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)

New Media in the White Cube and Beyond - Curatorial Models for Digital Art

Wed Jan 28, 2009 00:00 - Wed Jan 28, 2009

New Media in the White Cube and Beyond
Curatorial Models for Digital Art

Edited by Christiane Paul

An Ahmanson-Murphy Fine Arts Book
University of California Press, December 2008

This anthology addresses the challenges of curating, presenting, and preserving new-media art—artworks that use digital technologies as media and emphasize process over object. As an art form that is inherently time based, dynamic, interactive, collaborative, customizable, and variable, new media art challenges the traditional art world's customary methods of presentation and documentation as well as its approach to collection and preservation. Featuring contributions by prominent practitioners—institutional and independent curators, theorists, and conservators—this volume addresses the conceptual, philosophical, and practical issues of both curating and presenting new-media art.

Editor's Introduction

I. Positioning New Media Art and Curatorial Models
1 Charlie Gere, New Media Art and the Gallery in the Digital Age
2 Sarah Cook, Immateriality and its Discontents--An Overview of Main Models and Issues for Curating New Media

II. Interfacing New Media
3 Christiane Paul, Challenges for a Ubiquitous Museum: From the White Cube to the Black Box and Beyond
4 Steve Dietz, Curating Net Art: A Field Guide

III. From Object to Process and System
5 Joasia Krysa, Immaterial Production, Self-Replicating Systems, Re-Distributed Curating
6 Jon Ippolito, Death by Wall Label

IV. Autonomous Cultural Zones
7 Sara Diamond, Participation, Flow, and the Redistribution of Authorship: The Challenges of Collaborative Exchange and New Media Curatorial Practice
8 Patrick Lichty, Reconfiguring Curation: Non-Institutional New Media Curating and the Politics of Cultural Production

V. Case Studies
9 Beryl Graham, Serious Games
10 Patrick Lichty, (re)distributions: PDA, Information Appliance, and Nomadic Arts as Cultural Intervention
11 Caitlin Jones and Carol Stringari, Seeing Double: Emulation in Theory and Practice
12 Tilman Baumgärtel, Hans D. Christ, and Iris Dressler, games. Computerspiele von KünstlerInnen (games. computer games by artists)


Scalable Relations

Fri Jan 09, 2009 00:00 - Mon Jan 05, 2009

United States of America


curated by Christiane Paul

Exhibition Venues:
*BEALL Center for Art + Technology at UC Irvine, January 9 - March 14
*California NanoSystems Institute CN(S)I at UCLA, January 14 - March 20
*gallery@CalIT2 at UCSD, January 23 - March 15
*MAT at UCSB, February 12 -

Scalable Relations is a series of networked exhibitions that present media artworks by faculty of the UC Digital Arts Research Network (DARnet) across UC campuses from January 9 throughout March, 2009. The exhibition, curated by Christiane Paul (Adjunct Curator of New Media Arts at the Whitney Museum of American Art), takes place at the BEALL Center for Art + Technology at UC Irvine; the gallery@CalIT2 at UCSD; California NanoSystems Institute CN(S)I at UCLA; as well as Media Arts and Technology (MAT) at UCSB. Scalable Relations brings together works that explore digital media's capability of representing a growing amount of data in constantly evolving relations. Addressing a range of issues, the projects in Scalable Relations illustrate the complexities and shifting contexts of today's information society.

One of the distinctive features of the digital medium is its capacity to establish relations between large quantities of data through filtering and processing according to different criteria. These constantly evolving, scalable relations affect both the production of meaning and a traditional understanding of aesthetics, which become subject to computational logic—the instructions given by algorithms—and a constant reconfiguration of contexts. The format of the exhibition itself, in its distribution across multiple venues, mirrors the relational theme of the exhibition and the inherent connectivity of the digital medium.

The projects presented within Scalable Relations address different themes, distributed across the exhibition spaces. The six works featured at the Beall Center explore patterns, complexity, and generative algorithmic process with regard to nature, organic processes, and urban development, as well as representations of online communication and sharing. UCSD's gallery@CalIT2 exhibits three pieces that use the framework of computer gaming for exploring social and belief systems and expand the usually confined simulated world of a game to the 'real world.' The three projects in the exhibition either use paradigms of gaming and play for understanding phenomena and concepts that shape the physical world, or incorporate real world concepts that one would seldom encounter within a commercial game. The grouping of works at the California NanoSystems Institute (CNSI) at UCLA examines issues surrounding science, ethics, public health and social conditions. Taking various forms, ranging from sound installation to new media documentary, the projects in this category deal with the social and political implications of science or the impact of poverty, alienation, and addiction. The satellite exhibition at UCSB addresses complex behaviors and transmodalities, featuring three pieces that, respectively, investigate sensing and perception, the geometries of the invisible connections in our lives and our environment, and the multi-scale, multi-modal experience of revealing internal structures within genomics data.

Together, the works in the networked exhibition provide a sketch of the multiple forms and themes existing within the field of new media art and illustrate the relational qualities of the digital medium.

Sheldon Brown
Beatriz da Costa
Sharon Daniel
Ricardo Dominguez / particle group
Antoinette LaFarge and Robert Allen
George Legrady and Angus Forbes
Rebeca Mendez
Robert Nideffer
Greg Niemeyer
Marcos Novak
Simon Penny
C.E.B. Reas
Warren Sack
Ruth West


intelligent agent Vol. 8 No. 1 -

Wed Aug 06, 2008 00:00 - Wed Aug 06, 2008

United States of America

intelligent agent Vol. 8 No. 1 - Social Fabrics print issue now available

The print issue of intelligent agent Vol. 8 No. 1 is now available for order at
Vol 8. No. 1 can be ordered as hardcover and paperback and downloaded for free as pdf.

Single articles are downloadable as pdf files at

Issue 8.1 features the catalog of the Social Fabrics fashion & technology exhibition (curated by Susan Ryan and Patrick Lichty) of the Leonardo Educational Forum at the 2008 College Art Association conference.

For a listing of articles see

+ Patrick Lichty, Thank You for Your Patience
Patrick Lichty introduces the Social Fabrics exhibition on fashion, technology and wearable New Media -- hosted by the LEONARDO Educational Forum at the 2008 College Art Association in Dallas Texas -- which he co-curated by Susan Ryan of Louisiana State University.

//foreword //
+ Edward Shanken, Foreword from Leonardo Educational Forum
Edward Shanken introduces the Leonardo Education Forum (LEF) as sponsor of Social Fabrics.

+ Susan Elizabeth Ryan, What is Wearable Technology Art?
Susan Ryan proposes that wearable technology projects contribute to a history of projects that might not seem to be linked together or thought of as part of a cohesive practice.

+ Patrick Lichty, Building a Culture of Ubiquity
Patrick Lichty's presentation, originally given at the Emotional Architectures summit at the Banff New Media Institutein 2000, illustrates changes in the culture of ubiquity that is based on the proliferation of (mobile information devices) and discusses the impact of wearable computing on the relationships between body and space.

+ Susan Elizabeth Ryan, Dress For Stress: Wearable Technology and the Social Body
Susan Ryan considers the work of artists, designers, and activists who, since the 1990s, have worked with clothing as survival mechanism and social tool -- a "body of records" of technological, biological, and performable wearables that are vehicles for ideas and collective experience.

+ Susan Elizabeth Ryan, A Virtual Interview with Geert Lovink
Susan Ryan discusses communication-oriented wearable technology with media theorist, critic, and activist Geert Lovink who teaches at the Institute for Networked Cultures, University of Amsterdam.

+ Laura Beloff, The Curious Apparel: Wearables and The Hybronaut
Laura Beloff investigates wearable artistic experiments that explore concepts related to ubiquitous computing and to the merger of virtual and physical space in a hybrid space. In her research, she introduces the figure of the Hybronaut, a person coupled with a wearable device, who exists in hybrid space.

+ Daniela Kostova and Olivia Robinson, Negotiations
Negotiations by Daniela Kostova and Olivia Robinson, an interactive performance system consisting of two connected costumes, explores issues of cross-cultural communication using readily available digital effects and surveillance technologies.

+ Anne-Marie Skriver Hansen, The Body-as-Interface: A possibility to merge mind spaces with hybrids of physical and virtual worlds
The essay proposes a set of ideas behind physical interfaces that provide us with the ability to express abstract concepts in the hybrid of virtual and physical worlds. It considers the types of communication that may arise as a result from the linking of body and mind, and it debates the use of stimulus in the communication with other people and our surroundings.

+ Sarah Kettley, Crafting the Wearable Computer
Sarah Kettley outlines a novel methodology for the development of computational wearable artefacts as everyday sites for authentic engagement. This methodology comprises a set ofpreliminary protocols for craft in design, a novel approach to the identification of distributed usergroups, and a new method for the evaluation of wearable artefacts.

//free radical//
+ Brian Cowlishaw, What and Why Is High-Pop? Or, What Would It Take to Get You into a New Shakespeare Today?
Brian Cowlishaw discusses the phenomenon of "high-pop" -- a term coined by Jim Collins' in his 2002 book High-Pop: Making Culture into Popular Entertainment -- and the influence and marketability of transforming "high" into "pop" culture.

Social Fabrics exhibition catalogue and description of works.

intelligent agent
Editor-in-Chief: Patrick Lichty
Director: Christiane Paul
intelligent agent is a service organization and information
provider dedicated to interpreting and promoting art that
uses digital technologies for production and presentation.


From Cinema to Machinima — Software, Database and the Moving Image

Mon Apr 14, 2008 00:00 - Wed Apr 09, 2008

From Cinema to Machinima — Software, Database and the Moving Image
A panel discussion and Second Life event
Sponsored by the S.F.A.I. Film Department

Monday, April 14, 2008 - 7:30 - 9:30 PM
Lecture Hall, San Francisco Art Institute

800 Chestnut St., San Francisco

A panel discussion and virtual performance event to explore ways the digital medium has reconfigured the moving image and thereby redefined concepts of cinema. The digital medium has transformed the moving image. Image sequences have become discrete units that can be remixed in new constellations, through software processes or interaction by the viewer. Digital interactivity is connected to databases. The possibility of assembling and reconfiguring media elements from a compilation of image sequences have created new cinematic forms.

These emerging cinematic forms include database cinema, interactive narrative or non-narrative films, as well as machinima—filmmaking within computer games or 3D virtual worlds, such as Second Life, where characters and events can be either controlled by humans, scripts or artificial intelligence.

"From Cinema to Machinima" will bring together artists who will present their works in the area of digital cinema. The discussion will be followed by a short performance event in Second Life, which will be broadcast in the Lecture Hall.

Moderators: Lynn Hershman Leeson, Chair, SFAI Film Department; Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum.

Participants: Henrik Bennetsen, Char Davies, Scott Kildall & Second Front, Howard Rheingold (via Second Life), Scott Snibbe, Camille Utterback.

Participants' Biographies

Henrik Bennetsen works as research director at Stanford Humanities Lab. For the past year and a half he has been the head of the Lifesquared research project, which explores building a 3D immersive archive of the art of Lynn Hershman inside the virtual world of Second Life. The work was recently shown at The Museum of Fine Arts in Montreal and is planned for exhibition at SFMOMA in 2008. In Fall 2006 he was a part of the Stanford course "The Human and The Machine" that used Second Life as a teaching tool. Henrik holds a MSc. in Media Technology and Games from the IT University of Copenhagen and a BSc. in Medialogy from Aalborg University. Before his return to the world of academia Henrik was a professional musician and he has a strong side interest in creative self-expression augmented by technology.

Char Davies is internationally recognized for pioneering artworks using the technologies of virtual reality. Originally a painter, she transitioned to digital media in the late-80s, becoming a founding director of the 3-D software company Softimage. Her most renowned virtual environment, Osmose (1995), is considered a landmark in the history of new media art. Davies has also published numerous essays on virtual space, and in 2005 she completed a doctorate in philosophy (from CAiiA, University of Plymouth, UK). Recent awards include an Honorary Doctorate of Fine Arts (University of Victoria, British Columbia). The first monograph on her work, titled ‘Char Davies' Immersive Virtual Art and the Essence of Spatiality’ was published by University of Toronto Press in 2007. Most recently, Davies’ practice has expanded from "virtual" to "actual" place. Working with streams, forest and the enveloping horizon, she is currently shaping another immersive environment, on 500 acres of land in Québec near the Vermont border. When Davies is not on her land, she lives in San Francisco.

Lynn Hershman Leeson has worked extensively in photography, video, film, performance, installation, and interactive and net-based media. She has received numerous awards, among them the Prix Ars Electronica's Golden Nica (1999), a ZKM/Siemens Media Arts Award, a Flintridge Foundation Award for Lifetime Achievement in the Visual Arts, and the International Association of Digital Arts award for “innovative storytelling." Hershman Leeson wrote, directed and produced several films, among them Teknolust, starring Tilda Swinton, which premiered at the Sundance Film Festival, Toronto International Film Festival and Berlin International Flm Festival, and received The Alfred P. Sloan Film Prize. Her first feature film, Conceiving Ada, was nominated for an Independent Spirit Award. Lynn Hershman Leeson is an Emeritus Professor at the University of California, Davis, and an A.D. White Professor at Large at Cornell University, and Chair of the Film Department at the San Francisco Art Institute.

Scott Kildall is cross-disciplinary artist working with video, installation, prints, sculpture and performance. The oore of his artwork is formed by material he gathers from the public realm. Through this method, he uncovers relationships between human memory and social media technology.He holds a Bachelor of Arts in Political Philosophy from Brown University and a Master of Fine Arts from the School of the Art Institute of Chicago through the Art & Technology Studies Department. He has exhibited internationally in galleries and museums in Chicago, New York, Los Angeles, San Francisco, Toronto, Helsinki, Ireland, Spain and Romania. He has received fellowships and awards from organizations including the Kala Art Institute and is a founding member of Second Front—the first performance art group in Second Life. He currently resides in San Francisco.

Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts, and a revised version of her book Digital Art (Thames & Hudson, 2003) as well as the anthology New Media in the White Cube and Beyond - Curatorial Models for Digital Art (UC Press) will be published this year. She teaches as adjunct faculty in the MFA computer arts department at the School of Visual Arts in New York, the Digital+Media Department of the Rhode Island School of Design, the San Francisco Art Institute and the University of California at Berkeley. At the Whitney Museum, she curated the shows "Profiling" (2007) and “Data Dynamics” (2001); the net art selection for the 2002 Whitney Biennial; the online exhibition "CODeDOC" (2002) for artport, the Whitney Museum’s online portal to Internet art for which she is responsible; as well as "Follow Through" by Scott Paterson and Jennifer Crowe (2005). Other recent curatorial work includes "SOS 4.8" (Spain, 2008); "Feedback" (Laboral Center for Art and Industrial Creation, Gijon, Asturias, Spain, 2007); and "Second Natures" (Eli & Edythe Broad Art Center, UCLA, LA, 2006).

Howard Rheingold is the author of the acclaimed books Tools for Thought (1985), The Virtual Community (2000), and Smart Mobs (2003). He has been the editor of Whole Earth Review, and The Millennium Whole Earth Catalog, the founding executive editor of Hotwired, and founder of Electric Minds. Rheingold has taught classes on participatory and social media and virtual community at UC Berkeley and Stanford University and is a Visiting Professor at De Montfort University, UK. His current projects include The Social Media Virtual Classroom, an online community for teachers and students for which he received an HASTAC/MacArthur Foundation grantee; The Cooperation Project, aimed at building an interdisciplinary framework for understanding cooperation, and Participatory Media Literacy.

Scott Snibbe's immersive interactive artworks have been installed in over one hundred art museums, performance spaces, science museums and public spaces worldwide since 1995, including the Whitney Museum of American Art (New York); the InterCommunications Center (Tokyo); Ars Electronica (Austria); the Institute of Contemporary Arts (London), Science Museum (London); the Exploratorium (San Francisco), the Phaeno Science Center (Germany); and the Cité de Science (Paris, France). He has been awarded a variety of international prizes, including the Prix Ars Electronica and a Rockefeller New Media Fellowship. He is the founder of two companies: Snibbe Interactive, Inc., which sells and distributes interactive installations for public spaces; and Sona Research, which engages in educational and cultural research. In 2007 he was awarded a National Science Foundation Grant for research in Interactive Narrative.
Snibbe holds Bachelor’s degrees in Computer Science and Fine Art, and a Master’s in Computer Science from Brown University. He studied experimental animation at the Rhode Island School of Design and has taught media art and experimental film at Brown University, The San Francisco Art Institute, the California Institute of the Arts, The Rhode Island School of Design and UC Berkeley. Snibbe worked at Adobe Systems as a Computer Scientist and held research positions at Interval Research.

Camille Utterback is an internationally acclaimed artist whose work explores the aesthetic and experiential possibilities of linking computational systems to human movement and gesture in layered and often humorous ways. Her work focuses attention on the continued relevance and richness of the body in our increasingly mediated world.
Utterback's extensive exhibition history includes more than fifty shows on four continents. Awards include a Transmediale International Media Art Festival Award (2005), and a Rockefeller Foundation New Media Fellowship (2002), a Whitney Museum commission for their artport website (2002), and a US Patent (2004). Her work has been collected by The La Caixa Foundation (Barcelona), Itau Cultural (Brazil), Hewlett Packard, The Pittsburgh Children's Museum, and others. Recent projects include a large-scale interactive projection on the San Jose City Hall commissioned by ZeroOne and the City of San Jose.
Utterback holds a BA in Art from Williams College, and a Masters degree from The Interactive Telecommunications Program at New York University's Tisch School of the Arts. She lives and works in San Francisco.


::danube telelecture REMIXING CINEMA with Lev MANOVICH and Sean CUBITT - stream now available ::


::danube telelecture REMIXING CINEMA : Future and Past of Moving Images =
with Lev MANOVICH and Sean CUBITT - stream now available ::

In case you were not able to follow Danube TeleLecture #4, live from the =
MUMOK in Vienna, it is accessable in our archive. Other past =
lectures/debates available:

Sarat MAHARAJ and Machiko KUSAHARA: Does the West still exist?

Gunalan NADARAJAN and Jens HAUSER: Pygmalion Tendencies: Bioart and its =

Christiane PAUL and Paul SERMON: Myths of Immateriality: Curating and =
Archiving Media Art

Lev MANOVICH and Sean CUBITT: Remixing Cinema: Future and Past of Moving =



TOPIC: Remixing Cinema: Future and Past of Moving Images

Cinema as a visual phenomenon has accelerated increasingly over the last =
decades. Technical achievements at the material level like new =
participatory models driven by the melting of Internet, Databases, TV =
and Cinema are setting new standards and bringing a new dynamic to the =
black-box of the movie theater. Remixing, Coding, Remapping, and =
Recombination of visual manifestations are revolutionizing the narrative =
form of film - new societal phenomena, like the VJ scene, generate =
immersive viewing spaces and new forms of moving image distribution. The =
domain of video, film, computer and net-based installations stands on =
the threshold of a material revolution: do they bring a new aesthetic?
Revolutionary possibilities in camera and projection techniques offer =
increasingly faster development cycles that also allow for innovative =
image languages. New historical perspectives of the cinematic revue =
coalesce with innovative interpretations of our visual consumer culture =
and foretell future developments. What can be expected ... what are the =

Lectures and debate with:
Sean CUBITT, Australia: "Immersion, Connectivity, Conviviality"
Lev MANOVICH, USA: "After Effects, or Invisible Revolution"

Introduction Oliver GRAU

Moderated by Michael FREUND (Der Standard)

:: The DEPARTMENT FOR IMAGE SCIENCE at Danube University Krems is an
institution for innovative research and teaching on the complete range =
of image
forms. The Department is situated in the beautiful Wachau, Austria - a =
world heritage site - in the Goettweig Monastery and is housed in a =
fourteenth century
castle. It is the base of the public documentation platforms =,=20 and

The Department's new low residency postgraduate master's programs in
and IMAGE MANAGEMENT and their international faculty are unique.

> ! Upcoming TeleLecture !
We would like to welcome you to the upcoming Danube Tele Lecture in =
April 2008
live or via streaming from the Conference GAZING INTO THE 21th CENTURY.


The Department for Image Science Team