experiences of communicative interaction will be analyzed from the perspective of a broad range of fields including art, anthropology, journalism, politics, sociology, and urban development. Core topics suggested for this meeting are: * New social habits on Web 2.0 related to physical space and geo-localization. The formation of participatory media contents based on spatial annotation: georeferencing and geotagging. Artistic and critical analysis proposals related to these fields. * The development of geographic information systems in Web circles. Technological and social foundations of the emerging Geospatial Web and Geosemantic Web. * The design of alternative “geobrowsers” to use and manage geospatial data and geotagged information. * Bases of the local Web 2.0. “Urban markup” proposals on social networks. Sharing collective, localized memories. Applications in the field of education. * The evolution of open source types of cartographic and mapping tools, and of geosoftware production communities. * Blogs referring to contextual, specific places and areas (place blogging) and hyperlocal journalism. Socializing and critical potentials in the development of hyperlocal networks. * Projects for mobile networks and wireless local networks. Augmented reality projects based on network environments and their potential for developing a new type of participatory digital urban development. * Locative media and network systems. Locative art and locative gaming projects related to collaborative forms and social interaction via the Web or through other interconnected networks. (Important note: In addition to the above mentioned core topics, other work or research will be considered for inclusion in the meeting related to other areas proposed by the artists and/or researchers, provided that those proposals contribute to the overall theme of this meeting.) There are two ways to participate in the meeting (not mutually exclusive): 1. Presenting a project to develop within the production workshop. <a rel="nofollow" href="http://medialab-prado.es/article/2_encuentro_inclusiva-net_convocatoria_para_presentar_proyectos">http://medialab-prado.es/article/2_encuentro_inclusiva-net_convocatoria_para_presentar_proyectos</a> 2. Sending a paper for its public presentation during the meeting. <a rel="nofollow" href="http://medialab-prado.es/article/2_encuantro_inclusiva-net_convocatoria_para_presentar_comunicaciones">http://medialab-prado.es/article/2_encuantro_inclusiva-net_convocatoria_para_presentar_comunicaciones</a> Inclusiva-net is a platform dedicated to the research, documentation, and circulation of network culture theory. Its mainstudy and documentation focal point is the processes of social and cultural inclusion in telecommunication networks and their effects inthe development of new artistic practises and critical knowledge production. Medialab Prado. <a rel="nofollow" href="http://medialab-prado.es/article/2_encuentro_inclusiva-net_redes_digitales_y_espacio_fisico">http://medialab-prado.es/article/2_encuentro_inclusiva-net_redes_digitales_y_espacio_fisico</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. FROM: Rhizomer DATE: December 20, 2007 SUBJECT: Critical Code Studies Blog Hi, all, I wanted to announce the launch of a new collaborative blog titled Critical Code Studies (<a rel="nofollow" href="http://criticalcodestudies.com">http://criticalcodestudies.com</a>). The blog is dedicated to exploring interpretations of computer code within cultural contexts. Rather than focusing primarily on making code function or even the pursuit of "beautiful" code, critical code studies brings in critical theory to examine the ways in which the lines of code reflect, shape, and reproduce our culture including aspects of class, gender, race, sexuality. These criticisms include both the context for the code's creation and the ways in which it circulates in culture. Rather than one specific lens, CCS names a growing collection of methodologies for making/finding meaning in code. Critical Code Studies builds on recent efforts toward software and hardware studies to perform semiotic readings of computer source code. This blog builds off several presentations at the most recent Modern Language Association and Society for Literature, Science, and the Arts conferences. The theme of the SLSA '07 "Code" (<a rel="nofollow" href="http://www.slsa07.com/">http://www.slsa07.com/</a>) reflects a growing movement toward reading various kinds of codes, including computer source code. As cybercritics become more literate in coding languages and practices, increasingly their analysis of technoculture is including excerpts of the code itself. The texts under consideration may be executable programs, pseudocode, scripts, markup, or even code-like, as all of these inform the way code means. Blog co-authors include technoculture critics as well as codework artists. A complete list of blog authors is available below and on the site. The blog offers several resources, including: Growing Bibliography of Critical Code Studies works (also indexed under Citeulike) Links to repositories of code to analyze. Del.icio.us Feed of bookmarks (tagged critical_code_studies) <a rel="nofollow" href="http://del.icio.us/tag/critical_code_studies">http://del.icio.us/tag/critical_code_studies</a> LibraryThing collection of book titles. <a rel="nofollow" href="http://www.librarything.com/catalog/critcode">http://www.librarything.com/catalog/critcode</a> List of related researchers A review of some influential Critical Code Studies can be found in the electronic book review. <a rel="nofollow" href="http://www.electronicbookreview.com/thread/electropoetics/codology">http://www.electronicbookreview.com/thread/electropoetics/codology</a> To join the community of bloggers, please contact Mark Marino. [mark+c+marino [at] gmail [dotted] com. CCS Bloggers * Christian U Andersen * Sandy Baldwin * Gregory Bringman * Patrick Burgaud * Wendy Hui Kyong Chun * Christy Dena * Jeremy Douglass * Aden Evens * Daniel Howe * Mark Marino * Mez * Wayne Miller * David Parry * Rita Raley * Amit Ray * Braxton Soderman * Paul Swartz – Writing Program University of Southern California <a rel="nofollow" href="http://CriticalCodeStudies.com">http://CriticalCodeStudies.com</a> <a rel="nofollow" href="http://writerresponsetheory.org">http://writerresponsetheory.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. FROM: martin howse DATE: December 20, 2007 SUBJECT: xxxxx-workshops: [in]tolerance xxxxx-workshops: [in]tolerance 29 Janaury - 2 February 2008 Club Transmediale Ballhaus Naunynstrasse, Berlin xxxxx-workshops: [in]tolerance presents a series of constructivist workshops specially programmed for the ClubTransmediale 2008 festival,emphasising making and connection within the field of the existent. Workshops are led by international, field-expert practitioners, extending over realms of environmental code, noise, signal transmission, reception, and electromysticism. The workshops will utilise household materials and chemistry, readily-available electronics components, free software and the GNU toolbase. Over the course of five days, participants will have the opportunity to construct a set of various electronic audiovisual artifacts (being either code or hardware) with which a final presentation/performance will be made. In learning how to create complex sound and image generators from the most basic elements, the participants will explore liminal electronic experiences and intriguing phenomena where carefully-engineered borders and parameters are twisted and transgressed, producing unexpected results in performance. Workshops: 29.1. NOISE_PRODUCE by Martin Howse (UK) & Martin Kuentz (DE) 30.1. ONE BIT MUSIC by Frederik Olofsson (SE) 31.1. DIGITAL THEREMIN WORKSHOP by Andrei Smirnov (RU) & Derek Holzer (US/NL) 01.2. CHAOS IN NODES AND NETWORKS by Jessica Rylan (US) 02.2. BASTARD NATURES by Alejandra Nuñes Perez (CL) The series takes inspiration from and continues the development of the (semi)weekly xxxxx workshops held at the Pickled Feet space in Berlin over the last year. It is supported by Arduino. Theme: "…in the good old days of Shannon's mathematical theory of information, the maximum of information coincided strangely with maximal unpredictability or noise…" [Friedrich Kittler: There is no software] Engineers and scientists are concerned with prediction and thus predictability. Inside black-boxed apparatus the faint markings of tolerance, deviations from a predictable scenario towards the encryption of noise, can well be observed by the wily artist. Technology is thus exposed as a material expressing a certain chaos, pure noise of all voices. In return, materiality and an artistic concern with the matter of technology allows for the entry of the unpredictable, environmental noise within an otherwise closed circuit or economy. Registration: xxxxx-workshops is open to anyone, from novice to experienced electronic artist. The workshops will be held in English. You can register for single workshops or for the whole series. In addition to the actual daily workshops, a free open work-area gives everyone opportunity to pursue projects begun in one of the workshops over the course of five days. The registration fee for a single workshop is 10.- EUR, the fee for the series of all five workshops is 30.- EUR. For descriptions of the workshops and workshop leaders go to: <a rel="nofollow" href="http://www.clubtransmediale.de/club-transmediale/xxxxx-workshops.html">http://www.clubtransmediale.de/club-transmediale/xxxxx-workshops.html</a> You can register till January 14, 2008, by sending an email to: [email protected] Please don't forget to indicate which of the workshops you wish to attend. xxxxx-workshops: [in]tolerance is curated by Martin Howse and Derek Holzer, and produced by Jan Rolf and Anke Eckardt for Club Transmediale. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. FROM: Zara Zeitountsian DATE: December 27, 2007 SUBJECT: Black Maria Gallery Presents Discover 3D Discover 3D Black Maria Gallery explores the world of fine art stereography 19 January – 16 February 2008 Opening Reception: Saturday 19th January, 7:00 – 10:30pm Black Maria Gallery: 3137 Glendale Blvd. Los Angeles, CA 90039 Gallery Hours: Tuesday – Saturday, 12pm until 6pm (or by appointment) Artists: Heather Lowe, Abe Fagenson, Perry Hoberman, Claudia Kunin, Franklin Londin, Larry Ferguson, Boris Starosta, Terry Wilson, Levon Parian and Ray Zone. Black Maria Gallery inaugurates 2008 with a January show of eight artists working in three-dimensional media. Curated by 3D artist and writer Ray Zone, the Discover 3D exhibition features a wide-ranging array of stereoscopic images viewed with many different techniques. Among the unique 3D formats presented are View-Master, large-scale wall mounted stereographs and anaglyphs as well as classic formats from visual history that use the conventional stereoscope. Several of the artists create work so that the stereo viewing device becomes an art object in itself, a wall-mounted or freestanding sculpture through which the 3D image is perceived. Other works make a “site-specific” use of the Black Maria Gallery environment to create a stereographic viewing zone. Virtual reality is also suggested by the creation of images that appear to inhabit the gallery space. “It’s exciting to present such a diverse array of stereoscopic images and formats,” observes Zone. “3D imaging is a technique with potential for many fine art applications. The Discover 3D show is a great demonstration of artistic possibilities and just how many unique ways there are to look at three-dimensional images.” + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Commissions Program Rhizome 2008 Commissions Announced! This year, eleven emerging artists/ collectives were awarded commissions in support of new works of Internet-based art. The projects include distributed sound experiments, visually compelling interactive images that blend the sublime and the ridiculous, and pioneering applications that encourage the flowering of creativity across commercial areas of the web. Follow the link below for descriptions of and links to the eleven winning proposals, which also includes our first-ever Community Award, a project designed to enhance participation and communication on Rhizome. <a rel="nofollow" href="http://rhizome.org/commissions/2007/">http://rhizome.org/commissions/2007/</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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. FROM: Klaus Knoll DATE: December 26, 2007 SUBJECT: TRANSARTIST EXHIBITION OPENING, ARTIST TALK, SCREENING, OPEN HOUSE January 17-19, 2008 TRANSARTIST EXHIBITION OPENING, ARTIST TALK, SCREENING, OPEN HOUSE "(New Life) Trajectories", an exhibition curated by Sixten Kai Nielsen of Wooloo Productions, Berlin, which represents, describes and investigates contemporary Nomadism and related topics and practices. "Nomadic Practice: Faust/Wilde/Interzone" artist talk and screening by Leon Johnson. Open House for applicants to the MFA program and new non-credit summer program. PROGRAM OF EVENTS Thursday, January 17 5-8 Chelsea Gallery Night Reception Saturday, January 19 1-3 Open House for Applicants: Presentation and Q&A 3-4 Lecture: Leon Johnson will present a short film and give a talk "Nomadic Practice: Faust/Wilde/Interzone". CHELSEA Gallery Space New York 526 West 26th Street, Gallery 9E, New York, NY 10001 Transart Institute is an international MFA in New Media program for working artists to develop a sustainable creative praxis. The low-residency program consists of four off-site semesters, three summer residencies in Austria; and two winter residencies in the US and Europe. It is intended to lift the boundaries between applied and fine arts, traditional and new media, artists and scholars. The innovative program focusses on content and context. Students are free to pursue work in any media art-related genre and to create their own course of study and to work in the genre(s) which best communicate their ideas including animation, architecture, curating, cyberart, digital and experimental media, film, gaming, graphic design, installation, painting, performance, photography, robotics, sculpture, sound, text, video, virtual reality. Full Program of Events: <a rel="nofollow" href="http://transartinstitute.org/Newpages/Residencies_Trajectories.html">http://transartinstitute.org/Newpages/Residencies_Trajectories.html</a> MFA program: www.transartinstitute.org Certificate non-credit summer program: <a rel="nofollow" href="http://transartinstitute.org/Newpages/ProgramsSummer.html">http://transartinstitute.org/Newpages/ProgramsSummer.html</a> [email protected] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. FROM: Chris Molinski DATE: January 1, 2008 SUBJECT: Pirate Cinema Knoxville Pirate Cinema Knoxville STARTING FRIDAY JANUARY 4, 7PM COPYLIBERATED FILMS EVERY FRIDAY AND SATURDAY NIGHT - 7 PM ——— In war with reality The Film industry's war against pirates is a war against reality. Total control over who is using culture, when they use it and under which circumstances it can be used is not only an illusion, but is also an extreme violation of civil rights – in the fashion of a bad remake of George Orwell's 1984. Naturally, the Film industry is an industry that thrives on the production and selling of fantasy. it portrays an image of a the lonely heroe s fight against injustice, hostile lifeforms on distant planets and the battle between Good and Evil. However, with the claims of how copyright should be protected, it seems the film industry has lost the ability to seperate fantasy from reality. These scare tactics are not new. In the 80's, the game industry made a prophecy that the copy friendly floppydisc would be the end of the video game. The music industry predicted the cassette tape would kill the music industry (and thereby music itself!). In 1982 the former president of the American film lobby MPAA Jack Valenti claimed that "the VCR is to the American film producer and the American public as the Boston strangler is to the woman home alone." Today there is more diversity of media and increased access to both video games, music and film. And this only seems to continue. The battle of copyright is a battle for control. The film industry is fearing to lose control of whch films we want to watch, how we want to watch them and how we produce new film. The technological evolution is giving access to a gigantic supply of film. Video technology is incorporated into cheap cameras and mobile phones. Now that we also can edit our our own film on our computers, the film industry is scared - and they should be - of loosing their monopoly on creating film culture. So far legislators worldwide have been convinced that pirating is as dangerous as aliens and terrorists, and several countries are punishing piracy harder than violence and theft. But Hollywood is forgetting their own history. Companies like FOX grew to giants in the beginning of last century by fleeing the long arm of the patent laws and the patents on film production held by Thomas Edison. The film indutry's war against pirates is a war against the technology, against people and against that reality we all really live in. Pirate Cinema reclaims the cinema. - Pirate Cinema Copenhagen, 1.10.2006 ——- The Art Gallery of Knoxville 317 N Gay St Knoxville, TN 37917 www.theartgalleryofknoxville.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 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 Ceci Moss ([email protected]). ISSN: 1525-9110. Volume 13, number 1. Article submissions to [email protected] 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 [email protected]. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/unsubscribe.php?lists=digest">http://rhizome.org/unsubscribe.php?lists=digest</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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +