Faculty/Student Web Project


Krista Hoefle:

Announcing a collaborative faculty and student
web project sponsored by the Center for
Women's Intercultural Leadership (Saint Mary's College,
Notre Dame, IN)...

Saint Mary's College Department of Art faculty and students--Profs. Julie Tourtillotte and Krista Hoefle with students Emily Fannon
and Kristin Stransky--will be attending the Transmediale
Digital Art Festival in Berlin, Germany as 'g.volt--girls
engaged in the digital art r/evolution'--from February 2-8,
2006. Track their ongoing adventures via blog, photos,
and virtual maps updated regularly at their website--
www.gvolt.org--beginning Thursday, Feb. 2nd.

Please contribute to our database of emerging digital media artists by submitting your url...follow the "submit this" button off of our splash page at www.gvolt.org!


Originally posted on Rhizome.org Raw by Krista Hoefle

Dorkbot #000002 Tokyo


Finally, someone posted a report on dorkbot #000002 tokyo (in Japanese). So, here's a quick summary in English.

This dorkbot took place as "Dorkbot Hour" in bend++. bend++ is an event about bending anything (including electronic circuits.)

Anyway, the first performer of dorkbot tokyo #000002 was quarta330. He did some live music performance using colorful (bended) kid's electronic toys as well as a sequencer made with a gameboy and a mysterious cartridge.

The second performer was Nao Tokui, he's currently working on "Phonethica", a unique phonetic search application. When a user inputs a word (in any language), the application retrieves words with similar pronunciations in many different languages, and then displays them as a collage. This software could potentially make the user interested in various languages in the world.

[People watching Manabu Suzuki's performance.]

The third performer was Manabu Suzuki. He is known to make strange DIY electronic circuits and use them for live performances. This time, he showed a device that integrates oscillator circuits with "unstable elements" such as photo sensors and water. One of his devices was a musical instrument that uses a kettle and a tub, in which electric contacts are inserted. Water running through the kettle and the tab transmits electric signals that encode sound/music. Another device integrates a water decomposition process and an electronic circuit.

The last performer was The Bread Board Band. They use bread boards (boards with lots of holes, commonly used for assembling electronic circuits.) Yes, the band uses bread boards as musical instruments. Five members play various things including an analog drum machine, iPod, PSoC (Programmable System-on-Chip), magnetic tapes, and of course bread boards. Using palm-sized bread boards, they produced extremely violent and vivid sound. In the latter half of the performance, it was even combined ...


Originally posted on we make money not art by Rhizome

Keith Sanborn on the Films of Guy Debord from Artforum


Society of the Spectacle
 THE THING board member Keith Sanborn on The Films of Guy Debord from the February 2006 ARTFORUM:

Keith Sanborn

"GUY DEBORD MADE VERY LITTLE ART, but he made it extreme," says Debord of himself in his final work, Guy Debord, son art et son temps (Guy Debord: His Art and His Time, 1995), an "anti-televisual" testament authored by Debord and realized by Brigitte Cornand. And there is no reason to doubt either aspect of this judgment. While Debord has been known in the English-speaking world since the 1970s as a key figure in the Situationist International and as a revolutionary theorist, it is only in the past decade that his work as a filmmaker has surfaced outside France. One reason is that, in 1984, following the assassination of Debord's friend and patron Gérard Lebovici and the libelous treatment of both men in the French press, Debord withdrew his films from circulation. Though the films were not widely seen even in France, four of them—by the time they were withdrawn—had been playing continually and exclusively for the previous six months at the Studio Cujas in Paris, a theater financed for this purpose by Lebovici.


Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome

Pigeons that blog


Food for thoughts for the workshop about “blogjects


Originally posted on pasta and vinegar by Rhizome




Technology, Games, Empowerment

Bordergames is a series of workshops, a videogame engine and an editor which allows young migrants not only to design a video game where their experiences are the main element, but also to learn the importance of taking over new technologies and using them to self organize and recover the control over their own lives and environments.

Bordergames is a working project directed to young migrants, in this first stage Moroccan teenagers living in Madrid. Our basic tenet is providing a series of tools for them to fully recover their right to their own word and expression, and doing it in a language they feel specially close to them: that of videogames.

Bordergames organizes meetings and workshops...through which the Moroccan kids discuss the stories they want to tell and then learn programming, editing and producing 3D scenarios and characters for the videogame they have decided to produce. Related: mimoSa


Originally posted on networked_performance by jo

Breaking News That Happened The Other Day


[....]In other news, reblogger Rick Silva collaborates with Abe Linkoln to bring you rssjockey or "the rss block party". What can I say, I like the mix. Admittedly, my opinion on this may be influenced due to the fact that I've been sampled.


Originally posted on Art Fag City by Rhizome

Divorce, videogame-style


"Earthquake in Zipland" is a PC game for children with divorced parents. It's an adventure game, where the main character is torn between the King and Queen of the island, which split apart after an earthquake. The game will be out soon but meanwhile you can download a demo and watch a Windows Media video that gives you an overview


Originally posted on Water Cooler Games by Rhizome

node.london - states of interdependence


A collaborative text written by Marc Garrett and Ruth Catlow, for "Media Mutandis: A Node.London Reader" (to be published in February 2006)

There is a Sufi fable in which a group of foreigners sit at breakfast, excitedly discussing their previous night’s exploration. One starts saying “…and what about that great beast we came across in the darkest part of the Jungle? It was like a massive, rough wall.


Originally posted on MAzine - Exploring the potential of networked media by Rhizome