Alena Williams
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FW: Electronic Arts Intermix News: February 2003

------ Forwarded Message
From: "Electronic Arts Intermix (EAI)" <>
Date: Tue, 4 Feb 2003 11:27:25 -0500
Subject: EAI News: February 2003

Electronic Arts Intermix
EAI News: February 2003


1. The Kitchen & EAI Present "Archives in the 21st Century"
2. Carolee Schneemann Video Presentation & Book Signing at
Dia Bookshop
3. "Video Tune(In)))" at New York Center for Media Arts in Queens


4. EAI's "New Works 2002" Catalogue Update Available at


5. Saturday Hours in the EAI Viewing Room
6. EAI at College Art Association Conference



1. "Archives in the 21st Century" - Digital Happy Hour
Presented by The Kitchen and EAI
The Kitchen -- 512 W.19th Street NY 10011
February 12, 2003
6 pm, $8

The Kitchen and EAI present the second in a series of ongoing
discussions focusing on archiving and distribution in the 21st century.
Moderated by EAI Executive Director Lori Zippay and Kitchen Archivist
Stephen Vitiello, this session will include a report on the preservation
of the organizations' video collections and archives, digital distribution
platforms, artists' rights management, and a presentation of online
archival projects. A new collaborative project of The Kitchen and EAI
will be introduced, bringing together preservation and distribution
within the framework of new technologies and shared organizational
histories. The evening will include a screening of rare treasures from
The Kitchen and EAI archives.

2. "Carolee Schneemann Valentine's Day Video Presentation and
Book Signing"
Presented by the Dia Bookshop and EAI
Dia Bookshop - 548 West 22nd St., New York, NY
February 14, 2003
6-8pm, Admission free

Groundbreaking performance and multidisciplinary artist Carolee
Schneemann will present new, recent, and classic video works at the
Dia Bookshop. She will introduce excerpts from her recent installation
"More Wrong Things" (2000), and preview a new in-progress installation
work, "Devour." She will also present a number of her performance
works on video, including "Vulva's School" (1995), "Interior Scroll -
The Cave" (1995), "Fresh Blood" (1983), and "Up To And Including Her
Limits" (1976). Schneemann will also be available to sign her recent
publication, "Carolee Schneemann: Essays, Interviews, Projects" (2002).

3. Video Tune (In)))
free103point9 and EAI present video program at Tune(In)))
NY Center for Media Arts
45-12 Davis Street (off Jackson Avenue) Long Island City, NY
March 1, 2003
8 pm - 2 am

Tune(In))), organized by the media arts organization free103point9,
celebrates the rich tradition and vibrancy of artists working with
transmission mediums. Over 60 performers will play into 6 different
frequencies; attendees will access the performances with radio
headphones included with admission. In conjunction with this event, EAI
presents Video Tune (In))), a program of recent and early video works
that address themes relating to video and audio transmission. Artists
include Klaus vom Bruch, Gary Hill, Kristin Lucas, Nam June Paik,
Jud Yalkut and the Vasulkas.


4. EAI's "New Works 2002" Catalogue Update Available Online

EAI's "New Works 2002" catalogue update is now available in
print-ready, downloadable PDF form via EAI's Online Catalogue.
This document features new video works by artists that were added to
the EAI collection in 2002. Artists include Peggy Ahwesh, Michel Auder,
Phyllis Baldino, Lynda Benglis, Seoungho Cho, Tony Cokes, Valie Export,
Ken Jacobs, Kristin Lucas, Mary Lucier, Carolee Schneemann,
Leslie Thornton, the Vasulkas, and many more.

For comprehensive information on these artists and their works,
and to order directly online, please visit
EAI's Online Catalogue also features information on the more than
3,000 works in the EAI collection, as well as expanded resources and
special features.


5. Saturday viewing hours

Beginning in February, EAI introduces Saturday hours for the EAI
Viewing Room. The Viewing Room offers free viewing access to the
works in the EAI collection for research and study, by advance
appointment. Please contact or (212) 337-0680 for
further information.

6. EAI at College Art Association Conference

If you are attending the annual College Art Association Conference
at the New York Hilton & Towers in New York from February 20th - 22nd,
please visit EAI staff members at the America's Hall II, Booth #108.


About EAI

EAI is a nonprofit media arts organization and a leading resource
for video art and interactive media. EAI's core program is the
worldwide distribution of a major collection of media art works,
ranging from seminal works of the 1960s to new works by emerging
artists. EAI's activities include extensive online resources, a video
preservation program, free viewing access, and special screening events.
For more information, please visit EAI's website at

Support EAI

EAI was founded in 1971 as one of the first nonprofit organizations
dedicated to the support of video as an art form. Today EAI is a
vital resource for video art and interactive media by artists.

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.

Electronic Arts Intermix
535 West 22nd Street, Fifth Fl
New York, NY 10011

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Re: Words on the Rhizome Artbase

Hello Eryk:

While the number 415 may seem inordinately high, the amount of submissions
we've received each month has increased significantly over the past year.
Just to give you some perspective on the statistics--in May 2001, we
received 68 submissions, and by October 2002, this number nearly doubled to
129. The expansion of the archive's scope, which was enacted this time last
year, is another factor to keep in mind. We now not only include net art,
but also other forms of new media, which has allowed us to cast our net
wider and accept projects which would have at one time been declined.

Moreover, the ArtBase is not a curated collection. Our primary concern in
admitting projects into the ArtBase is whether or not they meet the
definition of new media art as described in the selection criteria. As Mark
already mentioned, the potential value a project might have for future
historians of new media art is the most important when considering a work's
"historical significance."

Needless to say, processing these objects is certainly not a task I take
lightly. I find myself coming back to projects repeatedly--sometimes the
decision whether or not to include an object into the archive develops into
a discussion between myself and the artist, and even with other members on
staff. The admission of projects into the ArtBase represents a commitment of
time and resources which will continue into the future, long past their
initial acceptance. As such, many of your points are well-taken.


+ + +

Alena Williams
ArtBase Coordinator

> This is why I said that there are too many works in the art base. 415
> pieces added, was it? That means that at least once a day, and sometimes
> twice, a piece of with "historical significance" was created,
> many of which I have never heard of or had seen discussed.
> When I was an intern on the artbase a few years back, we had a careful
> process- pieces were looked at at least 3 or 4 times, we looked for
> discussions that had taken place about the work- instead of adding them
> to the artbase, and then announcing the additions to the artbase in
> order to start a discussion of the work, which, if you notice, is what
> they are doing now- and still no one is talking!
> I believe that now the process is to add anyone and anything that asks
> to be stored on the artbase. My job as intern was to review every piece
> submitted to the artbase and make a decision based on the merit of the
> piece artistically and historically [which is less subjective than it
> seems to be, I had added pieces by artists who I have massive personal
> dislike for, simply because I knew the work was discussed and because
> the artists had made "contributions" for better or for ill.] On top of
> that, however, I was also supposed to scour the web for pieces that were
> not submitted, to keep an eye on mailing lists and blogs for pieces that
> were being discussed.
> In the end, I think I added maybe 45 to 60 pieces at most, in the couple
> of months I was an intern, and this included a historical backlog
> because we were adding "heroic era" net art at the same time. Now, any
> time a piece gets announced to rhizome it gets into the artbase.
> As an intern I had wanted to add a discussion from my perspective of why
> the piece was added to the artbase, since I knew the reasons for my
> decisions would be lost when the piece was there, and the historical
> context would be lost as well- and also had asked if possibly they could
> cross reference pieces with discussions of the pieces that took place on
> rhizome, interviews with the artist, etc. Even something as simple as
> clicking on the name, or the artists name, and sending a search query
> through the textbase. When I left my internship after going back to
> school, I lost touch with the process, but I do believe that no one is
> "running" the artbase anymore. The problem isn't money either, since I
> had a paid internship that cost rhizome about pennies a day for my work
> (and I accepted the internship under the assumption that it was strictly
> voluntary.)
> I would volunteer 15 hours a week [again, unpaid] to overlook the
> rhizome artbase if rhizome's administration and rhizome membership
> agreed that some discernment and critical perspective was needed (and
> that the discernment needed was mine, which is obviously an assailable
> point.) As it is now, it does precisely the same thing as "the way back
> machine" or googles "cached copy" archive, except with a narrower focus.
> I don't believe in snobby exclusivity, but I don't believe that everyone
> who submits a piece of work to the artbase is "historically significant"
> either- particularly when you consider 415 entries were submitted in
> 2002, and I can name maybe one or two pieces that stick out to me this
> past year as being discussed- not a personal decision of like/dislike,
> just observances of discussions. They're fewer than you would assume,
> and I think maybe because we can limbo a little lower than we are.
> Cheers,
> -e.

> Daniel Young wrote:
>> 2. Rhizome Artbase Standards
>> The Rhizome ArtBase includes works of new media art--including net art,
>> software art, computer games, and documentation of new media performance and
>> installation--that are of potential historical significance. We define new
>> media art as contemporary art that uses emerging technologies in significant
>> ways. Online displays of work that does not meet this definition are not
>> included in the ArtBase.
>> In order to evaluate potential historical significance, we look at:
>> the work's aesthetic innovation, conceptual sophistication or political
>> impact
>> the work's relevance to the discourse of new media art
>> any discussion of the work itself on or other relevant networks
>> or publications
>> the work's place in the artist or artists' oeuvre
>> the work's provenance, including commissions, exhibitions and collections
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post:
> -> questions:
> -> subscribe/unsubscribe:
> -> give:
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at


Preserving the Rhizome ArtBase: A Report by Richard Rinehart

Hello Rhizomers:

We are pleased to announce the availability of Richard Rinehart's new
report, "Preserving the Rhizome ArtBase," a research agenda which outlines
Rhizome's long-term strategies for preserving the net art, software, games,
and web-based documentation of new media installation and performance works
in our archive.

An excellent introduction into the emerging field of new media art
preservation, Rinehart's report describes some of the initiatives already
underway at Rhizome, in addition to detailing the practices we hope to
implement in the future.

You can find this document online at:

Please feel free to distribute this announcement to interested individuals
and organizations in the field. If you would like further information about
new media art preservation at Rhizome, contact us at

Warm regards,

+ + +

Alena Williams
ArtBase Coordinator


ArtBase Announcements

Attention Rhizomers,

As part of our recent effort to encourage discussion within the community
about the new work entering the Rhizome ArtBase, we are going to start
posting new additions to the archive to the list.

We hope that you will take this opportunity to look at some of the work
currently being made by members of the Rhizome community.

If you would like to submit an art object for possible inclusion in our
archive, please review the selection criteria and fill out the short
web-based form at:

Warm regards,

Alena Williams
ArtBase Coordinator


ArtBase Intern

Rhizome is seeking an intern for the Rhizome ArtBase, our online
preservation archive of new media art.

Intern will assist the ArtBase Coordinator in the processing of art projects
in the archive, including the indexing of accepted projects with keywords
and other metadata, and maintaining correspondence with artists as needed
via email.

We are looking for someone who is detail-oriented, uses language with great
precision, and has a strong interest in the emerging field of new media

Our ideal candidate has had some prior experience in archiving artworks in a
museum or library setting and working with databases, as well as a basic
understanding and knowledge of new media art, metadata standards and
practices, and Internet technologies.

To apply, please email a detailed cover letter and resume to Alena Williams,
ArtBase Coordinator at

Hours: 5-10 hours per week, scheduling flexible
Notes: Off-site, unpaid