alexandra reill
Since 2001
Works in Vienna Austria

after ten years of film business alexandra reill focused on the development of experimenteal new media projects and - with a special view on interactive dramaturgies - transported all activities to the online platform kanonmedia, orginally founded in 1996 as the gallery kanon, situated in vienna / austria. today kanonmedia serves as a networking / content providing / exhibition platform for innovative & experimental new media projects as much as for the presentation of inhouse productions.
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The Hidden War: Re - imagining the Center, an exhibition project in cooperation with the College of Fine Arts of the Universi=
ty of the Philippines present:

The Hidden War: Re - imagining the Center
an exhibition project on the theme of mediated and commodified violence sho=
wing experimental new media pieces created by students of digital art of th=
e College of Fine Arts / University of the Philippines:

niko loren c. dela cruz / john paul verdera antido / gretchen flores & carm=
el lim / gerson r. flores / michael angelo g. lampayan / deodato m. pairez =
& anna cabardo / deodato m. pairez / ian a. quirante / patrick anthony d. c=
aballa / jan virnice t. sering / jong pairez & anna cabardo / gandelyn yu /=
ana shariah salcedo / gerard d. baja / amos manlangit / roland tristan a. =
beronilla / edrick daniel / ronald remolacio / dylan jon m. ferrer

in the exhibition, the artists articulate their observation and analysis of=
mediated and commodified violence. the project asks for a re - imagination=
, a reclamation, of one's center as it has been displaced in an age of spin=
, and likewise asks whether art, as we have cultivated it today, has merely=
been cultivated as fine taste for oblivion.


non profit org for new media

12 / 24, richtergasse
a - 1070 vienna
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Re: "Pre-Programmed Editing"

editorial programming
editorial sw

cheers, sascha

----- Original Message -----
From: "Emil Lahteenmaki" <>
To: <>
Sent: Thursday, June 05, 2003 5:30 PM
Subject: RHIZOME_RAW: "Pre-Programmed Editing"

> There's continuity editing, montage,... What would you suggest as a term
for film editing for new media? When the consumer is the final editor and
the actual editor's job is to determine beforehand in what ways the consumer
can access the material.
> I've come up with "pre-programmed editing"/"programmed editing". I thought
you people would come up with better ones. I need it for my research.
> Emil Lahteenmaki
> Film Student
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Re: lapdance: new ''''work''''

yes, Jess!! great piece! sascha

----- Original Message -----
From: "Michael Szpakowski" <>
To: "Jess Loseby" <>; <>
Sent: Monday, June 02, 2003 9:09 PM
Subject: Re: RHIZOME_RAW: lapdance: new ''''work''''

> I totally agree with all the acclaim.
> It's a beautiful piece of work - both funny and
> moving.
> You do yourself a disservice by your diffidence about
> the piece.
> I think you've done something that has way more
> resonance than maybe you thought it had to start with.
> Great stuff Jess!
> michael
> --- Jess Loseby <> wrote:
> > the word ''work'' used in the broadest possible
> > sense of the word.
> > ...what can I say my internet connection was down
> > and I had (literally) far too much time
> > on my hands this morning. (and I thought it was
> > funny)
> >
> > lapdance
> >
> > flash 6 + sound
> >
> > (rough on a dial-up, sorry)
> >
> > jess.
> >
> > o
> > /^
> > ][
> >
> >
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> =====
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the SAVE / SAFE space installment at SOHO IN OTTAKRING

opening of the SAVE / SAFE space installment
borderlining as a contemporary phenomenon

a collaborative online ground on post - human tendencies with postings by

OPENING of the SAVE / SAFE space installment at the art festival SOHO IN
OTTAKRING, vienna, 24/05/03.
the local installment can be experienced until 07/06/03. ask for details if
you come by.

play & participate in SAVE / SAFE on
apple users, please note: send your texts to & we do
the onlining for you. SAVE / SAFE is designed for PC / IE 6.0 only.

theme & concept:

* The cultural container representing itself to society today and going to
reign the 21st century ... is characterized by substitutional relations
based on the central involvement with information technology, pursued from
a position of pseudo-autism ... With the decay of inter-personal culture
and the expansion of IT-controlled substitutes of inter-relation only one
mass container is left for and generally accepted by a borderlining
majority: the unavoidable search for the ego and for techniques allowing
the construction of identity. *

* J. Erik Mertz, in: Borderline - weder tot noch lebendig, 2000

In January 2003, SAVE / SAFE started from a research of human
states-of-being related to the impact of New Technologies on the perception
and self-consciousness of individual existence. Using the atmosphaeric
background of a journey to Oceania - a context of highly social municipal
communities still existing on many of the geographically isolated
Polynesian islands and a westernized New Zealand having integrated all
attitudes of 'modern' life - SAVE / SAFE compares Anna's individual
experience to results of the scientific research of philosophy, psychology,
ethics, sociology and new media theory.

Since then, a contemporary variety of aspects on the theme have been added
by artists / authors from different countries, thus turning the SAVE / SAFE
automat more and more into what it intends to be - a mirror - through a
spectrum of different views the structure of the reading machine SAVE /
SAFE turns into a mirror of contemporary conditioning, thus provoking the
user to consciously read without reading, understand without analyzing,
experience without touching.

---------------------------------------------------------------, non - profit org. for new media
singapur / sydney / new zealand / fiji / western samoa / vienna
2000 - 2003
non - profit org for new media

call: ++43 - 1 - 920 70 03
mobile: ++43 - 6991 - 820 70 03
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Re: Re: curating the curators

funders, especially institutional and governmental ones, do have the
responisbility to treat art pieces of whatever nature as an outcome of
social/philosophical processes needed in society. this is why they have the
responsibility to ask for art projects to be done and this is why they
should not understand themselves as well as not be looked at by artists as
institutions 'helping' artists but as the ones responsible for creating an
infrastructure, politically as well as financially, a kind of framework, in
which art can be produced on the basis of financial kind of wages for
artists needed to live and thus to produce.

i think artists should not work for free (this is a bit radical, as of
course artists are longing to produce anyways, and of course they shall do
so on a completely free-will basis, but especially for bigger or more
complex productions they won't be able to anyways; plus, the argument that
artists are producing anyways cannot be seen as a serious basis of
argumentation used by funding institutions).

a maybe more practicle step could be that artists do not exhibit without
getting a wage for it. and if bigger projects are asked for, especially in a
technological context but not only there, budgets for production need to be
delivered and they need to be charged by artists to funding institutions.
those who want exhibitions and other forms of public projects do have the
responsibility to perform the organizational, financing and marketing work.

a well functioning ethical professional production code can be found in the
theater and film industry, and i think it would work perfectly well to apply
it to the fine arts world.

cheers, sascha

----- Original Message -----
From: "Curt Cloninger" <>
To: <>; <>
Sent: Thursday, May 15, 2003 8:27 AM
Subject: Re: RHIZOME_RAW: Re: curating the curators

> > The 'no great money' is usually between $500 -$20,000 in the kinds of
> >various institutional grants, commissions etc. Not enough to live on (as
> >you might get maybe one a year if you are very lucky) but that can
> >make all difference in the world to being able to continue. In the
circle of
> >artists I'm working with most of us are clubbing together to do net/on &
> >offline exhibitions or projects that might bring in $50 - $400 max but
> >keeps the ISP's fed and watered (not to mention the kids:-)
> By way of personal disclosure, I've got 2 kids and another one on the
> way. Right now we may have $200 in the bank. It comes and goes.
> But if I start considering my art as something from which I may
> reasonably expect an income (or even a modest stipend), I deprive
> myself of a precious opportunity to celebrate life unobliged, and I
> become the poorer for it. (Local mileage may vary.)
> >I really don't know these artists that you are talking about who are
> >mongering. Particularly in the UK, people are too busy balancing art &
> >the tescos budget to bother about which curators christmas card list
> >their on.
> If nobody came, would they still build it? That's my (admittedly
> subjective) criterion for artistic integrity. Howard Finster would
> still build it. Tracy Emin would not.
> >True, but (and with the exception of turbulence who I think are the most
> >open and diverse of curators) I think we need to look at a) why the have
> >chosen the projects they have chosen and b) how successful these
> >projects have been (as I said before) as artworks that will attract,
> >endure and if 'deserve' the funds. My feeling is that currently the remit
> >of many of these these grants etc are watered down versions of the
> >conditions set by offline institution/curators as to what is 'hip' and
> The logistical question is, how do you convince the trustees who are
> funding these organizations to agree with your feeling? Wouldn't it
> be more feasible (maybe it wouldn't) to establish your own
> institution and get your own grant money from the trustees to
> distribute as you see fit? (Wouldn't it be more feasible yet to
> abandon the acquisition and distribution of money altogether, and
> just make cool stuff?!?)
> > > If it's about going down in the academic record, that's a tougher nut
> > > to crack. But there are other ways to be remembered that are no less
> > > valid. The White Stripes are the new Stooges. How do I know the
> > > Stooges? Because there is more than one agreed upon artistic
> > > cultural archive.
> >cultural VOOOOOOOIDDD - no idea what you are talking about here,
> >sorry:-)
> My fault. I'll try agian... There is more than one legitimate way
> to be remembered by posterity. Just because the Velvet Underground
> aren't usually taught in college (except as a footnote to Warhol),
> that doesn't mean The Velvet Underground didn't leave their mark on
> posterity. They just did it via pop culture. There is already a
> mechanism in place for net artists to do the same sans institutions.
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