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)
EVENT

second natures opening @ Eli and Edythe Broad Art Center, LA


Dates:
Sat Sep 30, 2006 00:00 - Sat Sep 23, 2006

second natures

UCLA Department of Design | Media Arts
Faculty Exhibition for the opening of the Eli and Edythe Broad Art Center

Curated by Christiane Paul

Public Reception:
Saturday, Sept. 30, 6


DISCUSSION

DANUBE TELE LECTURES on Art, Media and Image Science


:: Inauguration of the DANUBE TELE LECTURES at Danube University Krems ::

The Center for Image Science at Danube University Krems starts a new intern=
ational lecture series in early September with prominent scientists of our =
time. The lectures will be presented by live online streaming technology. T=
he series is realized in co-operation with the Osterreichische Filmgaleri=
e and the ORF Niederosterreich (Austrian Broadcast Corporation), and will=
be held in the Filmgalerie Cinema at Danube University Krems. For the inau=
gural Tele Lecture, internationally renowned scholars deal with key topics =
of Image Science and Media Art:

www.donau-uni.ac.at/cis

:: Lecture / Debate Topics ::

September 5, 2006 19:30-22:00
"DOES THE WEST STILL EXIST? Are There Boundaries of West, East and Far-East=
in the World of Images Now?"
Lectures and debate with Sarat MAHARAJ and Machiko KUSAHARA

Hollywood, computer games, net and media art, micromovies, new devices* ima=
ges are undergoing a new internationalization never known before, and are i=
ncreasingly being charged as a vehicle of ideologies and worldview. Seeming=
ly bygone clashes between image opponents and image believers are reanimate=
d in contemporary media to include all areas of art, science, politics and =
economy - now on a global scale. Can we still speak of images of the west t=
oday? Do we witness the arousal of a global visual language enriched univer=
sally by the various cultures, or are we at the brink of an

DISCUSSION

intelligent agent Vol. 6 No. 2 - Special Issue: ISEA 2006


intelligent agent Vol. 6 No. 2
Special Issue: Papers presented at the ISEA2006 Symposium
Available online and Print-on-Demand at
http://www.intelligentagent.com

In collaboration with the ISEA2006 Festival -- Aug. 7-13, San Jose, CA -- i=
ntelligent agent is launching a special issue featuring the papers of the I=
SEA2006 Symposium both online and as a print-on-demand issue that can be or=
dered at our website.

A limited amount of print issues will be available at ISEA2006 (http://www.=
01sj.org) in San Jose. If you are attending ISEA, please join us for an int=
elligent agent reception on Wednesday, Aug. 9 at 4PM (details to come).

//editorial//
+ Patrick Lichty, Christiane Paul, Introduction

//transvergence//
+ Steve Anderson, Aporias of the Digital Avant-Garde
The article maps two divergent trajectories within music videos, design-ori=
ented short films, and motion graphics created between 1995 - 2005: a mode =
of remix-based montage inspired by open source programming communities and =
peer-to-peer networks; and the "digital analogue" as a mode of imaging that=
foregrounds the material basis of digital production.

+ Jon Ippolito and Joline Blais, Art as Antibody
This essay focuses on two of the most potent features of new media art's to=
olkit: perversion as technique for producing cultural forms and execution a=
s technique for distributing them. Some have described the new powers art w=
ields, such as perversion and execution, as viral. The best metaphor for ar=
t's contemporary role may be a microbe, but one internal rather than extern=
al: the antibody.

+ Ned Rossiter, Organized Networks, Transdisciplinarity and New Institution=
al Forms
Rossiter investigates emergent social-technical dynamics of communication, =
production, and organization in the network cultures of the education syste=
m. The paper describes and analyzes the emergence of "organized networks" a=
s new institutional forms.

+ Josephine Bosma, Voice and Code
Bosma examines connections between oral expressions of language (speech and=
song) and programming languages. Voice is used as an entry point for refle=
cting on the human aspect in the languages that control our machines, netwo=
rks, and systems.

+ Oron Catts and Ionat Zurr, Towards A New Class of Being - The Extended Bo=
dy
The Extended Body, developed by the TC&A (Tissue Culture & Art) Project, ca=
n be seen as a way to define a new category of life: the biomass of living =
cells and tissues that have been separated from a unified "body." The Exten=
ded Body draws attention to the need for re-examining current taxonomies an=
d hierarchical perceptions of life.

//community domain//
+ Kevin Hamilton, Absence in Common: An Operator for the Inoperative Commun=
ity
Hamilton argues that a phenomenology of presence is crucial to a discussion=
of where and how a "community domain" is possible. Communication itself, a=
nd the technological means by which it is achieved, have emerged as an impo=
rtant and material way in which ideals of community are inscribed into cult=
ure.

+ Joline Blais, Indigenous Domain: Pilgrims, Permaculture and Perl
The variety of forms of authorship, collaboration, and resource sharing acr=
oss cultures provides a formidable challenge for definitions of creativity =
and value. Parallel movements in indigenous culture, permaculture, and digi=
tal culture could suggest an alternative to the intellectual property regim=
e at the base of colonial cultures.

+ Mara Traumane, Media References - Knowledge Networks in Experimental Arts
Traumane outlines parallels between analogue collaborative, creative experi=
ments and structures and approaches in today's new media art field. She exp=
lores the self-definition of experimental arts practices; the references th=
at provide context for these initiatives; their methods of discussion and d=
ocumentation, and the role of media in this process.

+ Sharon Daniel, Public Secrets: Information and Social Knowledge
Daniel discusses the "public secrets" of the Prison Industrial Complex and =
its pervasive network of monopolies and human rights abuses in the context =
of an online project that documents conversations with women prisoners at t=
he Central California Women's Facility (CCWF) in Chowchilla, California.

+ Valentina Nisi, Dr. Ian Oackley, Dr. Mads Haahr, Inner City Locative Medi=
a: Design and Experience of a Location-Aware Mobile Narrative for the Dubli=
n Liberties Neighborhood
The authors discuss the Media Portrait of the Liberties (MPL), a project us=
ing location-aware PDAs to present historically inspired video stories abou=
t an inner city area of Dublin, Ireland, known as "the Liberties."

Online only:
+Trebor Scholz, The Participatory Challenge: Incentives for Online Collabor=
ation
Scholz discusses participation in online collaborations and the potentials =
of "extreme sharing networks" in the unregulated commons. Current debates f=
ocus too much on what social tools can do and not enough on the people who =
use them. The essay offers hands-on guidelines and an outline of preconditi=
ons for online participation.

//interactive city//
+ Alison Sant, Redefining The Basemap
The paper questions the methodology of the traditional "base map" as it is =
used in current collaborative mapping projects employing locative media tec=
hnologies and proposes alternative approaches for mapping the city as a spa=
ce of events.

+ Mirjam Struppek, Urban Screens - The Urbane Potential of Public Screens f=
or Interaction
Urban Screens investigates how the growing infrastructure of dynamic digita=
l displays in urban space, currently dominated by commercial forces, can be=
utilized in the context of artworks exploring the interconnectedness of pu=
blic space, interaction, and new media.

+ Franck Ancel, From Scenography to Planetary Network: Shanghai World Expo =
2010 at ISEA San Jose 2006
In the context of the upcoming World Expo in Shanghai, Ancel takes a look b=
ack at intersections between art and technology at previous World Fairs and=
suggests a movement "from scenography to planetary network" to develop a v=
ision for the interactive city of the future.

Online only:
+Tapio Makela, Ars Memorativa in the Interactive City: Private Layers in Pu=
blic

//pacific rim//
+ Timothy Murray, The Archival Event: Thinking Electronic Art Via Cornell's=
Goldsen Archive of New Media Art
Murray presents Cornell University's Rose Goldsen Archive of New Media Art,=
which, among other holdings, houses extensive documentation from the Pacif=
ic Rim and features two specialized collections of immense value for the un=
derstanding of contemporary Chinese art.

+ Machiko Kusahara, Device Art: A New Form of Media Art from a Japanese Per=
spective
Drawing from examples of Japanese new media art, Kusahara discusses "device=
art" as a form of media art that integrates art and technology, as well as=
design, entertainment, and popular culture and makes technology the focus =
of the artwork.

+++++++++++++++++++++++++++++++++++++++
intelligent agent
Editor-in-Chief: Patrick Lichty
Director: Christiane Paul

http://www.intelligentagent.com
intelligent agent is a service organization and information
provider dedicated to interpreting and promoting art that
uses digital technologies for production and presentation.
++++++++++++++++++++++++++++++++++++++++

DISCUSSION

intelligent agent Vol. 6 No. 1 - interfacing | free radical | reviews


intelligent agent Vol. 6 No. 1
Articles now available at
http://www.intelligentagent.com

Vol. 6 No. 1:
// interfacing //
// free radical //
// book reviews //

All content is available in html and as pdf files.

//editorial//
+ Patrick Lichty, Hello, Katrina! So Much for New Media Art
In the context of the techno infrastructure breakdown during hurricane Katr=
ina, Patrick Lichty discusses the (im)possibilities of independence from in=
formation grids and the long-term viability of platforms for creating new m=
edia art.

//interfacing//
+ Andruid Kerne, Doing Interface Ecology: The Practice of Metadisciplinarity
The interface can be modeled as an ecosystem -- connected, dynamic, and cha=
racterized by relationships -- and can be understood as a border zone betwe=
en heterogeneous systems of representation. Andruid Kerne uses notions of s=
ensation, embodiment, and semiotics to initiate a process of metadisciplina=
rity that addresses the range of systems of representation involved in the =
writing and production of his paper.

+ Yuli Ziv, Parallels between Suprematism and the Abstract, Vector-Based Mo=
tion Graphics of Flash
Yuli Ziv explores parallels between aesthetic concepts surfacing in both th=
e suprematist art movement in the beginning of the 20th century and the abs=
tract, vector-based motion graphics associated with the Macromedia Flash so=
ftware / authoring environment. The subject of analysis is not the influenc=
e of Suprematism on Flash as a tool in general but on the -- to a certain d=
egree standardized -- abstract forms that the software produces.

+ Naoko Tosa, Cultural Computing: ZENetic Computer
Through her project ZENetic Computer -- which projects the style of communi=
cation developed by Zen schools over hundreds of years into a virtual world=
-- Naoko Tosa explores "Cultural Computing" as a form of cultural translat=
ion that uses scientific methods to represent aspects of culture.

+ Paul Hertz, Drunk on Technology, Waiting for the Hangover: A Test Plot
Paul Hertz's structures 16 short texts on topics ranging from "activism" an=
d "network" to "collaboration" and "bandwidth" by means of a Graeco-Latin S=
quare of order 4 -- a combinatorial structure frequently used in agricultur=
al test plots, typically for combining plant strains with different fertili=
zers in such a way that no plants or fertilizers are repeated in any row or=
column of the square. (Plants: Network, Collaboration, Art, Emergence; Fer=
tilizers: Activism, Bandwidth, Naming, Wildcard)

+ Juan Teodosio Pescador, Thirteen Ignodicta About This Art
Pescador's thirteen short statements reflect on possible effects of art and=
suggest appropriate viewer responses. "This art is loaded with cultural va=
lues. Fight, run, or surrender."

//free radical//
+ Andrea Polli, The Sound of Fear
Using a frightening experience on a flight from Chicago to Sao Paulo as a=
starting point, Andrea Polli discusses the effects of ultrasound and infra=
sound on the body; the connection between sound and memory points; and whet=
her the emotional, narrative content of sound might enhance the understandi=
ng of abstract information.

//book reviews//
+ Ceri Myers reviews "Carnal Art: Orlan's Refacing" by C.Jill O'Bryan
Ceri Myers reviews C. Jill O'Bryan's book on the works of the French artist=
Orlan and their conceptual foundations.

+ Leigh Clemons, "Whale!" by K.L. Evans
Leigh Clemons reviews "Whale!," a poetic, intense, and complex reading of H=
erman Melville's famous tale of obsession and fate through the lens of Witt=
genstein's theories. In several ways, "Whale!" relates to concerns of new m=
edia practitioners, such as metastructures of subjects, objects, practice, =
and theory.

+++++++++++++++++++++++++++++++++++++++
intelligent agent
Editor-in-Chief: Patrick Lichty
Director: Christiane Paul

http://www.intelligentagent.com
intelligent agent is a service organization and information
provider dedicated to interpreting and promoting art that
uses digital technologies for production and presentation.
++++++++++++++++++++++++++++++++++++++++

EVENT

jihui digital salon presents Ken Feingold -- Thurs. June 8, 6 PM


Dates:
Thu Jun 08, 2006 00:00 - Wed May 31, 2006

jihui Digital Salon
in cooperation with The Project Room@Chelsea Art Museum
presents
Ken Feingold

Thursday, June 8, 2006 - 6-8 PM
Chelsea Art Museum, 3rd Floor
556 West 22nd Street
New York, NY 10011

http://agent.netart-init.org
http://www.chelseaartmuseum.org

Ken Feingold will discuss his recent works involving computer-generated performances, including new works not yet shown in New York. These pieces, which the artist refers to as "cinematic sculptures," often include extremely realistic, speaking animatronic human heads that talk and respond to viewers ("Sinking Feeling," 2001; "Lantern," 2005) or to each other ("If/Then," 2001; "You," 2004; "What If?," 2005). The listening and speaking figures - digitally and pneumatically activated silicone portraits - explore the unpredictability and complexity that language and mind create between people. The dialogs are not pre-recorded and are always different, generated in real time by computer programs written by the artist. Feingold uses technology to give each figure a personality, a vocabulary, associative habits, obsessions, and other traits of personality that allow them to behave as if in different takes of a scene in a film, acting out their role over and over, but always changing. However, Feingold is not involved with artificial intelligence as a scientist might be and these works are not intended to create a literal simulation of a human being. He employs metaphors of the artificial to get to what we understand about the real, how we communicate, and how meaning often is elusive or transient.
http://www.kenfeingold.com

KEN FEINGOLD (USA, 1952) has been exhibiting his work in film, video, objects, and installations since 1974. After first studying at Antioch College (Yellow Springs, Ohio), he received his B.F.A. and M.F.A. degrees in 'Post-Studio Art