Oh No! You are running out of time to participate in "The Rhizome 50,000 Dollar Webpage". You only have TWO more weeks to purchase pixels. On May 28th the grid will be locked and will be on display at the New Museum for our annual benefit event. Purchasing pixels on "The Rhizome 50,000 Dollar Webpage" is a great way to bring exposure to your project and at the same time lend crucial financial support to a non-profit organization in a harsh economic climate. If you need help of ANY kind (we can create graphics for you, resize an existing image, or talk you through the entire process over the phone!) please don't hesitate to e-mail us at email@example.com.
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Long a destination for filmmakers to showcase their work, the International Short Film Festival Oberhausen has expanded its program in recent years to incorporate experimental film and video art. Beginning in 2006 distributors, such as Lux, Electronic Arts Intermix, Netherlands Media Art Institute, and the Canadian Filmmakers Distribution Center, were invited to spotlight works recently added to their catalogs. This portion of the festival was rounded out by “Unreal Asia”, a themed series of screenings of Southeast Asian film and video art, as well as a profiles on Japanese experimental filmmaker Matsumoto Toshio, Mexican filmmaker Nicolás Echevarría, German filmmaker Herbert Fritsch, the Sarajevo Documentary School and a retrospective on the Russian art group the Factory of Found Clothes. Annual segments, such as the MuVi award for music videos, an international competition, a competition including only German work, and films made by children, were scheduled alongside the thematic programs, resulting in a diverse and active six-day calendar. I had the opportunity to attend the festival for the first time a week ago, and caught a number of the screenings.
Rhizome and Internet Week NY, an annual festival of events celebrating New York's thriving Internet industry and community, seek submissions for a new competition: the Featured Online Artwork of Internet Week NY. Artists and innovators of any stripe are invited to participate by submitting existing or new works around the theme of Web 2.0.
Variously conceived as pioneering business paradigm, mass entertainment, hype or simply old hat, the concept of Web 2.0 has captured the public's imagination while the websites that have come to represent it, have captured the public's free time. Building on Rhizome’s 13-year history as a leading organization dedicated to the challenging and dynamic field of Internet art, we are seeking artworks that consider the Web 2.0 in all its complexity, from its underlying philosophy and history to the possibilities and also problems it opens up for the millions of users now online. Relevant artworks will explore the formal mechanics of Web 2.0 websites, intervene in their rote operation, use them as a platform for performance, mine their databases for use as source material, or any other form of expression that turns Web 2.0 into art inspiration. The only stipulation outside this theme is that works be fully realized and viewable online.
The selected artwork will be featured on the Internet Week NY website for the duration of the festival (June 1 - 8, 2009) and permanently archived in Rhizome's singular archive of digital art, the ArtBase.
To enter the competition please e-mail a link to the work, a description, a bio and contact information to firstname.lastname@example.org with the subject line "Internet Week". The deadline for submission is May 29th.
Export to World seeks to comment ironically on the design and production of merchandise in virtual worlds. At Ars Electronica in Linz, retail space on Marienstrasse was temporarily converted into a shop like those found in Second Life. Large scale display ads showed what's for sale: custom-made or purchased virtual objects that shoppers could buy at a price determined daily by the current Linden dollar/euro exchange rate. Instead of the acquired object suddenly appearing in the purchaser's inventory, though, the proud owner received a a two-dimensional paper representation of it which he/she could manually fit together into a three-dimensional object on site. The final results are paper representations of digital representations of real objects, including all the flaws that copying entails.
To schedule a free guided tour of Second Life contact: koolaidmaninsecondlife [at] gmail [dot] com
Any set has begin and end, but the Lucky Dragons played that down in a New York appearance last Saturday; they switched on some recorded sounds as the audience was taking seats, and demonstrated their equipment and chatted after the music’s long, slow fadeout. The structure suits the group’s hippie philosophy that doesn’t assign prominence to any musical moments, but treats all sounds (and people) equally. They also tried to erase borders between performer and audience by encouraging listeners to be mobile, approach the instruments, and improvise, although the narrow length of The Stone, crammed with folding chairs, made it tough for anyone past the two front rows to join in. Lucky Dragons stalwarts Luke Fishbeck and Sarah Andersen were joined by drummer Ches Smith and guitarist Grey Gersten, the curator of The Stone’s program this month.
Once everyone was settled in place, Smith and Gersten entered lightly, playing inside the framework of the electronic pulse already hovering in the venue. Gersten struck and dampened his instrument’s strings percussively, rather than playing melodies. Over time the drums and guitar settled into a hazy backdrop for electronic, pentatonic glissandos emanating from Fishbeck and Andersen’s hacked instruments. Later on they handed audience members a short-circuited wire—wrapped in a colorful knit cozy for safety—that played triadic chords when touched, varying volume according to intensity of squeezes and the amount of grounding (Fader recorded a demonstration of it). The accidental harmonies of that cord, like most of the sonorities in the Lucky Dragons’ music, seems to skip across the overtone series, as if the electronic tool is just picking up the natural vibrations hanging in the air. It could be the signature instrument in their wired drum circle ...
Digital Arts and New Media (DANM) Technical Coordinator