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)
DISCUSSION

New artport | Tate Online commission: "Screening Circle" by Andy Deck


Screening Circle
by Andy Deck
launched March 22, 06
artport, the Whitney Museum's portal to Internet art
http://artport.whitney.org
http://artport.whitney.org/commissions/screeningcircle/screeningcircle.shtml

Screening Circle adapts the cultural tradition of the quilting circle into =
an online format. Visitors to the site can enter the drawing area to compos=
e loops of graphics and affect and edit each other's screens. The pieces ca=
n be made by one person or by several people and the arrangement of the seg=
ments can be haphazard or precise. In the screening area, the resulting mot=
ion graphics will be on view instantaneously. The "circle" invoked in the t=
itle refers to the circle of participants, and, indirectly, to the loop of =
images that are produced. "Screening" refers to the pre-viewing of film in =
the film making process. It is a form of viewing that allows people to have=
some influence over the final product.

Accompanied by an essay by Alison Colman, "A temporal block-to-block: The e=
lectronic quilting frame of Screening Circle"

++++++++++++++++++++
"Screening Circle" is the third in a series of three works co-commissioned =
in collaboration with Tate Online. See http://artport.whitney.org/commissio=
ns/new_commissions.shtml

Critical texts and video interviews with the artists will accompany the wor=
ks at http://www.tate.org.uk/netart/
++++++++++++++++++++

Previous commissions:

The Dumpster (launched Feb. 14, 06)
Golan Levin with Kamal Nigam and Jonathan Feinberg
http://artport.whitney.org/commissions/thedumpster/dumpster.shtml

The Battle of Algiers (launched March 1, 06)
Marc Lafia and Fang-Yu Lin
http://artport.whitney.org/commissions/battleofalgiers/BattleofAlgiers.shtml

DISCUSSION

Artport | Tate Online Commission: "The Battle of Algiers" by Marc Lafia and Fang-Yu Lin, 3-1-06


The Battle of Algiers
by Marc Lafia and Fang-Yu Lin
launched March 1, 06
artport, the Whitney Museum's portal to Internet art
http://artport.whitney.org
http://artport.whitney.org/commissions/battleofalgiers/BattleofAlgiers.shtml

This work recomposes scenes from the 1965 film "The Battle of Algiers" by I=
talian director Gillo Pontecorvo. The original film is a reenactment of the=
Algerian nationalist struggle leading to independence from France in 1962.=
The success of the actual battle for independence has been attributed to t=
he nationalists' organization: a pyramidal structure of self-organized ce=
lls. For their project, Lafia and Lin recomposed the film along a cell-base=
d structure, in which French Authority and the Algerian Nationalist cells a=
re represented by stills from the film and move according to different rule=
sets. When cells of different camps intersect, they trigger video cells di=
splaying each side's tactics (as depicted in the film) according to the rul=
es of the system.

Accompanied by an essay by Daniel Coffeen: "Film, Play, Power and the Compu=
tational, or Byting Celluloid: On Marc Lafia's and Fang-Yu Lin's 'The Battl=
e of Algiers'"

++++++++++++++++++++
"The Battle of Algiers" is the second in a series of three works co-commiss=
ioned in collaboration with Tate Online. See http://artport.whitney.org/com=
missions/new\_commissions.shtml

Critical texts and video interviews with the artists will accompany the wor=
ks at http://www.tate.org.uk/netart/
++++++++++++++++++++

Upcoming commission:

Launch Date: March 22

Screening Circle by Andy Deck
This project adapts the cultural tradition of the quilting circle into an o=
nline format. Visitors to the site can enter the drawing area to compose lo=
ops of graphics and affect and edit each other's screens. The pieces can =
be made by one person or by several people and the arrangement of the segme=
nts can be haphazard or precise. In the screening area, the resulting motio=
n graphics will be on view instantaneously.

DISCUSSION

Flack Attack magazine: now available as Print On Demand issue through artport


Flack Attack magazine
produced as part of the
artport gatepage December 05
now available as Print on Demand
http://artport.whitney.org

For the December 05 gate page, Jakob Senneby & Simon Goldin used The Port -=
a community-driven space they initiated inside the online 3D world Second =
Life - as a point of departure for developing the collaborative magazine Fl=
ack Attack.

Order Now:
Print on Demand issue of Flack Attack magazine (via Paypal)
http://www.flackattack.org/Prod/order.htm

Info on the publication process of the magazine and a pdf of the magazine a=
re available through the gatepage at
http://artport.whitney.org

EVENT

jihui Digital Salon presents Scott Snibbe - Friday Feb. 24, 6-8 PM


Dates:
Fri Feb 24, 2006 00:00 - Thu Feb 16, 2006

jihui Digital Salon
in cooperation with The Project Room@Chelsea Art Museum
presents
Scott Snibbe

Friday Feb. 24, 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

"Body, Space and Cinema"

Scott Snibbe will present recent works that explore interaction between cinematic projections and viewers' bodies along with his most recent work, "Blow Up," which amplifies human breath as a large field of wind. He will discuss the philosophical divide between language and visceral perception that motivates his creation of interactive media art. Working with technologies at the forefront of contemporary research including computer vision and synthetic touch, Snibbe explores how a minimal intrusion of technology can provide insight into the nature of observer's minds and their sense of self. Works shown will range from large-scale body-centric physical installations to interactive sculpture and screen- and web-based interactive graphics.
http://www.snibbe.com

Scott Snibbe's work has been shown internationally at venues including the Whitney Museum of American Art's Artport and The Kitchen, New York City; the InterCommunications Center, Tokyo; Ars Electronica, Austria; and ICA, London. He has taught at several prominent American academic institutions and held research positions at Adobe Systems and Interval Research. Snibbe lives and works in San Francisco.

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
http://www.netart-init.org | http://www.intelligentagent.com
THE PROJECT ROOM is a special projects and education program that brings together international artists, curators, cultural, educational and corporate organizations.
Producer / Curator: Nina Colosi


DISCUSSION

artport / Tate Online commission: "The Dumpster" by Golan Levin with Kamal Nigam and Jonathan Feinberg


The Dumpster," 2006
Golan Levin with Kamal Nigam and Jonathan Feinberg
artport, the Whitney Museum's portal to Internet art
http://artport.whitney.org
http://artport.whitney.org/commissions/thedumpster/dumpster.shtml

"The Dumpster" is an interactive online visualization that attempts to depi=
ct a slice through the romantic lives of American teenagers. Using real pos=
tings extracted from millions of online blogs, visitors to the project can =
surf through tens of thousands of specific romantic relationships in which =
one person has "dumped" another. The project's graphical tools reveal the a=
stonishing similarities, unique differences, and underlying patterns of the=
se failed relationships, providing both peculiarly analytic and sympathetic=
ally intimate perspectives onto the diversity of global romantic pain.

++++++++++++++++++++
"The Dumpster" is the first in a series of three works co-commissioned in c=
ollaboration with Tate Online. See http://artport.whitney.org/commissions/n=
ew\_commissions.shtml

Critical texts and video interviews with the artists will accompany the wor=
ks at http://www.tate.org.uk/netart/
++++++++++++++++++++

Upcoming commissions:

Launch Date: March 1

The Battle of Algiers by Marc Lafia and Fang-Yu Lin
This work recomposes scenes from the 1965 film The Battle of Algiers by Ita=
lian director Gillo Pontecorvo. The original film is a reenactment of the A=
lgerian nationalist struggle leading to independence from France in 1962. T=
he success of the actual battle for independence has been attributed to the=
nationalists' organization: a pyramidal structure of self-organized cell=
s. For the Whitney's artport, Lafia and Lin recomposed the film along a cel=
l-based structure, in which French Authority and the Algerian Nationalist c=
ells are represented by stills from the film and move according to differen=
t rule sets. When cells of different camps intersect, they trigger video ce=
lls displaying each side's tactics (as depicted in the film) according to t=
he rules of the system.

Launch Date: March 22

Screening Circle by Andy Deck
This project adapts the cultural tradition of the quilting circle into an o=
nline format. Visitors to the site can enter the drawing area to compose lo=
ops of graphics and affect and edit each other's screens. The pieces can =
be made by one person or by several people and the arrangement of the segme=
nts can be haphazard or precise. In the screening area, the resulting motio=
n graphics will be on view instantaneously.