Posts for November 2006

Open Position at UC Berkeley

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Richard Rinehart:

Center for New Media, University of California, Berkeley.

Berkeley's cross-disciplinary Center for New Media is seeking highly qualified candidates for a tenure-track faculty position at the Assistant Professor level beginning July 1, 2007, pending budgetary approval.

The Center for New Media, founded in 2004, focuses on the growing set of representational technologies that emerge from the paradigm of computation. The Center investigates the ways that new media have changed social and individual experience, and to anticipate and impact the future of digital media. The CNM combines research perspectives from art, technology, design, and the humanities. It has several full-time faculty and over 100 affiliated faculty representing 31 departments across campus. The Center offers graduate and undergraduate courses, a Designated Emphasis in New Media at the PhD level, and a variety of lectures, special events, and symposia.

Applicants should demonstrate scholarly command of the history and critical theory of New Media via written publications and experience with cross-disciplinary dialogue across divisions. Special attention will be paid to applicants with skills in designing and implementing innovative systems, games, artworks, or other modes of scholarly communication that explore contemporary issues.

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Read through for full post, and see Rhizome Opportunities for job listings, calls for art, papers and more..

Originally posted on Rhizome.org Raw by Richard Rinehart


Upgrade! New York

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Main Image Top Middle
Perry Lowe:

Live Sound and Cinema
tobias c. van Veen, Trace Reddell and Jamie Allen
Nov. 11, 2006 at 7:30pm

Nov. 11 at 7:30pm Upgrade! New York features artists working with live sound and cinema. tobias c. van Veen, Trace Reddell and Jamie Allen will perform and discuss their new audio works. This event takes place at Eyebeam's Chelsea exhibition space, 540 W. 21st Street between 10th-11th Aves. and is open to the public free of charge

tobias (curator of Upgrade! Montréal) will poke his head into the ether of the airwaves to perform a short interpretation of AUTOSEVOCOM TACSAT and will give a taste of the as-yet unreleased audiowork FOIL. AUTOSEVOCOM TACSAT explores surveillance frequencies of encoded police channels against a backdrop of low-end sound composed from fragments of real and virtual war-torn landscapes. In FOIL a blend of urban recordings from a peaceful Western city with its modernist though unpeaceful counterpart in Beirut falls prey to explosive interventions in EA's BattleField 2 online wargame, eventually detonating itself into the debris of alterity

Trace will perform his new live cinema work, “somaticosmos.” In the "somaticosmos," cosmic dissonances intersect with bodily pulse and flow, situating human experience within a barometer of galactic conditions. Noisy space transmissions give way to lush and alien terrains, occasionally disrupted by streams of microscopic rhythms and staticky beats. The visual performance melds the techniques of live VJ projections and digital lumia with the cosmic cinema of Jordan Belson.

Jamie will perform Circuit Music, a platform for improvisational audio circuit building using oscillators and amplifier components. During the performance, all audio is fed unprocessed (save a compressor) to a PA system (stereo), and a video feed of the minutia taking place at the circuit boards, via miniature camera, is relayed to ...

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Read thru for participant bios

Originally posted on Rhizome.org Raw by Perry Lowe


New Site Editors & Curatorial Fellow

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Marisa Olson:

Hello. I'm writing with a few updates about our volunteer roster.

We had an overwhelming number of responses from people who wanted to be Site Editors. (I've tried to get back to everyone, though my email was briefly knocked out, last week.) Because there were so many responses and we're more interested in diversity than "gatekeeping," we decided to sign people up on a first-come basis. The newest additions to our list are Luis Silva, Seth Thompson, Lee Wells, and Tyler Jacobsen. They join recently-added Site Editors John Michael Boling, Hanne Mugaas, and Michael Parenti, and ongoing Site Editors Greg Smith, Ryan Griffis, Pau Waelder, Nicholas Economos, Mark Cooley, Lauren Cornell, and myself. Interns Ana Otero and Miguel Amado (see below) will also begin reblogging, soon. FYI, T.Whid and the former staff members who were previously Site Editors (Mark Tribe, Alex Galloway, Rachel Greene, Kevin McGarry, and Francis Hwang) have now become "Emeritus." Big thanks to everyone for their commitment. I'll be calling for more Site Editors in the future, for those who may be interested.

Meanwhile, I also wanted to announce that Miguel Amado will be joining the Rhizome crew as our 06-07 Curatorial Fellow, beginning this week.

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Read through for full post, including Amado bio

Originally posted on Rhizome.org Raw by Marisa Olson


Open Source Music

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When one speaks of 'open source culture,' they are typically referring to the social conditions created in an atmosphere of sharing. Open source software is not only freely available, its source code is also revealed to encourage collective authorship, improvement, and personalization. The increasing popularity of such publishing contexts has led to a broader movement of activists, coders, lawyers, artists, and others questioning contemporary copyright law, and challenging the 'code' that prohibits collaboration. American sound artist Demon Doctor carries these concerns over into his work, equating music with language and sounds with letters, ultimately asking 'who owns the alphabet.' For his new album, 'Onliness v1.0.1,' the artist sampled public archives of ethnographic recordings, found phonography, and film scores, and reprocessed them using analog and digital synthesizers to create twenty-one new brick-hop and trancehall tracks. 'Onliness' premieres at Boston's Samson Projects on Saturday, November 11th, where Demon Doctor will collaborate with DJ Spase1, in a series of live interpretive mashups, carrying the open source ideal into a performative realm. Needless to say, the entire album is freely downloadable, so readers can remix the tracks for themselves. - Marisa Olson

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ArtBots: The Robot Talent Show (photos)

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293509889 B7801D2F2F
I stopped by the Artbots opening in NYC and took some photos, definately something to check out if you're in the NYC area... Jonah Brucker-Cohen's "IPO madness" is a lot of fun.

ArtBots is very happy to announce a regional NYC show as part of the science+art festival 2006 this fall. The show will feature works old and new by eight New York artists who have appeared in previous ArtBots shows.

Thursday-Sunday November 9-12, 2006, Noon-6pm

Where:
Location One
26 Greene Street (between Canal and Grand)
New York City!

ArtBots: The Robot Talent Show - photos & more.

[Read this article] [Comment on this article]

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Originally posted on MAKE Magazine by Rhizome


Walter Ruttmann

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ruttman.png

Lichtspiel Opus I

With a background as a painter, and cellist/violinist, Walter Ruttmann found his way to making experimental abstract animations in the 1920s, and later, feature length documentary films.

Ruttmann was in a milieu of painters, poets and musicians who saw in the new media a possibility to expand the limits of the fine arts. They described their abstract films as visual music, seeking to achieve a similar experience in the visual as in music. The overall idea of their works was also linked to the concept of the absolute film; the idea of a universal language of abstract images.

Ruttmann's most well-known film is Berlin-Symphony of a Great City, which utilized the Kino-Eye or Cinematic-Eye technique of Dziga Vertov. This is documentary filmmaking at its most poetic and expressive. His later World Melodies expanded on the synthesis of the visual and the musical with scenes taken from all over the world.

During the late 1930s Ruttmann delved deeper into documentary filmmaking, which likely led to his work on various propaganda films. As Germany moved towards World War II, Ruttmann worked with Leni Riefenstahl in the writing of the famous Nazi propaganda film Triumph of the Will(1934), and later the editing of Olympia (1938). Whether or not Ruttmann would have suffered the same lapse in reputation that Riefenstahl did after the war will never be known, as he was killed on the war front making a newsreel just three short years later.

Weekend (1930) 11'10": Weekend is a pioneering work from the early days of radio, commissioned in 1928 by Berlin Radio Hour. In a collage of words, music fragments and sounds, the film-maker and media artist Walter Ruttmann presented on 13 June 1930 a radically innovative radio piece: an acoustic picture of a Berlin ...

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Originally posted on networked_performance by jo


Open Source Music

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When one speaks of 'open source culture,' they are typically referring to the social conditions created in an atmosphere of sharing. Open source software is not only freely available, its source code is also revealed to encourage collective authorship, improvement, and personalization. The increasing popularity of such publishing contexts has led to a broader movement of activists, coders, lawyers, artists, and others questioning contemporary copyright law, and challenging the 'code' that prohibits collaboration. American sound artist Demon Doctor carries these concerns over into his work, equating music with language and sounds with letters, ultimately asking 'who owns the alphabet.' For his new album, 'Onliness v1.0.1,' the artist sampled public archives of ethnographic recordings, found phonography, and film scores, and reprocessed them using analog and digital synthesizers to create twenty-one new brick-hop and trancehall tracks. 'Onliness' premieres at Boston's Samson Projects on Saturday, November 11th, where Demon Doctor will collaborate with DJ Spase1, in a series of live interpretive mashups, carrying the open source ideal into a performative realm. Needless to say, the entire album is freely downloadable, so readers can remix the tracks for themselves. - Marisa Olson

http://www.onliness.org

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Originally posted on Rhizome News by Rhizome


Revisiting Urban Space

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Mexican artist Juan Gilberto Esparza Gonzalez’s street interventions are really nice ways of exploring the city in creative ways through sculptures that integrate into the fabric of urban life. The above picture is a “Streetlamp Tree” of sorts where Esparza connected up 6 lamps to one pole on the streets of Mexico City. some other projects of his include painting street lines in curves to attempt to add some less rigid pathways for cars in urban space: pictured below:

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Originally posted on coin-operated by jonah


Ricardo Miranda Zúñiga

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net.art as on-line activism

"Introduction: Over the last ten years, the Internet has embedded itself in the daily lives of a vast number of people. As a new telecommunication technology, it allows the common individual to engage in a cybernetic system that is globally networked. Today, however, a race goes on to establish the social dynamics of the Internet as a public arena. Will cyberspace become a highly monitored and regionalized control space or will the Internet retain its radical potential for independent endeavors and ideological exchange? The political implications of the Internet as a social network present rich issues for creative and critical cultural production.

The nature of the Internet as a network of connected computers to exchange information engenders a sense of liberty and freedom in the individual. Early in its development, mainframe teams established host-to-host protocols such as Telnet and File Transfer Protocol (FTP) that decentralized computer networking between independent users from the main frame.1 As the network grew it evolved into a new, democratic public sphere of communication via a globally expansive routing system and a vast array of on-line applications, amongst them electronic mail, and the world wide web.2 The individual was able to interface with an enlarged public, and a new dialogical space emerged.

Given the numerous forms of exchange possible via the Internet, on-line activity parallels Nancy Faser�s re-articulation of Jürgen Habermas�s public sphere as put forth in his 1962 book, The Structural Transformation of the Public Sphere. Habermas presents the public sphere as a bourgeois arena for exchange where citizens may discuss common affairs, a model based in the old town hall. In the essay, Rethinking the Public Sphere (1993), Nancy Fraser updates and expands the Habermasian public sphere beyond institutionalized public forums to include the market ...

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Originally posted on networked_performance by jo


American Ophoniste Idol

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American Ophoniste Idol @ Monkey Town, Williamsburg, Brooklyn
Tuesday November 21, 2006, 8.30pm, $8 entrance
http://monkeytownhq.com/ophoniste.html

AMERICAN OPHONISTE IDOL is the most prestigious title in international Ophoniste artistry. On Tuesday November 21, at Monkey Town, the 2006 winner will be crowned. The audience will see local noisemakers, para-symphonic alarmists, and the most infernally addicted loopaholics battle it out musically. The Ophonistes are judged by a panel of effusive yet stern NYC sound-passionates. After the American Ophoniste Idol is crowned, the celebration begins in which the Ophones are free for all to play with.

PROGRAM
8.30 pm: Doors open
9-10.30 pm: American Ophoniste Idol
10.30 and onwards: Open Ophones

The FOUR OPHONES is an interactive sound installation that allows the users to record sounds that are replayed infinitely until replaced by other sounds. The installation provides a space for playful musical collaboration and language-independent conversations where the visitors themselves become composers, instrumentalists, and listeners at the same time. The Ophones foster everything from subtle interference etudes to collaborative chanting, semi-automated social commentary to dense polyrhytmic drone parties.

The Four Ophones have been exhibited at, among other places, Ars Electronica Festival in Linz, PixelACHE in Helsinki, and Mal au Pixel in Paris. The Four Ophones are on a New York tour November 16-22, 2006, coordinated by Brooklyn based curator Elna Svenle. http://www.unsworn.org/ophones/nyc2006/

UNSWORN consists of Erik Sandelin and Magnus Torstensson, who are, apart from Ophone designers and manufacturers, an art and design duo based in Malmö, Sweden. http://www.unsworn.org

Monkey Town is located at 58 N 3rd Street (between Wythe and Kent) in Williamsburg, Brooklyn. Subway: L train to Bedford Ave. Phone: (718) 384 1369.

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Originally posted on Rhizome.org Raw by Rhizome