Posts for March 2010

FAVICONTEST: Winner(s)

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So... Team Rhizome™ got together yesterday to determine the winner of our FAVICONTEST and I must admit that it was intense... a little too intense. After many long hours of screaming, clawing, and hair-pulling we were no closer to reaching an agreement on which of the user-submitted favicons to ordain as victor as we were when we started. Out of this ideal-driven hate-fest, the decision was made to share the spoils and select several favicons to use for Rhizome.org. So... in the coming weeks we are going to generate a 'favicon randomizer' that will load one of the following four favicons everytime the page is loaded. So without further ado, I present the winner(s) of FAVICONTEST:


by Adam Okrasinski

by Ben Coonley

by Daniel Leyva

by night-falls.net


In closing, I would like to sincerely thank everyone who submitted a design. We were truly overwhelmed by how many good options there were to choose from and totally honored that you took the time to participate.

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Reminder

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The Office for Parafictional Research has been established to study the implications of a body of work by artist duo Goldin+Senneby known as Headless. For the past three years, the Stockholm-based collaborators have been investigating an offshore company called Headless Ltd as part of a larger inquiry into strategies of absence, invisibility, and withdrawal. Their project, also called Headless, has emerged in a number of formats thus far, including lectures and readings, a series of newspaper interventions, an author’s personal journal, a suite of etchings, a number of critical essays, a scattering of stage-like tableaux, a documentary film, and—most importantly—a serial novel-in-progress. But Goldin+Senneby’s own position in this remains elusive, as they outsource all representations of their work to independent practitioners and dispatch spokespeople on their behalf for public events.

One such event is The Headless Conference, which shares little of the heady cloak-and-dagger suspense found in the fictional texts that the project spawns. The conference will take the form of an academic symposium on issues pertinent to the discourse surrounding Goldin+Senneby's work. Up for discussion are topics as diverse as the economic theories of George Bataille and the nature of virtual spaces built by offshore finance networks. Participants are to include Angus Cameron, lecturer in human geography at the University of Leicester and Goldin+Senneby's chosen emissary; Brian Droitcour, Rhizome staff writer; Keller Easterling, associate professor at the Yale School of Architecture; Ginny Kollak, director of the Office for Parafictional Research and second-year graduate student at the Center for Curatorial Studies, Bard College; and Allan Stoekl, professor of French at Penn State University.

The Headless Conference
Friday, March 19, 2010
7:00 pm
New Museum Theater
235 Bowery, New York
$6 Members/ $8 General Public
BUY TICKETS

The Headless Conference ...

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Putting the capital in decapitation

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Goldin+Senneby, Headless, 2007- (Photo: John Barlow)

As a lead-up to the Headless Conference, co-organizer Ginny Kollak shares her essay “Putting the capital in decapitation” which is excerpted from the brochure accompanying the exhibition “The Office for Parafictional Research Presents Headless: Work by Goldin+Senneby” on view through March 21 at CCS Bard. The Headless Conference is a mini-symposium for this exhibition.

Goldin+Senneby is the identity-resistant “framework for collaboration” established by Stockholm-based artists Simon Goldin and Jakob Senneby in 2004. An interest in capitalist logic and networked culture guides their investigative practice, which explores juridical, financial, and spatial infrastructures through performance and role-playing, invented (and often virtual) realities, writing and publishing, and public interventions.

Headless (2007-) is the artists’ ongoing analysis of the shadowy realm of offshore finance. The subject represents a nearly perfect encapsulation of Goldin+Senneby’s many preoccupations, but perhaps its most relevant feature is its provocative and strategic use of masking, secrecy, and withdrawal. The system is evasive by definition: its procedures allow a company’s assets to be protected from taxation or other bureaucratic regulation, and the identities of its owners and their true business practices can be concealed. In spatial terms, examining an offshore company can be thought of as encountering a space that shifts readily from an impenetrable barrier to an empty void—like a hologram, it appears and disappears according to the perspective from which it is viewed. From a moral standpoint, offshore’s slippery visage is just as apt to inspire bored yawns as righteous indignation: one man’s exploitation is another’s tedious paperwork. Still, like most unknown territories, offshore triggers mainly sinister readings. A more anthropomorphic understanding might conceive the offshore company as something monstrous—a decentralized, elusive body that moves without any visible means of control—a ...

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Call for Applications

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The Berlin University of the Arts (UdK) is offering an award to artists (fine art, media, architecture, design, music, theatre, visual communication etc.) and scientists who work between the arts and sciences. Prize-winners will receive 7,500 euros which can be used in the realization of projects, or projects that are already underway. For more information or to apply, visit the original call here.

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Home of the Brave (1986) - Laurie Anderson

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Home of the Brave is a 1986 American concert film featuring the music of Laurie Anderson, who also directed the movie. The film's full on-screen title is Home of the Brave: A Film by Laurie Anderson. The performances were filmed in Brooklyn during the summer of 1985.

-- FROM THE WIKIPEDIA ENTRY FOR "HOME OF THE BRAVE"

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Drone Machines

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The ambient noise of common machines and the unexpected sounds that come from familiar objects have been a part of music for some time, but over the last fifteen years French artist Céleste Boursier-Mougenot has been joining the two, using instruments and objects to construct complex, apparently self-sufficient systems that play music without any beginnings, endings, or performers. Videodrones (2001) isolates and amplifies the hum that all video signals make when hooked into audio systems. From Here to Ear (1999) now showing at the Barbican in London, is an aviary that resonates when its finches alight on electric guitars. In Harmonichaos, which was on view at Paula Cooper Gallery until this weekend, Boursier-Mougenot affixes the grooves of harmonicas to the mouths of vacuum cleaners, and the staggered grid of thirteen pairs produces an undulating, reedy drone.

The set-up of Harmonichaos could only be the product of a playful mind, even though its appearance deflects suggestions of human involvement. Both the vacuums and harmonicas have an assembly-line sameness, and while they perform according to design, their functions have been diverted away from the needs for clean homes and entertaining song that they were intended to meet. As a viewer and listener, you're made to feel like a confused outsider: a system of switches modulates the intensity of the air flow, as well as the sound emanating from the vacuum cleaners, but it's nearly impossible to identify the source of these fluctuations. False clues are sent by a randomized blinking of bulbs on the vacuums' bodies. As usual, Boursier-Mougenot brings a sense of humor to his work, from the irony of the hokey harmonica becoming eerie when forced to drone (like the accordion in the music of Pauline Oliveros) to the punning title. He finds both harmony and chaos in ...

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Rhizome at SXSW Interactive

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Rhizome's Director of Technology, Nick Hasty, is in Austin this week, attending SXSW Interactive. He's tweeting during the festival, you can catch it here.

Stay tuned, as Nick will contribute a longer report about the panels, special events and other technology-related goodness from his time down there soon.

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bronzino1.jpg (2009) - Hexagram

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Free, Bird

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Former Rhizome Fellow Tracky Birthday (aka Dennis Knopf) of netlabel Upitup has teamed up with sister net denizens Ego Twister, Peppermill, Proot, WM Recordings, and Cock Rock Disco to produce the compilation Greatest It, downloadable for FREE here. Each label selected a few choice tracks from their catalog to contribute to the comp, so you get a feel for the artists they support and work with. Netlabels have been carrying the torch for the copyleft cause for awhile, and Greatest It is a concise sampling of what a few of those labels have been up to recently. Check it here.

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Room (2009) - Brenna Murphy

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