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. She launched YBCA’s exhibition series “Control: Technology in Culture” which showcases work by emerging and mid-career artists who engage the social, cultural, and experiential implications of technology on the museum’s second floor. In its first year, the series includes solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce and Shana Moulton. Taking its title from Gilles Deleuze’s 1992 essay “Postscript on the Societies of Control,” the series seeks to prompt timely questions about the profound and far-reaching influence of a control society in the 21st century by focusing on artists whose work spans a multitude of disciplines and relates to a diverse set of issues, including architecture, acoustics, psychology, labor, consumerism, the environment, and the military. Beyond the “Control” series, she curated a large scale public art installation by Kota Ezawa in YBCA’s sculpture court, the solo exhibition Brenna Murphy: Liquid Vehicle Transmitter, the video installation Erin Shirreff: Lake, and co-curated with Betti-Sue Hertz the exhibition portion of YBCA’s signature triennial Bay Area Now 7. She also co-curated with Astria Suparak the touring group exhibition Alien She that examines the lasting influence of the punk feminist movement Riot Grrrl on contemporary artists, and originated at the Miller Gallery, Carnegie Mellon University.

Currently a PhD candidate in Comparative Literature at New York University, her academic research addresses contemporary internet-based art practice and network culture. Her PhD dissertation “The Informational Milieu and Expanded Internet Art” examines the expansion of internet art beyond the screen in the 2000’s, especially towards sculpture and installation, as a product of what theorist Tiziana Terranova called an “informational milieu.” Combining art history and media theory through the analysis of case studies that range from internet art and social media in the 2000’s to Jean-François Lyotard’s groundbreaking new media exhibition at the Centre Pompidou in 1985 Les Immatériaux, her dissertation asks how the widespread technological capture of information affects cultural production, specifically contemporary art, and the kind of critical response it necessitates.

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. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.

Up in the AIR: How will tech residencies reshape Bay Area art?

Image from Art+Tech: Virtual Reality, November 2014. (Photo: Codame).

Over the past year, San Francisco and the Bay Area have come to be defined in the national sphere by the think piece. In the constant stream of articles about gentrification, the Ellis Act evictions, artist displacement, and arts non profits closing left and right in response to the city's rising population and booming tech industry, it might be surprising to note that a number of tech companies are investing increasingly in artist residency programs. In fact, two of the biggest tech companies in the region—Facebook and Autodesk—maintain active residency programs. For companies without the infrastructure for such endeavors, local art and technology non-profit CODAME offers to pair tech companies with artists for individual projects through their "Adopt An Artist" program. While there is a lot of conversation (and concern) in the Bay Area regarding the tech industry's lack of support and philanthropy for the arts, the questions seem skewed towards trying to figure out how to cater to tech wealth, rather than thinking through art's role in the tech industry itself. This text surveys corporate residency programs in the Bay Area which exemplify how artists engage with this industry, and begins to sketch out possible implications—or potential—for the art infrastructure and its relationship with tech creativity.

Autodesk's Pier 9 Artist-in-Residence program is housed in the corporation's immense facility in Pier 9 along the waterfront in downtown San Francisco. Artists apply for four-month residencies at the space, which provides access to their workshop, a stipend, and the ability to work directly with the company's engineers on their projects. The program maintains a diverse pool of applicants who range from fashion designers to chefs, architects, and technologists as well as fine artists, who have access to Autodesk's high-end equipment, materials, and software, plus training and skillshare programs. Although it is not an explicit part of the program, the focus on "makers" over "fine artists" benefits Autodesk as well. The company launched Autodesk 123D in 2009 as free 3D modeling software designed for the general consumer, and they acquired the DIY info sharing website Instructables in 2011. The AIR program began at Instructables before their purchase by Autodesk, who developed it into a much larger initiative. All AIR residents are required to post their projects to the website, so there is a direct tie into the site's content. Envisioning how people create with their tools, or their competitor's tools, in a variety of scenarios is clearly a valuable asset to the company, especially as the mainstream culture moves into a maker culture.

Autodesk Pier 9 Workshop.

Autodesk's Pier 9 AIR Program Manager Vanessa Sigurdson describes the environment at Autodesk as an "office full of artists, not an office with artists" and they aim to have active interchange between the resident artists and engineers. Former resident artists Joseph DeLappe and Adrien Segal felt that the environment was very supportive and encouraging for visiting artists, with an "anything goes" atmosphere. DeLappe created rubber stamps for In Drones We Trust, while Segal used water consumption statistics to build a canyon-like bench. Both mentioned that the workshop helped to foster the company's culture of bustling, creative energy. Sigurdson referenced the Xerox PARC artist-in-residence (PAIR) program as an important inspiration for the residency, a project that similarly brought artists and technologists together in collaboration.

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.

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

MFA programs

Hi Sterling-
As a reference, I would look through Rhizome's New Media Programs list - there's a ton of info about various graduate MFA programs in New Media in that section of the site:
Hope this helps!


Rethinking Curating: Art After New Media

Hi Sarah,
Removed Nina Pope and Karen Guthrie's names from the sentence on NODE.London - thanks for pointing that out to us!


Dispatches from No Soul For Sale

Cedric Maridet emailed me a description of Back into the Ether, from the exhibition "Cities of Desire" at the Hong Kong Arts Centre and at the IG Bildende Kunst in Vienna. I've copied and pasted it below, for those who might be curious about it. Also, you can listen to the work by visiting Cedric's website: http://www.moneme.com/ Click "Works" and "Back into the Ether".


Among the various ways to study a sonorous environment, an ethnographical approach allows to focus on the way
habitat and urbanism is being re-appropriated by individuals or communities. As Michel De Certeau exposed in The
Practice of Everyday Life1, structures of power (political or economical) create space through urban planning for
instance, in within inhabitants create space for themselves through their practices, and “tactics”. Urbanism and
social practices interact in order to define a new territory, a new area of life, centered on its inhabitants. This sound
work deals with the aural spatial practice of culture in a context or massive urban renewal projects in Hong Kong.

The sounds recorded in Hong Kong’s Central Wet Market, reflect the everyday practices of a community, its own
social ties, and cultural codes, and its particular production of space in Lefebvre’s terms2. In this context, voices are
primary formal elements: People yelling in the street trying to attract attention of the crowd, trying to make
themselves heard, negotiating with each others, and so on. Other manifestations of human activities can be heard
through other sort of noises of these busy streets. Participants are not only creating the soundscape, but they are
interacting with it through their listening acts, with most certainly a communication purpose; merchants' yells echo
each others, creating “a feedback loop between human activity and our material surroundings3” (p.29)
This sound composition can be taken as a metaphor for the risk of dislocation of the social fabric and micro-level
cultural codes through the idea of disappearing sound. Urban renewal projects do not only affect the architectural
physical space, but also the sounds themselves that used to resonate through the space. This work takes roots in
the soundscape from the outdoor market in Central Hong Kong, and the listener embarks into the noisy streets
among stalls of fishes and vegetables. The sounds are moved around the listener’s head thus defining a constantly
evolving and unstable space for the listener.

The recorded sounds evolve from anecdotal sounds to more and more transformed sounds. The processes
involved in their transformations are real-time spectral effects. They imply is a shift from the common time domain
representation of sound, where amplitudes of sound are counted over time to a frequency domain, where the
different frequencies are evaluated over time. The way the sonorous data is processed in the frequency domain is
ruled by a particular algorithm referred to as the Fast Fourier transform. It is an equation that allows spectral
conversion of the raw sound then temporal reconversion for its normal playback. The first step deals with
calculations of the numbers series of numbers representing the strength of the frequency component at a variety
of points. Diverse processes can then be operated at this stage upon the frequency constituent of the sound, such
as selection of particular frequencies or range of frequencies, ‘freezing’ the sound on particular frequencies, etc. In
order to be heard back, these numbers have to be reconverted into the temporal scale.

In this work, voices become blurry, frozen-like, thanks to these spectral processes. Their original richness and variety
are reduced to drones, as being the mere traces of the initial sounds. However, all the sound frequencies present
throughout the piece are constituted by the original sounds from the market. Hence these sounds are slowly
thinning, freezing into this disappearing process of voices.

Hong Kong, August 04th 2009.

1 The Practice of Everyday Life. Steven Rendall trans. University of California Press. 1984
2 The Production of Space, D. Nicholson-Smith trans., Oxford: Basil Blackwell, 1991. Originally published in1974
3 “Experimental Geography: From Cultural Production to the Production of Space”, Paglen Trevor. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism, Nato Thompson and Independent Curators International. Melville House, 2009


Digital Artists using Fiber Techniques

I would check out all the artists who presented at Craft Hackers, a Rhizome New Silent Series event from two years ago:

I would also look into Open Source Embroidery, an ongoing project curated by Ele Carpenter:

The catalog for the Radical Lace and Subversive Knitting show at MAD would be a good resource as well:

I would definitely track down past issues of KnitKnit or get the book:

Lastly, I just received the press release for a new show that looks relevant, The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft, at the Fuller Craft Museum. If you live near Boston, maybe you can see it, it opens in late May:

Hope this is helpful and good luck!


RHIZOME Intern (part-time, unpaid)

Fri Mar 12, 2010 00:00

Rhizome seeks a focused, responsible and mature candidate for a part-time internship. Responsibilities include assisting with the daily administrative upkeep of the organization, research and production support of the Rhizome website, coordination of organizational projects, correspondence with artists, members, and press, and management of various social media platforms. Interns must be familiar with contemporary art and savvy with the web and new technologies.

The position is 8 - 16 hours per week and can be worked from home or at the Rhizome office, which is located at the New Museum of Contemporary Art in downtown Manhattan. The intern will report to the Senior Editor and Associate Director. Candidates must be based in New York and must be able to commit to 3 months. This position is unpaid, but academic credit may be arranged.

QUALIFICATIONS: Candidates must be well versed with social media and the online environment. A keen interest in online marketing is a must. Education or advanced experience beyond the undergraduate level is highly desirable. The candidate should have strong writing and analytical skills. Knowledge of Microsoft Office software is required and basic experience with graphics and video editing programs, like Photoshop and Final Cut, is preferred.

TO APPLY: Please email a cover letter, resume or c.v., to editor[at]rhizome.org. Review of applications will begin immediately.