Ceci Moss
Since 2005
Works in Oakland, California United States of America

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco. Currently a PhD candidate in Comparative Literature at New York University, her academic research addresses contemporary internet-based art practice and network culture. Her writing has appeared in Rhizome, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, and an Adjunct Instructor at New York University in the Department of Comparative Literature. She also programs a radio show dedicated to experimental music on the free form community radio station Radio Valencia called Radio Heart, and she plays music and DJs.

Continuous Partial Listening: Holly Herndon in Conversation

After completing her informal education in Berlin's underground club scene, artist and musician Holly Herndon relocated to the Bay Area to pursue an MFA at Mills College's esteemed music program. Now continuing her studies in computer-based music at Stanford, Herndon has an inquisitive approach to technology, finding common threads among often-divided disciplines and communities: electronic music, academia, the tech sector, and contemporary art. As a result, her work is not easily categorized, whether she's composing music for brass ensembles or working on robotic sculptures with artist Conrad Shawcross, touring festivals in Europe or making dance music with heavily processed recordings of the human voice. This week, she released a 12" entitled Chorus on RVNG Intl

Ceci Moss: Your new 12" Chorus comes out this week. The title track recalls the experience of continuous partial attention in online browsing, using audio samples derived from your own daily browsing. Chorus begins chaotically, taking form with the addition of percussion. Could you discuss the ideas behind this composition? Also, what did you use to sample your browsing history, and how did you technically create the track?

Expanded Internet Art and the Informational Milieu

Ben Aqua, NEVER LOG OFF, 2013 (Limited edition t-shirt designed for #FEELINGS)

We are no longer mostly dealing with information that is transmitted form a source to a receiver, but increasingly also with informational dynamics—that is with the relation between noise and signal, including fluctuations and microvariations, entropic emergences and negentropic emergences, positive feedback and chaotic processes. If there is an informational quality to contemporary culture, then it might be not so much because we exchange more information than before, or even because we buy, sell or copy informational commodities, but because cultural processes are taking on the attributes of information—they are increasingly grasped and conceived in terms of their informational dynamics.

- Tiziana Terranova, Network Culture: Politics for the Information Age

Post internet[1], post media [2], post media aesthetics[3], radicant art[4], dispersion[5], formatting[6], meme art[7], circulationism[8]—all recent terms to describe networked art that does not use the internet as its sole platform, but instead as a crucial nexus around which to research, transmit, assemble, and present data, online and offline. I think all of the writers advancing these terms share a sense that since the rise of mainstream internet culture and social media, art is more fluid, elastic, and dispersed. As Lauren Cornell astutely points out in the recent  "Post Internet" roundtable for Frieze, terms are always placeholders for more complex ideas, and when successful, can instigate further, deeper conversation. Towards that end, I'd like to introduce another word to the list—expanded. Drawing from the definition of expansion as "the action or process of spreading out or unfolding; the state of being spread out or unfolded," I consider "expansion" not as an outward movement from a fixed entity, but rather, in light of data's dispersed nature, a continual becoming.[9] Expanded internet art is not viewed as hermetic, but instead as a continuously multiple element that exists within a distributed, networked system. In order to elaborate this term, and to take small steps towards thinking through the changing conditions for art production in the early 21st century, I will use Tiziana Terranova's notion of an "informational milieu" to describe the dynamic process of exchange among artist, artwork, and network.

Questioning the World as Image: The 55th Venice Biennale and "The Whole Earth"

Photo of Earth by the crew of Apollo 8. December 22, 1968

The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"

Wavelength: "The Paris, Texas of the Second Empire" by Lawrence Kumpf

The Paris, Texas of the Second Empire

Compiled July 2012 by Lawrence Kumpf

The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938

A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."

Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.

1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"

Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.

Eli Keszler's Piano Wire Works

eli keszler : cold pin from eli keszler on Vimeo.

New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.

His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.

In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.

Eli Keszler Collecting Basin from eli keszler on Vimeo ...


Discussions (52) Opportunities (6) Events (10) Jobs (3)

Seeking Contributions for New Media Arts Syllabi List

We at Rhizome are currently compiling a New Media Arts Syllabi List, which
will be made available to our members in upcoming months. The syllabi will
span from the last ten years, and like the new media art field itself, it
will incorporate a wide range of disciplines (robotics, theory, comparative
literature, musicology, art history, etc.). If you are interested in
contributing your syllabi to this list, please contact me at

We hope this list will become a valuable and continuing resource for the
teachers and students who represent
a significant part of our member base.

Thank you!


Ceci Moss
Sales Associate, Rhizome.org
tel. 212.219.1288 x211
fax. 212.431.5328
email. ceci@rhizome.org


Digital Artist's Residency @ ICA

Digital Artist's Residency @ ICA

The ICA is looking for a digital/media artist or small collective working in
either a visual, on-line, 'live-digital' practice or installation field to
take up residency for a period to be determined from 1 June 2006.

The selected artist(s) will give at least two public talks and two education
workshops, and will have access to the equipment and facilities of the new
OEDigital Lab



Perhaps the SF-based Rhizomers can attend this. I unfortunately missed the
NYC screening at MOMA, but the documentary will also be on PBS:
Looks really interesting.


Message: 1
Date: Thu, 30 Mar 2006 12:55:15 -0000
From: "sfcinematheque" <sfcinematheque@yahoo.com>
Subject: Adele Horne's THE TAILENDERS

SUNDAY APRIL 2 at 7:30 pm
Yerba Buena Center for the Arts
701 Mission Street (at Third)

in association with UC Berkeley's Visual Anthropology Group,


Shot in Los Angeles, the Solomom Islands, and Mexico, Los
Angeles-based Adele Horne's feature-length documentary explores the
work of an evangelical missionary group known not only for their
numerous conversions but for their field recordings and translations
of over 5,500 languages since their inception in 1939. Working in
regions where indigenous communities face crises caused by global
economic shifts, and using amazingly efficient low-tech recording
devices, the missionaries seek out displaced and impoverished people,
ostensibly in need of some kind of enlightenment. Elegantly structured
and photographed, THE TAILENDERS explores both the material and
ideological means and meanings of these linguistic translations and
spiritual transformations.

For more information, please visit:

$8 general
$5 Cinematheque members, seniors, studdents (w.ID)



OPEN CALL: Action Adventure


ACTION ADVENTURE is a group show in the spirit of the Hollywood summer
blockbuster opening JULY 2006 at CANADA, NYC (http://www.canadanewyork.com).

The most important part of the project will be a video program curated from
an open call that will screen daily during the show.

OPEN CALL for videos, especially (but not limited to) short narrative works
in the following two categories:

CATEGORY 1 - videos between 5 and 20 minutes long about or involving:

action/ adventure product placement blockbusters
action heroes Hollywood remakes predictable plots
melodrama special effects summertime
Hollywood happy endings terrorism
piracy/bootlegs violence etc.

CATEGORY 2 - short-format videos that are comparable in length and attitude
to commercials and trailers. These videos should be roughly 30 to 120
seconds in length and should also involve the topics listed above.



All submissions must be on DVD or VHS. Please include a resume and contact
info, as well as S.A.S.E. if you want your work returned. Accepted
submissions will be announced: June 5, 2006.

More info: actionadventureshow@gmail.com

ACTION ADVENTURE is being organized by Melissa Brown, Josh Kline, and
Michael Williams.


web version of flyer: http://www.yachtingsociety.org/actionadventure.html

print-ready PDF version of flyer (1mb):


Point of View at -scope New York

Also on display at -scope New York's Cinemascope gallery this week- Point of
View: An Anthology of the Moving Image. I divide my time between Rhizome's
organizational subscriptions and this project for the New Museum of
Contemporary Art. See below for details.

New Museum Point of View
At The -Scope Art Fair
March 10-13, 2006
Cinemascope Gallery, 11 am - 8 pm
636 Eleventh Avenue, at 46th Street, NY

ScopeNewYork 2006 presents Point of View: An Anthology of the Moving Image,
a co-production of the New Museum of Contemporary Art and BICK Productions,
screened daily on multiple flat screens in the Cinema-scope Theater. Point
of View features original work by renowned artists Francis Alys, David
Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac
Julien, William Kentridge, Paul McCarthy, Pipilotti Rist and Anri Sala.
Commissioned by the New Museum of Contemporary Art as part of an exhibit of
the same title, Point of View is a special edition eleven DVD box-set,
designed as an affordable, collectible piece of art, and an educational
resource. The anthology is an exploration of a cross-generational group of
video artists intended to expand the accessibility of video art to a broader
audience. Further inquiries: Ceci Moss, Point of View Sales Director, at
cmoss@newmuseum.org, or through the New Museum Store,

View the Scope Calendar online:

On 3/6/06 10:11 PM, "Marisa Olson" <marisa@rhizome.org> wrote:

> Hello. If you plan to be in New York during the flurry of art fairs, this
> week and next, I hope you'll stop by the Scope fair to say hello and check
> out Rhizome's exhibition, All Systems Go. The show will be in the
> Cinemascope space, which is masterminded by Rhizome member Lee Wells.
> Details below...
> At The ~Scope Art Fair
> March 10-13, 2006
> Cinemascope Gallery, 11 am - 8 pm
> 636 Eleventh Avenue, at 46th Street, NY
> Part of the Curator's Choice program at this year's Scope-New York Art
> Fair, All Systems Go features high-tech, low-tech, and hybrid work
> exploring digital, representational, political, and social systems. This
> exhibition constitutes an expansion of Rhizome's mission to connect art
> and technology. The artists comment on systems, in their various forms,
> with works ranging from computer, video, and electronic installations to
> drawings, paintings, and sculpture. Here, technology is not the sole tool
> or object at play, but is often an indirect subject-