Christiane Paul
Since the beginning
Works in Broooklyn, New York United States of America

Always Evolving, Historically Rooted — Rhizome Needs Your Support

Still frame from Cory Arcangel, Various Self Playing Bowling Games (2011), as featured in Cory Arcangel: Pro Tools, curated by Christiane Paul for the Whitney Museum of American Art.

Rhizome puts the future of new media art in dialogue with its past — support the conversation, donate today.

Rhizome has been online since 1996 and I have been lucky enough to witness its growth from an informal email list to the organization it is today.

What I appreciate about Rhizome is that even as it continues to evolve and reinvent itself year after year, seeking out emerging ideas, artists, and areas of practice, it remains firmly rooted in a historical context. This can be seen not only in its pioneering work in the field of digital preservation, but also in programming and writing that finds contemporary relevance in media archives and brings different generations into dialogue.

Rhizome is a vital link between the past, present, and future of art and technology.

Support them, as I do. Give today.

— Christiane Paul, curator and scholar

Discussions (67) Opportunities (5) Events (47) Jobs (2)



We invite you to contribute to Flack Attack, a new magazine coming out of T=
he Port (, a community-driven space initiated by Sim=
on Goldin & Jakob Senneby inside the online 3D world Second Life (http://se= The production process of Flack Attack will be continually =
featured on artport (, the Whitney Museum's por=
tal to Internet Art, as a gate page during the month of December 2005. Usin=
g The Port as a point of departure we are pursuing a series of investigatio=
ns into the potential of networked public spheres and the organization of p=
articipatory production.

The production model of Flack Attack magazine is based on the wiki concept =
and the workflow starts with the set-up of the wiki at

The theme of the first issue is "Flack Attack on Autonomy": Autonomy as a c=
omplex concept in any governed situation. What does it mean to be autonomou=
s within predefined social codes? Does the notion of autonomy contradict a =
common language and shared references?

In the specific case of online worlds the challenge is readily illustrated =
by the fact that all interaction takes place inside someone else's programm=
ed code. But the same basic dilemma can be applied to any institution we fi=
nd ourselves in, be it a nation, a family or an economy.

The wiki is open to all, and we encourage a wide range of contributions on =
the topic of autonomy: everything from the structural and analytical to the=
personal and anecdotal.

Contributions can take the form of
+alterations / remixes of other contributions

Please submit your contributions between now and December19 at http://www.f=

==Editorial Meetings
An editorial office is being set up at The Port (inside the online world Se=
cond Life). Open meetings for discussing and editing the wiki contributions=
will be held at the office three times a week during December. All final d=
ecisions about the magazine and what will be included in the printed versio=
n will be made at the editorial meetings. The more you engage, the more you=
will be able to influence the outcome.

The editorial office will also function as design studio, community center,=
and place for further reflection.

The editorial meetings will take place every Tuesday, Thursday, and Sunday =
in December, starting on Thursday, December 1 (editorial offices will be cl=
osed on Sunday December 25). Meeting times will be as follows (depending on=
your time zone):

Tuesdays (December 6, 13, 20, 27):
1 AM West Coast USA
4 AM East Coast USA
10 AM Central Europe
6 PM Japan

Thursdays (December 1, 8, 15, 22, 2):
5 PM West Coast USA
8 PM East Coast USA
Friday 1 AM UK
Friday 2 AM Central Europe
Friday 10 AM Japan

Sundays (December 4, 11, 18)
1 PM West Coast USA
4 PM East Coast USA
10 PM Central Europe
Monday 6 AM Japan

For those who will visit The Port and Second Life for the first time, pleas=
e proceed as follows: Go to to get a free acount and=
a personal avatar (you need to give credit card details for security). Sim=
ply follow the instructions, download the customized software on your compu=
ter, and design your avatar. Allow yourself approx. 2 hours for this. Then =
click "Find" and search for "The Port" under "Places" (checking the "includ=
e mature areas" box). Click "Teleport" and you will arrive at The Port!

If you need help or have any questions when in Second Life, please send IM =
(Instant Message) to VoyeurOne Baron or Sorgaard Jacques.

The process of working with Flack Attack will be continually mediated throu=
gh artport (, the Whitney Museum's portal to In=
ternet Art between 1 and 31 December.

By the end of December the first issue of Flack Attack will be published. W=
e are planning to distribute it as PDF and print-on-demand via artport.
(In addition, free printed copies might be distributed through the bookstor=
e of the Whitney Museum in New York).

Simon Goldin & Jakob Senneby, Initiators of The Port & Flack Attack

The Port:
Flack Attack:
Second Life:


FOLLOW THROUGH by Jennifer Crowe and Scott Paterson, Whitney Museum

Thu Dec 01, 2005 00:00 - Tue Nov 22, 2005

by Jennifer Crowe and Scott Paterson
December 1, 2005-January 29, 2006
Whitney Museum of American Art
945 Madison Ave.
5th fl.

Artists Jennifer Crowe and Scott Paterson have created a mobile, audio-visual project that will be accessible to visitors on portable media players in the Museum's 5th Floor Permanent Collection galleries. The project is inspired by the discrepancy the artists found between the dynamics of the art on view in the galleries and the rather passive and languid body language of museum visitors looking at that art.

Referencing the structure of the existing audio tour, the artists invite visitors to engage in a set of exercises designed to bring well-established behavioral codes of museum attendance into relief. Visitors are prompted by visual instructions that appear on the screens of the handheld players. The project's title has its roots in sports terminology where the term "follow-through" describes the act of carrying a motion to its natural completion. With "Follow Through," the artists are inviting visitors to complete the dynamics in the galleries in an experience that goes beyond the mental act of contemplating or interpreting artworks.

The exhibition was co-commissioned by the Whitney Museum of American Art and Antenna Audio and is sponsored by Antenna Audio.

Documentation of the project will be accessible online at and

Jennifer Crowe is currently a new media producer in New York. Trained in the arts, her education includes an MA from Bard College's Center for Curatorial Studies and a BA in Visual Arts and Communication from the University of California, San Diego. Jennifer has broad experience in the arts with a special interest in digital archives and fine art preservation. Highlights include curating exhibitions at A.I.R. Gallery and The New Museum, initiating's Artbase, an online archive for Net-based artworks, and producing online companions for Peabody-Award winning art television shows at Thirteen/WNET New York Public Television. She has coordinated digital video archiving projects for Yale University, the Dance Heritage Coalition, and the EU's international video preservation project PrestoSpace. She has lectured at various venues including the Dutch Electronic Arts Festival, the American Museum of the Moving Image, and the Guggenheim Museum.

Scott Paterson is an architect, interaction designer, and artist based in New York. He teaches studio courses in the MFA in Design and Technology Program at the Parsons School of Design and has also taught at Columbia University’s Graduate School of Architecture. Trained as an architect, his education includes a Bachelor of Architecture degree from the University of Minnesota and a Masters degree from Columbia University. He has received grants from the Walker Art Center, Parsons School of Design, and The Design Institute at the University of Minnesota. Paterson lectures internationally and his work has been exhibited at the Whitney Museum of American Art, the Walker Art Center, and the Banff Centre for the Arts, as well as in venues in Amsterdam, Berlin, Florence, and Mexico City.

The Whitney Museum of American Art is the leading advocate of 20th- and 21st-century American art. Founded in 1930, the Museum is regarded as the preeminent collection of American art and includes major works and materials from the estate of Edward Hopper, the largest public collection of works by Alexander Calder, Louise Nevelson, and Lucas Samaras, as well as significant works by Jasper Johns, Donald Judd, Agnes Martin, Bruce Nauman, Georgia O'Keeffe, Claes Oldenburg, Kiki Smith, and Andy Warhol, among other artists. With its history of exhibiting the most promising and influential American artists and provoking intense critical and public debate, the Whitney's signature show, the Biennial, has become a measure of the state of contemporary art in America today.

Antenna Audio, the leading audio and audio-visual interpretation firm, serves more than 50,000 visitors of museums and other cultural sites each day. With 20 years of experience in the field of educational interpretation and entertainment, Antenna Audio designs, manufactures, and manages portable digital information systems and multilingual audio-visual productions for clients worldwide.


jihui Digital Salon presents Cory Arcangel -- Thurs. Nov. 17, 6-8 PM

Thu Nov 17, 2005 00:00 - Thu Nov 10, 2005

jihui Digital Salon
in cooperation with The Project Room@Chelsea Art Museum
Cory Arcangel

Thursday Nov. 17, 2005 - 6-8 PM
Chelsea Art Museum, 3rd Floor
556 West 22nd Street
New York, NY 10011

Cory Arcangel will be discussing his recent works and collaborations, as well as future projects, including the music group Van Led, a self-produced version of MTV cribz, and various assorted computer hacks. His presentation will include topics as varied as Simon and Garfunkel, google, Biggie Smalls, AOL IM, and homemade video games.

Cory Arcangel is a computer artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers and the Internet. He is a member of the artist groups BEIGE and R.S.G. His work has been shown in the 2004 Whitney Biennial; The Guggenheim Museum, New York; the Museum of Modern Art, New York; the Migros Museum in Zurich; and Team and Deitch galleries in New York. Except for gallery installations, most of his projects can be downloaded with source code from his website

jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT |
THE PROJECT ROOM is a special projects and education program at the Chelsea Art Museum that brings together international artists, curators, cultural, educational and corporate organizations.


jihui Digital Salon presents Interactive Cinema: Julia Heyward & Toni Dove - Thurs. Nov. 3, 6-8 PM

Thu Nov 03, 2005 00:00 - Thu Oct 27, 2005

jihui Digital Salon
in cooperation with The Project Room@Chelsea Art Museum
Interactive Cinema: Julia Heyward & Toni Dove

Thursday Nov. 3, 2005 - 6-8 PM
Chelsea Art Museum, 3rd Floor
556 West 22nd Street
New York, NY 10011

Julia Heyward and Toni Dove will present and discuss issues surrounding their interactive movies. Heyward is currently working on two interactive works that form a triptych with her previous interactive DVD "Miracles in Reverse," entitled "Nothing Random Access Memory." The work collectively explores subjective and collective memory with a focus on trauma. Toni Dove will examine how characteristics of consciousness can inform responsive and narrative structures through analysis of her current work in progress "Spectropia," a time travel drama that uses the metaphor of supernatural possession to investigate subject, memory, history.

Toni Dove is an artist / independent producer who works primarily with electronic media, including virtual reality, interactive video installations, performance and DVD ROMs that engage viewers in responsive and immersive narrative environments. Her work has been presented in the United States, Europe and Canada as well as in print and on radio and television. Projects include "Archeology of a Mother Tongue," a virtual reality installation with Michael Mackenzie at the Banff Centre for the Arts (see the book “Immersed in Technology” from M.I.T. Press) and a recent interactive movie installation, "Artificial Changelings," that uses motion sensing to allow a viewer standing in front of a screen to move a video characters' body and generate speech and music. Her current project under development is "Spectropia," a feature-length interactive movie for two players. Dove has received numerous grants and awards including support from the Rockefeller Foundation, the Greenwall Foundation, the Langlois Foundation, New York State Council on the Arts, National Endowment for the Arts, New York Foundation for the Arts, The LEF Foundation, and the Eugene McDermott Award in the Arts from M.I.T.
Her web site is

Julia Heyward is a multi-media artist living and working in New York City. In the 70s, Heyward toured Europe and the USA as a solo performance artist, and her most notable pieces were "Kilroy Gerber" and "Blue Period." The work involved video, film, monologues, and acapella singing. In January of 1981 (a year before MTV), Heyward premiered "360," a long-form video disk prototype. In the 80s, Heyward's work expanded into ensemble performances, and she formed and toured three multi-media music groups (with Pat Irwin). Heyward won a "Bessie Award" for outstanding performance of the year 1984 for "No Local Stops." The text, performance and immersive visuals, created by Heyward, were accompanied by music by her band T-Venus. In May of 1988, Heyward premiered "Mood Music" -- a cartoon opera involving live interactive characters made out of light, slide animations, and mood music by Robert FitzSimons -- at The Kitchen. In 1996, her work "Miracles in Reverse" premiered in Potsdam, Germany. In addition to writing, directing, and creating the 3-D visuals, Heyward also wrote the music for "Miracles." An interactive DVD version of “Miracles in Reverse" was completed in 2003. Heyward is currently working on two interactive works that form a triptych with “Miracles in Reverse,” entitled “Nothing Random Access Memory.”

jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT |
THE PROJECT ROOM is a special projects and education program at the Chelsea Art Museum that brings together international artists, curators, cultural, educational and corporate organizations.



[Online Resources for Media Art]




Christiane Paul, adjunct curator of New Media Arts at the Whitney Museum of=
American Art, New York, will join Dieter Daniels, professor of art history=
and media theory at the Academy of Visual Arts, Leipzig, for a dialogue fo=
cusing on the groundbreaking project "Media Art Net" (
The discussion will explore the project as a model for creating resources =
on media arts.

"Media Art Net" is an online "survey" with scholarly essays, accompanied by=
comprehensive audiovisual documentation on 940 artists and 1400 art works =
from the 1920s until today. The second part of the project is now available=
online and includes 8 key topics: Aesthetics of the Digital; Art and Cinem=
atography; Cyborg Bodies; Generative Tools; Mapping and Text; Photo/Byte; P=
ublic Spheres; Sound and Image. A network of curators and writers explore s=
eminal interfaces between media and art, presenting a variety of approaches=
and contexts. In addition artistic projects are commissioned for the onlin=
e platform.

Selected essays are published in book form (Media Art Net Vol. 1 and 2, see=
: and the specific book design is=
linked with the online platform.

The project was commissioned by Goethe-Institut and the Center for Art and =
Media (ZKM), in cooperation with the Academy of Visual Arts, Leipzig. Finan=
cial support was granted by the German Ministry of Research and Education. =
Editors: Rudolf Frieling and Dieter Daniels.