Multiple Personalities got you down? These days it seems everyone's wearing many hats online, from their blogs to their dayjobs, their art to their aliases. Rhizome's got the perfect remedy for your identity crisis: Aggregate your many projects on a single site served by Broadspire, Rhizome's trusty host. Broadspire now offers you affordable web services and a chance to drop a dime in our donation box by mentioning 'Rhizome.org' on your registration form. Check out the vital signs on their starter plan... For a low $65 annual payment, you'll get 350MB disk storage, 1GB data transfer a month, POP email, free setup, and daily content back-ups. They also offer larger plans for those whose lives split in more bandwidth-heavy directions. As a special thank-you for signing up, Rhizome will link to your URL and the name or alias of your choice on our front page. Any doctor would approve of this prescription! - Rhizome.org
NOW is a working platform that will take place at the CCCB from 2006 to 2009. The project reflects on the present on the basis of the scientific, technological, artistic, social and spiritual transformations taking place at the start of the 21st century — because today it is no longer possible to explain art and culture without interiorizing scientific concepts and working with a systemic view of the world.
NOW is a process of research, creation and diffusion bringing together different local and international agents involved in promoting a change of paradigm in the information and knowledge society and in globalized cultures
Originally posted on Rhizome.org Raw by Pau Waelder
Next week nearly forty international artists and musicians will visit New York, many for the first time, to revive a defunct downtown bank with a treasure trove of 8-bit wonders. The Blip Festival is the world's largest-ever chiptune event, and will feature most of the field's major players, including Crazy Q (Stockholm), Nullsleep (NYC), YMCK (Tokyo), and others, each performing live music and visual on old Ataris, Commodore 64s, Game Boys, and other old school machinery. Nightly live concerts will be balanced by screenings and workshops, during the day, from November 30-December 3. The festival is co-organized by The Tank, a nonprofit whose Bent Festival of circuit-bending arts was a precursor to Blip, and 8-Bit Peoples, a New York-based collective of 'musicians and artists dedicated to exploring the audiovisual style of low-bit video games and home computers,' including some of the most active practitioners within this genre. The Blip Festival is a partner event in Rhizome's Tenth Anniversary Festival of Art and Technology. We recommend reserving your tickets today. - Rhizome.org
artistic actions in the interconnected urban territory.
Villa Croce Contemporary Art Museum,
via Jacopo Ruffini 3, Genoa (Italy)
25-26 November 2006
Resistant Maps, artistic actions in the
interconnected urban territory is a conference
and exhibition produced by the 'Leonardi V-Idea'
Association (Genoa, Italy) and curated by
Alessandro Ludovico, Gianfranco Pangrazio,
Tommaso Tozzi, Marco Villani.
The representation of territory holds a
historical role in the privileges of power.
Geographical data has always been in its hands.
The regaining of this representation goes through
description and sharing practices (often in
personal perspectives too). This is possible
thanks to collaborative tools and the consequent
value shifting of maps. Maps are not granted
anymore by structures of power, but built by
individuals who, drawing on the ideas of the
psychogeographical movements, redraw the urban
space according to fresh new coordinates.
SATURDAY 25 NOVEMBER 2006
4 PM - 7 PM
Decoder (Raffaele Scelsi)
SUNDAY 26 NOVEMBER 2006
10 AM - 1 PM
Alessandro Ludovico, "Maps to the People"
Wikiartpedia (Tommaso Tozzi)
Cartografia Resistente (Lorenzo Tripodi)
Guerrigliamarketing (Andrea Natella)
3:30 PM - 7 PM
Vittore Baroni, "Functional Schemes, Creative
Diagrams, Psychic Maps, from mail art to United
Arturo Di Corinto, "You're here!"
Franco 'Bifo' Berardi, "Projections"
Brian Holmes, "Network Maps, Energy Diagrams"
Further essays sent by Giuseppe Chiari, Gianni
Emilio Simonetti and Mirella Bandini.
Cartografia Resistente, 'Triangolazione'
Les Flottants, 'Lasciare libero il passo'
Giuseppe Chiari, 'Musica verità', 'Suonare la città', 'Che cos'è un happening'
Vincenzo Agnetti, 'Spazio perduto e spazio costruito'
Guy Debord, 'In girum imus nocte et consumimur igni'
Ernesto Fialdini, Matteo Dentoni, 'Debordare'
This exhibition has been organised with the
support of the Genoa City Council, the Genoa City
Council Head of ...
Originally posted on Rhizome.org Raw by Neural
Hot news from the Amazon Noir -- The Big Book Crime project!
The Bad Guys (The Amazon Noir Crew: Paolo Cirio, Alessandro Ludovico, Lizvlx and Hans Bernhard) stole copyrighted books from Amazon by using sophisticated robot-perversion-technology coded by Paolo Cirio. A media fight and a legal dispute escalated into an online showdown with the heist of over 3000 books at the center of the story.
The Amazon Noir Robots (Sucker01-12) tricked around with Amazon Search Inside the Book function until it gave away the complete volumes of copyright protected books. This was carried out by sending 5.000 - 10.000 requests per book. After this process the data was logically reassembled into pdf-format by the SIB-Book-Generator (see the diagram.)
Amazon Noir was scripted as an internet-movie. The whole digital action (media hack) was carried out in the global massmedia, within the art world and on a highly sophisticated technical level in the clandestine matrix of our global networks.
Amazon USA, U.K., Germany and France were vulnerable targets. During the attack they transformed part of the Search Inside the Book technology to defend the rights of the copyright holders - without actually solving the problem. Over 3000 Books were downloaded and distributed through p2p between April and October 2006.
In July 2006 Amazon France and Amazon USA threatend to litigate. The matter was resolved out of court October 30th, 2006. Amazon (USA/France) bought the Amazon Noir software for an undisclosed sum - both parties signed a non-disclosure agreement.
Originally posted on we make money not art by Rhizome
FUTURESONIC 2007 10-12 May, Manchester UK http://www.futuresonic.com
Futuresonic, the urban festival of electronic arts and music, is
moving from July to May, back to the Spring date it occupied in 2004.
See below for next year's highlights and special advance discounts on
In 2007 the centrepiece of Futuresonic Live will be a celebration of
all things audiovisual and a homage to 40 years of multimedia events.
40 years ago there were the first multimedia events of the kind that
we would understand today. While the rest of the world was
celebrating the soft-centred Summer of Love, a fusion of artforms and
a crossover between avant garde and popular was taking place. This
was the moment when events like Futuresonic became possible...
To celebrate the 40th anniversary of these seminal events,
Futuresonic Live goes back to the future - revisiting one of the
inspirations of the first Futuresonic festival in 1996 - to look at
the cutting edge of immersive sound and image today.
URBAN PLAY http://www.urban-play.org
Urban Play is the art and technology strand of the festival featuring
exhibitions, workshops and interactive projects in the city streets.
It was introduced in Futuresonic's 10th anniversary year, reflecting
Futuresonic's focus since 2004 on artworks in urban space, and has
since been mirrored in other events in the UK and Europe.
Thirty years after Brian Eno's MUSIC FOR AIRPORTS, Futuresonic 2007's
Urban Play presents ART FOR SHOPPING CENTRES, an exhibition of
interactive artworks in a major shopping centre.
Urban Play will also feature FREE-MEDIA activities in association
with Mongrel, MediaShed and Access Space, including a UK first
implementation of the free-media Video Toolkit developed by MediaShed
and Eyebeam (more TBA).
Originally posted on Rhizome.org Raw by drew hemment
University of Seville
International Biennial of Contemporary Art of Seville
24-25 November 2006
Presentations by Friedrich Kittler, Gema Martín Muñoz, Osfa/José Pérez de Lama, Julian Reid, Pablo de Soto, Ana Valdés, Caleb Waldorf, and Eyal Weizman. Moderated by Jordan Crandall.
This Under Fire event generates multiple perspectives onto war and political violence -- deriving from the fields of political science, sociology, visual art, architecture, and media theory. What emerges is an assemblage of disciplinary approaches to the study of armed conflicts, functioning at the level of both practice and theory, anchored in several key sites of contention -- including Lebanon, the West Bank and Gaza, Iraq, and the Strait of Gibraltar.
The conference is divided into two sessions. The first session begins by making the case for a biopolitical understanding of war -- or violence understood in terms of the struggle over the political constitution of life -- and suggests political grounds that must be established for posing anew the problem of "life." Next, it inquires into the (mis)representation of Islamic culture in the West, positioning the role that such representations play in the construction of otherness and the perpetuation of conflicts in the Middle East. And finally, it deconstructs the codes of suspicion, showing how a heightened sense of vigilance, generated by security culture, infiltrates contemporary ways of seeing. The second session inquires into the intersections of combat operations, urban space, and discourse -- delving into the Israeli military's appropriation of poststructuralist theory in urban warfare. Following from this event's geographical specificity in southern Spain, it then presents tactical mappings of the Strait of Gibraltar, positioning the Strait as representative of larger global transformations and exploring the possibilities of counter-reconnaissance. And finally, it looks at the reality of hardware and communications ...
Click-through for full schedule & speaking bios. ~mo
Originally posted on Rhizome.org Raw by Jordan Crandall
Cemetery 2.0 is an interesting work wirelessly networking the grave of Hyman Victor (the great-grandfather of the artist) in Chicago with some online information about him and his life, photographs of his life, a copy of his entry into the largest genealogical database in the world, a link to the family tree of the Jewish People etc.
Cemetry 2.0 is very much a personal exploratory work for the artist [Elliott Malkin], getting to know his great-grandfather (and his family history) and it employs technology to that end. It documents his research but also creates a memory which can permeate and persist beyond any physical media (an actual photograph and itÂ�s siting in say a family album), the memory of any single person (relatives), any physical location (the grave itself) and yet ensures that the grave, the physical memorial, is the place and link to the virtual memorial.
The work, while not using RFID technology, is a work of object hyperlinking. It employs radio frequencies and so shares many of the ideals and [dis]utopian visions we are currently seeing written about the coming, Internet of Things, the benefit of things becoming active in networks and the drawbacks of people being always on[line], always possibly to find and surveil. Comparable work to Cemetry 2.0 includes Semapedia, the object hyperlinking project based around wikipedia. However while this is an application of what is hoped will be a practical technology and raises questions (good and bad) depending on what (or who) is tagged and of course who on wikipedia documents it (amidst claims that wikipedia has accuracy issues and is monopolised), Cemetry 2.0 mangaes to sidestep many if not all of these concerns, in what is already a delicate subject, to truly create a ...
Originally posted on networked_performance by jo
New Media and Social Memory
(Save the Date for this Symposium! Program details to follow.)
Thursday, January 18, 2007, UC Berkeley Art Museum and Pacific Film Archive
What is important to remember? This public symposium will explore how the canonical historical record is created and maintained in the digital age by "memory institutions" such as museums, libraries, and archives, and how digital media artists are influencing/hacking/critiquing this construction of social memory. These issues will be explored in concrete terms by focusing on the tangible case study of preserving digital art as emblematic of the larger social issues in preserving digital culture.
Works of digital and Internet art, performance, installation, Conceptual, and other variable-media art represent some of the most compelling and significant artistic creations of our time. These works constitute a history of alternative artistic practice, but because of their ephemeral, technical, or otherwise variable natures, they also present significant obstacles to accurate documentation, access, and preservation. Without strategies for preservation, many of these vital works-and possibly whole genres such as early Internet art-will be lost to future generations. Long-term strategies must closely examine the nature of ephemeral art and identify core aspects of these works to preserve. New media gives us the challenge and the opportunity to revisit the question "what is important to remember?" on a long-term, public scale.
This event is part of a consortium project, "Archiving the Avant Garde", funded by the National Endowment for the Arts (see http://bampfa.berkeley.edu/ciao/avant_garde.html for details).
Read thru for contact information
Originally posted on Rhizome.org Raw by Richard Rinehart
III INTERNATIONAL FESTIVAL OF ELECTRONIC ART 404
WHAT IS THE 404 FESTIVAL?
"404" is a independent non profit project whose main goal is to promote and spread artistic productions around the world in field of Electronic Art, creating also a production enviroment in which authors can exhibit their works and interrelate.
Starting from an anual international calling and the subsequent selection of works, "404" supports artists whose proposals are based on originality and research.
In 2005, over 200 works have been selected over a total of 1200 works presented by authors from 46 countries in the following categories: net.art, still image, animation, video, audiovisual set, music, theory, instalations and performances, taking into account that new ways of productions and language constructions always exceed the number of categories.
"404" is an artistic event created by "Astas Romas" located in Rosario (ARG), which is an urban and cultural center with more than one millon inhabitants.
This Festival, open to the public and free of charge, is endorsed by cultural organizations from Europe, North America and Latin America.
As a result of the 2006 call, 126 artworks from 27 different countries in the following categories: Net.Art, Still Image, Animation, Video, Music, Audiovisual-Set, Theory, Performance and Installation.
Authors from Japan, France, Serbia, USA, Canada, Brazil, Mexico, Argentina, Peru, Chile, Italy, Belgium and Holland, among others will be present at the Festival.
Online shedule: www.404festival.com/eng/cronograma.htm
For further information, please visit www.404festival.com & www.astasromas.org
WHEN AND WHERE?
The III "International Festival of Electronic Art 404" will be held in Rosario, Argentina, from November 30th to December 03rd, 2006, in the "Plaza Civica" and "Parque de Espana" Cultural Centers.
Originally posted on Rhizome.org Raw by Rhizome