Alena Williams
Since the beginning
Works in New York United States of America

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DISCUSSION

Re:list,welcome to my hometown


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DISCUSSION

FW: EAI Artists' Web Projects Launch Invitation


EAI ARTISTS' WEB PROJECTS LAUNCH

* Torsten Zenas Burns & Darrin Martin
* Beth Coleman & Howard Goldkrand
* Tony Martin

Wednesday, April 23, 2003
7-9 pm (Live demo of "Vernacular" at 8 pm)
Electronic Arts Intermix (EAI)
535 West 22nd St, Fifth Floor (between 10th & 11th Avenues)
(212) 337-0680

Please join us for the launch of three new artists' projects for
the Web. These projects inaugurate a new EAI initiative for the
creation and presentation of innovative digital artworks for the
Web. These projects, which explore the potential of interactive
media as a vehicle for creative practice and cultural discourse,
can be viewed at http://www.eai.org.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

LESSON STALLS: LEARNING NET
Torsten Zenas Burns and Darrin Martin

Burns and Martin began their collaborations in the video and
sculpture programs at the School of Art and Design at Alfred
University. Together they have based their single-channel
videotapes and interactive media works on their research into
diverse speculative fictions and re-imagined educational
practices. In "Lesson Stalls: learning net" Burns and Martin
establish an online training complex in which "classroom
sessions" investigate the philosophical and technical aspects
of an intra- and extraphysical society.

VERNACULAR LIVE FROM ELECTRONIC AMERICA
Beth Coleman and Howard Goldkrand

Beth Coleman and Howard Goldkrand's work combines
electronic media installation, sculpture, performance, and a
conceptual art practice. They address the aesthetic issues
raised by new media in making work that explores information
technologies. "Vernacular" is a software android and multi-
media performance instrument driven by the idea that new
media interface culture inspires new means of information
exchange, furthering the artists' investigation of
"cultural alchemy."

Programming Assistance: Andrew Zeldis

GALAXY
Tony Martin

Tony Martin is a visual composer whose work explores
diverse applications of light and image. Martin's early works
of the 60s were created in collaboration with The San Francisco
Tape Music Center, NYU Intermedia Department, and
Experiments in Art and Technology. Extending Martin's early
explorations of interactivity into a new medium, "Galaxy" is a
Web-based light and sound "cyber sculpture" where elements
of varying light intensity, placement, and motion are determined
by the user.

Digital Media Assistance: Patrick Heilman
Flash Programming: Peng Chia

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

This initiative was funded, in part, by a Cultural Challenge grant
from the NYC Department of Cultural Affairs.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Electronic Arts Intermix (EAI) is a leading resource for artists'
video and interactive media. EAI's core program is the
international distribution of a major collection of new and early
media works by artists. Founded in 1971 as a nonprofit media
arts center, EAI also offers a video preservation program, a
screening room, and extensive online resources.

For more information on EAI and its programs, please visit the
new and expanded EAI Online Catalogue, at http://www.eai.org.

Please support EAI with your tax-deductible contribution. Your
financial contribution enables us to continue the important work
of supporting the alternative voices and visions of media artists
and providing audiences with access to their works.

https://www.eai.org/secure/support_eai.asp

Electronic Arts Intermix
535 West 22nd Street, Fifth Fl
New York, NY 10011
(212) 337-0680
(212) 337-0679 fax
info@eai.org
http://www.eai.org

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DISCUSSION

Re: Artbase: Joe Zane


Hi Christopher:

The scope of the ArtBase was expanded in March of 2002 to include forms of
new media art (including software art, computer games, and documentation of
new media performance and installation), which had previously been excluded
from the archive.

This new policy was adopted in order to allow room for work of potential
historical significance which at one time may not have met our selection
criteria because it was not networked--even though this work was in most
cases as sophisticated as the networked projects in the archive.

Joe Zane's recent submissions were accepted into the ArtBase as new media
art, with the information provided on his website serving to document the
work.

Best,
Alena

> Jon Davey wrote:
>> So even if someone sets up some monitors with nice
>> coulors on them in a gallery space and posts an mpeg
>> of that instillation to their web space it's a solution....
>> of sorts....maybe....
>
> It's his solution, but is it his art? IMHO, a web site that contains
> only pictures and videos can certainly be considered net-based art. In
> the case of the Joe Zane work, however, the web pages in question appear
> to present themselves explicitly as *documentation* of works of art, not
> as works of art in themselves.
>
> Plenty of art is documentation of other art, of course. But with the
> works in question, it doesn't seem like that is his intention. He
> doesn't seem to want us to consider these web sites to be art works in
> themselves. Even the Rhizome artbase pages describe the actual
> sculptures, not the sites-about-the-sculptures. If he *does* intend
> these little pop-up windows and quicktime movies (which by the way crash
> my browser) to be stand-alone art objects, then to me they are a bit
> disappointing. The sculptures are much more interesting, but I don't see
> how they could/should fit into Rhizome's domain, which I thought was
> about net-based art. Even under a broad definition of net-based art,
> sculptures that don't have network connections clearly do not belong.
>
> Note that this is not in any way perjorative to Joe Zane's work!! Gary
> Hill and Bill Viola don't belong in Rhizome either, but I love their
> tehnology-based installations. A good deal of the technology-based
> sculptural works of John Simon, the McCoys, Perry Hoberman, Keith Tyson,
> Julia Scher, etc (people who work on both net.art and realworld.art)
> also don't belong in Rhizome. Rhizome needs to focus on it's net.art
> mission if the collection is to be meaningful, useful, and/or
> historically important.
>
> -Cf
>
> [christopher eli fahey]
> art: http://www.graphpaper.com
> sci: http://www.askrom.com
> biz: http://www.behaviordesign.com
>
>
>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

FW: A Cash Infusion for Digital Archives


------ Forwarded Message
From: Kenneth SCHLESINGER <kschlesinger@lagcc.cuny.edu>
Reply-To: IMAP@lists.acs.ohio-state.edu
Date: Thu, 13 Feb 2003 12:52:20 -0500
To: <IMAP@lists.acs.ohio-state.edu>
Cc: <tla-symposium@yahoogroups.com>
Subject: A Cash Infusion for Digital Archives

Copyright 2003 The New York Times Company The New York Times

February 13, 2003, Thursday, Late Edition - Final

SECTION: Section G; Page 7; Column 1; Circuits

LENGTH: 691 words

HEADLINE: A Cash Infusion for Digital Archives

BYLINE: By KATIE HAFNER

BODY: IN the strongest signal to date of its commitment to preserving the
nation's digital legacy, Congress has set aside $100 million for the Library
of Congress to carry out a plan for collecting and preserving digital
information, including images, CD's, Web pages and electronic journals.

In December 2000, Congress provided an initial $5 million for the library to
come up with a proposal for digital preservation. The library submitted the
plan to Congress last September, and lawmakers approved the plan in January.
Another $20 million will now be released for carrying out the early phases
of the plan. "I don't think we've ever had a single shot of this size in our
entire history," said James H. Billington, the librarian of Congress.

Congress will allot an additional $75 million on the condition that this
amount is matched by the private sector. The private contributions could be
in the form of cash, hardware, software or consulting services. Initially,
the matching funds had to be raised by March 31 of this year. But the
library is seeking an extension to March 31, 2005.

The library has digitized some of its physical collection, including items
like Civil War photographs and presidential papers. But it is lagging in the
task of archiving electronica: scholarly journals, books and magazines that
are "born digital"; CD-ROM's; digital photographs, music and films; and
millions of miscellaneous pieces of Internet-based material. Digital
technology "has spawned a surfeit of information that is extremely fragile,
inherently impermanent, and difficult to assess for long-term value," wrote
the authors of the plan that was submitted to Congress.

The problem of preserving digital archives is complex. Not only do computer
hardware and software quickly become obsolete, but the durability of storage
media is also limited. "We know about paper disintegrating, but the digital
world is so much more evanescent," Dr. Billington said.

Two years ago, Congress established the National Digital Information
Infrastructure and Preservation Program, charging the Library of Congress
with leading a nationwide plan for the long-term preservation of digital
content. To help carry out the work, the library has formed partnerships
with companies and with other federal agencies, including the Commerce
Department and the National Archives.

Archival experts say the Congressional action is coming not a moment too
soon.

"We're talking about losing the potential to be able to access or reuse all
of the information and knowledge that's being generated in digital form if
we don't come up with effective and economical ways to preserve digital
information," said Margaret Hedstrom, associate professor at the School of
Information at the University of Michigan and an authority on digital
archiving.

"Everything from basic research data to online art and poetry and
performance is digital," Dr. Hedstrom said. "It's a huge part of our
heritage and our intellectual capital."

Laura Campbell, associate librarian for strategic initiatives at the Library
of Congress, said that carrying out the plan could take five to seven years,
but that the actual preservation of material "will go on forever."

One example of the infrastructure that is needed could be a collaborative
effort by a group of research libraries to collect electronic journals and
put them on a central computer.

Whether the library will be able to attract the matching funds it needs from
the private sector, especially given the state of the economy, remains
unclear.

"We can do it, though it's much tougher than it would have been, say two or
three years ago," said James Barksdale, president and chief executive of the
Barksdale Management Corporation, an investment firm in Jackson, Miss. Mr.
Barksdale, the former chief executive of Netscape, is a member of the
library's National Digital Strategy Advisory Board.

"All the relevant players have had serious downturns in their stock prices,
the value of their companies, and their own personal worth," he said. "It's
going to take some work."
______________________________________________________________________

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DISCUSSION

FW: Tune(In))) is here! Sat. March 1st.


-----Original Message-----
From: Galen Joseph-Hunter [mailto:galenjosephhunter@yahoo.com]
Sent: Wednesday, February 26, 2003 10:04 AM
Subject: Tune(In))) is here! Sat. March 1st.

Tune(In))) is finally here!
Hope to see you on Saturday night.
-Galen

Celebrate six years with free103point9's Tune(In)))

free103point9's Tune(In))) takes place from
8 p.m.- 2 a.m., Saturday, March 1 at the NY Center
for Media Arts in Long Island City, and features 60 sound
and video artists performing into six transmitters.

There will be no sound in the space. Performers will perform
into transmitters, not amplifiers. Attendees receive a radio
with headphones, to access the performances. They will also
receive a "schedule" listing what performances are on which
frequencies throughout the evening. Attendees then can choose
to listen to those frequencies, other commercial frequencies
available, or the minimal ambient room noise.

free103point9 Tune(In)))
Saturday, March 1
8 p.m.- 2 a.m.
@ New York Center for Media Arts,
45-12 Davis St. Long Island City, Queens,
one blk from P.S. 1
$12 and you get a radio with headphones
$7 if you bring a radio with headphones

We will only have 500 radios, so bringing your own
is best and much cheaper. We will not allow anyone
in without a radio with headphones.

Doors open at 7 p.m.

Performances on six channels

"Frequency Hopping" video projections in Main Exhibition Hall
and Exhibition Room One by Melissa Dubbin + Aaron Davidson
created specifically for Tune(In))).

88.7-FM

Audio program curated by Squidco and Squid's Ear.
Engineered by David Brandt, Michelle Nagai, Len 37 Siegfried.
08:00 p.m.: CHANGES TO blind
08:45 p.m.: David Brandt
09:00 p.m.: DJ$shot (Mr. Dorgon)
09:45 p.m.: David Brandt
10:00 p.m.: Cooper-Moore
10:30 p.m.: Len 37 Siegfried
10:45 p.m.: Pamelia Kurstin
11:15 p.m.: Len 37 Siegfried
11:30 p.m.: James Fei/Kato Hideki
12:10 a.m.: Michelle Nagai
12:25 a.m.: Michael Schumacher
01:05 a.m.: Michelle Nagai
01:20 a.m.: Kenta Nagai

89.3-FM

Engineer: Tom Roe.
08:00 p.m.: 100% Storms Ensemble
08:45 p.m.: Gregory Green
09:15 p.m.: Tom Roe
09:25 p.m.: Matt Valentine + Erika Elder
09:55 p.m.: Tom Roe
10:05 p.m.: Dan Brown (Hall of Fame)
10:35 p.m.: Tom Roe
10:45 p.m.: Xian Hawkins/Sybarite
11:15 p.m.: Tom Roe
11:25 p.m.: Jeremy Novak (Dymaxion)
11:55 p.m.: Tom Roe
12:00 p.m.: Carlos Giffoni (Monotract)
12:30 a.m.: Tom Roe
12:40 a.m.: The SB
01:10 a.m.: Tom Roe
01:20 a.m.: Double Leopards

91.9-FM

An audio/video program presented in collaboration with
Electronic Arts Intermix.
Engineered by Galen Joseph-Hunter.
Program will repeat throughout the evening.
Klaus vom Bruch
Jeder Schuss ein Treffer (Every Shot a Hit),
1984, 9:30 min, color, sound.
Gary Hill
Mediations, 1979-86, 4:17 min, color, sound.
Sums & Differences, 1978, 8:24 min, b&w, sound.
Kristin Lucas
Involuntary Reception, 2000, 16:45 min, color, sound.
Nam June Paik and Jud Yalkut,
Video Tape Study No. 3, 1966-69, 4 min, b&w, sound.
Beatles Electroniques 1966-69, 3 min, b&w and color, sound.
Steina and Woody Vasulka
Noisefields, 1974, 12:05 min, color, sound.
Steina
Violin Power, 1970-78, 10:04 min, b&w, sound.

99.9-FM

Engineered by Matt Bua (8 p.m.-11 p.m.) and Damian Catera (11
p.m.-2 a.m.), who will also provide interstitial programmings.
08:00 p.m.: COMP-CLASS (The Remedial Years):
Matt Bua, Ladislav Czernek, John Heneghan, Damian Leibold, Fritz
Welch, Christian Dautresme, Ryan Holsopple
09:00 p.m.: Chris Millstein (Home) + Rob Corradetti (Mr. Mixel
Pixel)
09:40 p.m.: Matt Bua's Suitcase Orchestra
10:00 p.m.: Seth Price
10:20 p.m.: Matt Bua's Suitcase Orchestra
10:40 p.m.: Skyline
11:20 p.m.: Ara Peterson + Jim Drain
11:35 p.m.: Ben Owen (Ting Ting Jahe)
12:10 a.m.: Damian Catera
12:20 a.m.: Chiaro Giovando
01:00 a.m.: Damian Catera
01:20 a.m.: SK-Pades: Brad Truax, Andrew Duetsch, Chris Millstein
01:50 a.m.: Damian Catera

102.3-FM

Engineer is Seren Laibovitz.
08:00 p.m.: Japanther
08:30 p.m.: David Kay
10:00 p.m.: Scanner (prepared piece, not in person)
11:00 p.m.: 31 Down
11:20 p.m.: Kenny Goldsmith (WFMU)
12:30 a.m.: DJ North Guinea Hills
01:30 a.m.: Transmaniacon MC

103.9-FM

A turntablist program presented in collaboration with Broklyn
Beats.
Engineered and equipment provided by Broklyn Beats, who curated
9 p.m. to 2 a.m.
08:00 p.m.: Matt Mikas (free103point9)
09:00 p.m.: Criterion + doily (Broklyn Beats)
10:00 p.m.: I-Sound (Transparent, Full Watts, Ambush)
11:00 p.m.: Donna Summer (Cock Rock Disco, Irritant, Broklyn
Beats)
12:00 a.m.: End (Hymen)
01:00 a.m.: Criterion + doily (Broklyn Beats)

1610-AM
Tune in to this informational channel for instructions on how to
Tune(In))) as you enter the space. 31 Down is creating this
instructional programming with sound effects and script by Ryan
Holsopple, voice by Heidi McElligott and additional sounds by
Matt Bua. This instructional programming will also play on all
six channels between 7 p.m., when the doors open, and 8 p.m.,
when the event begins.

We will be selling an extensive catalogue of this event for $5.
Many of the performers will be selling their music at
Squidco's merchandise table.
NYCMA will be running a bar.

For more information,
including exact directions with a map see:

http://www.screwmusicforever.com/free103/tunein.html

Please post information about this show on your web site, or
forward this e-mail to your friends.

More information about free103point9:
http://www.free103point9.org

FROM THIS WEEK'S TIME OUT:

Tune In: Sixth Anniversary Benefit for Free103point9
New York Center for Media Arts; Sat 1

Except for air, there may not be a single more ubiquitous
Substance tangible or otherwise-on earth than radio waves.
They're up high, down low, in your car and shower, and on
every lonely stretch of interstate. For six years, Williamsburg
independent radio station Free1O3point9operated by Tom Roe,
Matt Mikas, Galen Joseph-Hunter and a crew of volunteers-has
been realizing radio's potential on a local scale. Apart from
broadcasts ranging from music to community affairs, the Free103
umbrella also includes a performance space (which routinely
hosts clubworthy experimental artists in a DIY environment); a
label and recording studio; and information on events and
media activism at its website (www.free103point9.org). This
sixth-anniversary show outclasses Free103's previous efforts,
at least in vision. More than 60 artists, including experimental
jazz, folk and electronic musicians such as Matt Valentine,
Cooper Moore and I-Sound, will be in action during the course
of the evening-but the large room will be mostly silent. Instead
of blasting out of a P.A., the music will be spread over six radio
frequencies, beamed with enough power to fill the space but not
enough to tweak car radios driving past. Your admission gets
you a radio and headphones-though you're encouraged to save
five bucks by bringing your own and a program schedule. In case
you're still confused, an instructional loop will be broadcast on
AM 1610, just like traffic warnings on the Jersey Turnpike. In
keeping with Free103's approach to radio as an art form, not just
a medium, several of the performers will be incorporating
transmission themes into their pieces. More promising is a
repeating selection of visual artworks, culled from the archives
of Electronic Arts Intermix, which deals with the notion of
transmission, including two pieces by Nam June Paik and Jud
Yalkut from the '60s. As daunting as the proceedings may seem,
all you have to do is come; the popular mechanics at
Free103point9 have done all the work for you.-Mike Wolf

FROM THIS WEEK'S VILLAGE VOICE:

'TUNE(lN))): A SIXTH ANNIVERSARYBENEFIT FOR
FREE103POINT9'

Feisty microradio collective free103point9 celebrates six years
of experimental audio transmissions with this unique radio-video
environment/party. Over 60 performers-including Sybarite,
Japanther, Scanner (pre-recorded), Jeremy Novak, Cooper-Moore,
James Fei, and Tom Roe-plug straight into six different transmitters
for a hair-straightening, silent-without-headphones smorgasbord
of sound. For your eyes, videos curated by Galen Joseph-Hunter ~
of Electronic Arts Intermix. ~ including works by Nam June Paik,
Kristin Lucas, and Gary Hill. Bring your own radio and headphones
or pay $5 more and rent one ~ there. NY Center for Media Arts,
45-12 Davis, Long Island City, Qns, 718-472-9414, - Sat at 8.
(Zimmerman)

------ End of Forwarded Message