kanarinka akanarinak
Since the beginning
kanarinka@ikatun.com
Works in Waltham, Massachusetts United States of America

PORTFOLIO (2)
BIO
kanarinka, a.k.a. Catherine D’Ignazio, is an artist and educator. Her artwork is participatory and distributed – a single project might take place online, in the street and in a gallery, and involve multiple audiences participating in different ways for different reasons. Her practice is collaborative even when she says it’s not. Her artwork has been exhibited at the ICA Boston, Eyebeam, MASSMoCA, and the Western Front among other locations.

www.kanarinka.com
Discussions (67) Opportunities (7) Events (11) Jobs (0)
DISCUSSION

Fwd: <nettime> Questioning the Frame


I thought I would post this response here as well, since I was
following the responses on rhizome as well.
best,
kanarinka

Begin forwarded message:

> From: kanarinka <kanarinka@ikatun.com>
> Date: January 1, 2005 12:13:25 PM EST
> To: Aileen Derieg <emonk@george.eliot.priv.at>
> Cc: nettime-l@bbs.thing.net
> Subject: Re: <nettime> Questioning the Frame
>
> I too have followed this post on different lists with much interest as
> I am currently writing a thesis and a journal article for Cartographic
> Perspectives on intersections between cartography/art. While I agree
> that Coco raises important questions about "categories of embodied
> difference", I find the lack of specific examples in her essay very
> disappointing. She discusses "new media mantras", "new media culture"
> and "new media theory" without giving us specific information on what
> these terms mean to her, who uses these terms and for what purpose.
> The essay accuses, but it isn't clear who, specifically, is
> implicated.
>
> The definition of maps as purely spatial presentations of an
> inherently panoptic and omniscient point of view ignores a whole field
> of projects that are engaging with geographical location in a way that
> privileges duration, embodiment, and particularity over the
> panopticism of traditional "maps". As these projects are shifting the
> borders and boundaries of art, they are also participating in
> redefining what constitutes a map and what constitutes a "mapping
> practice". Many of them critique traditional mapmaking just as Coco
> does (e.g. what is left off of the map? is a truly important question
> that many projects \_do\_ address). These projects are becoming known as
> Critical Cartography. What is at stake in most of these projects is
> performance and difference, not representation and identity.
>
> These projects use Deleuze's idea of a map as an abstract machine
> rather than the traditional panoptic, representational map --
>
> "What can we call such a new informal dimension? On one occasion,
> Foucault gives it its most precise name: it is a

DISCUSSION

Co-Operation by Natalie Loveless


(1)__________________________________________________________
Co-Operation by Natalie Loveless
Jan. 5 - 29
Bromfield Gallery
450 Harrison Ave.
Boston MA USA
www.BromfieldArtGallery.com

For my 4th performance-based wall-drawing installation I am fasting and
isolating myself in the Bromfield art gallery.

OPPORTUNITY

Art Interactive - Call For Exhibition Proposals


Deadline:
Mon Dec 06, 2004 11:59

---- PLEASE FORWARD FAR AND WIDE ----

Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator).

The following call can also be found at:
http://www.artinteractive.org/curatorial_call.

Questions: contact proposals@artinteractive.org

-------------------------------------------
Call for Exhibition Proposals
Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator). To review these and other Art
Interactive exhibitions, please visit:
http://www.artinteractive.org/show_previous.php.

Art Interactive encourages proposals that presents works in any media, but
each proposal must address the goals described in the curatorial mission
statement. Please note that Art Interactive discourages artists who are
acting as curators from submitting proposals that include their own work.
To read the curatorial mission statement, please visit:
http://www.artinteractive.org/curatorial.php.

Jurors
Proposals will be reviewed by Art Interactive's Curatorial Committee,
comprised of Rachael Arauz, Independent Curator, Sharon Matt Atkins,
Assistant Curator, Currier Museum of Art, George Fifield, Director, Boston
CyberArts Festival and Adjunct Curator of Media Arts, DeCordova Museum,
Joseph Ketner, Director, Rose Art Museum, Jeff Talman, Artist, Emanuel
Lewin, Director, Art Interactive, Catherine D'Ignazio, Associate Director,
Art Interactive, Winnie Wong, Director of Curatorial Planning, Art
Interactive.

Gallery Space
Art Interactive is located in the Central Square neighborhood of Cambridge,
MA. The exhibition space is approximately 2,000 square feet with 16-foot
ceilings. Two glass walls provide extensive natural light, and the space can
be partitioned by four movable modular wall panels. Visits to the space
during gallery hours are encouraged, and a floor plan is available upon
request.

Support
If accepted, Art Interactive provides the following resources to assist the
Curator:
1) Exhibition Coordinator, Exhibition Designer and Graphic Designer to
assist in these aspects of exhibition planning.
2) Press and marketing support, Event Coordination, and Education and
Outreach are handled primarily by Art Interactive.
3) Technical support and labor for construction and installation.
4) Printing and design of posters, postcards, press releases, mailings, and
an exhibition brochure.
5) A host of high-end equipment including computers, projectors, cameras,
etc. A detailed specification list is available upon request.

In addition to these resources, Art Interactive will provide total
additional support of $2500. This is typically used for stipends, travel,
shipping, purchase of special construction materials or equipment. If the
budget for the proposed show exceeds $2500, please provide a detailed plan
for how and when additional funds will be raised. Art Interactive is able to
provide some administrative support, planning and strategy for raising
additional funds for a compelling curatorial project.

Deadline
Proposals must be received at Art Interactive no later than February 1,
2005.
Notifications will be sent by email to proposers on March 15th, 2005.

Submission Guidelines
Submissions must include 8 copies of the following:
1. Curator's CV (please include name, address, email address)
2. Proposed exhibition title (maximum 10 words)
3. Exhibition Abstract (maximum 500 words)
4. Exhibition Checklist (maximum 1 page)
5. Proposed Budget (see above, "support")
6. Supporting visual materials

Supporting visual material can include DVDs, CD-ROMs, websites, and printed
photographs.
A self-addressed stamped envelope may be included in the submission for the
return of these materials.

Please send all submissions by mail to:
Curatorial Committee
Art Interactive
130 Bishop Allen Drive
Cambridge, MA, 02139

Questions
For more information, please visit:
http://www.artinteractive.org/curatorial_call.
For additional inquiries, please email proposals@artinteractive.org


DISCUSSION

Re: fuck Bush


I have never been more scared of the future.

---------
Winning on fear itself, the GOP is ready to take the country even farther
right.

- - - - - - - - - - - -
By Sidney Blumenthal

Nov. 3, 2004 | "This country is going so far to the right you are not even
going to recognize it," remarked John Mitchell, President Nixon's attorney
general, in 1970. Mitchell's prophesy became the mission of Nixon's College
Republican president, Karl Rove, who implemented the strategy of
authoritarian populism behind George W. Bush's victory.

In the aftermath, Democrats will form their ritual circular firing squad of
recriminations. But, finally, the loss was not due to their candidate's
personality, the flaws of this or that advisor or the party's platform. The
Democrats surprised themselves at their ability to raise tens of millions of
dollars, inspire hundreds of thousands of activists, spawn extensive new
organizations, attract icons of popular culture and present themselves as
unified around a centrist position. Expectations were not dashed. Turnout
vastly increased among African-Americans and Hispanics. More than 60 percent
of the newly registered voters went for John Kerry. Those concerned about
the economy voted overwhelmingly for him; so did those citing the war in
Iraq as an issue. But the surge of the Democrats was more than matched.

Using the White House as a machine of centripetal force, Rove spread fear
and fused its elements. Fear of the besieging terrorist, appearing in Bush
campaign TV ads as the shifty eyes of a swarthy man or a pack of wolves, was
joined with fear of the besieging queer. Bush's announcement that he favored
a constitutional amendment to ban gay marriage was underscored by
referendums against it in 11 states, including Ohio -- all of which won.

The evangelical churches became instruments of political organization.
Ideology was enforced as theology, turning nonconformity into sin, and the
faithful, following voter guides with biblical literalism, were shepherded
to the polls as though to the rapture. White Protestants, especially in the
South, especially married men, gave their souls and votes for flag and
cross.

The campaign was one long camp meeting, a revival. Abortion and stem cell
research became a lever for prying loose white Catholics. (Rove's designated
Catholic leader, his own political pontiff, had to resign in disgrace after
being exposed for sexual harassment, but this was little reported and had no
effect.) To help in Florida, a referendum was put on the ballot to deny
young women the right to abortion without parental approval, and it
galvanized evangelicals and conservative Catholics alike.

While Kerry ran on the mainstream American traditions of international
cooperation and domestic investment, and transparency and rationality as
essential to democratic government, Bush campaigned directly against these
very ideas. At his rallies, Bush was introduced as standing for "the right
God." During the closing weeks of the campaign, Bush and Cheney ridiculed
internationalism, falsifying Kerry's statement about a "global test." They
disdained Kerry's internationalism as effeminate, unpatriotic, a character
flaw and elitist. "You can put lipstick on a pig, but it's still a pig,"
Vice President Cheney derided in every speech. They grafted imperial
unilateralism onto provincial isolationism. Fear of the rest of the world
was to be mastered with contempt for it.

These emotions were linked to what is euphemistically called "moral values,"
which is actually social and sexual panic over the rights of women and
gender roles -- lipstick traces, indeed. Only imposing manly authority
against "girlie men," girls and lurking terrorists can save the nation.
Bush's TV ads featured digitally reproduced crowds of cheering soldiers,
triumph of the leader through computer enhancement. Above all, the exit
polls showed that "strong leader" was the primary reason Bush was supported.

Brought along with Bush is a gallery of grotesques in the Senate -- more
than one of the new senators advocating capital punishment for abortion,
another urging that all gay teachers be fired, yet another revealed as
suffering from obvious symptoms of Alzheimer's.

The new majority is more theocratic than Republican, as Republican was
previously understood; the defeat of the old moderate Republican Party is
far more decisive than the loss by the Democrats. And there are no checks
and balances. The terminal illness of Chief Justice William Rehnquist
signals new appointments to the Supreme Court that will alter law for more
than a generation. Conservative promises to dismantle constitutional law
established since the New Deal will be acted upon. Roe vs. Wade will be
overturned and abortion outlawed.

Now, without constraints, Bush can pursue the dreams he campaigned for --
the use of U.S. military might to bring God's gift of freedom to the world,
with no more "global tests," and at home the enactment of the imperatives of
"the right God." The international system of collective security forged in
World War II and tempered in the Cold War is a thing of the past. The
Democratic Party, despite its best efforts, has failed to rein in the
radicalism sweeping the country. The world is in a state of emergency but
also irrelevant. The New World, with all its power and might, stepping forth
to the rescue and the liberation of the old? Goodbye to all that.

- - - - - - - - - - - -

About the writer
Sidney Blumenthal, a former assistant and senior advisor to President
Clinton and the author of "The Clinton Wars," is writing a column for Salon
and the Guardian of London.
On 11/3/04 1:38 PM, "andrew michael baron" <baron@parsons.edu> wrote:

> FUCK bUSH!!!!!!!!!!!!!!!!!!!!!!
> AHHHHHHHHHHHHHHHHHHH
> vive www.bushnetwor.com <http://www.bushnetwor.com>
>

DISCUSSION

Re: Please support Turbulence


Don't be a dick.

On 11/2/04 6:22 PM, "{ brad brace }" <bbrace@eskimo.com> wrote:

> On Tue, 2 Nov 2004, David Crawford wrote:
>
>> Please help Turbulence stay alive by going to
>> http://turbulence.org and clicking on the PayPal button.
>
> Click on my PayPal button first.
>
> Seems like they have more than enough New Media Nonsense
> Funding as it is: The Andy Warhol Foundation for the Visual
> Arts, The Greenwall Foundation, the Jerome Foundation, the
> LEF Foundation, the National Endowment for the Arts, the New
> York City Department of Cultural Affairs, and the New York
> State Council on the Arts.
>
> --- bbs: brad brace sound ---
> --- http://63.170.215.11:8000 ---
>
>
> The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<<
> "... easily the most venerable net-art project of all time."
>
> + + + serial ftp://ftp.eskimo.com/u/b/bbrace
> + + + eccentric ftp:// (your-site-here!)
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> + + + hypermodern ftp://ftp.rdrop.com/pub/users/bbrace
> + + + imagery ftp://bjornmag:Sobject@kunst.no/12hr/
>
> News: alt.binaries.pictures.12hr alt.binaries.pictures.misc
> alt.binaries.pictures.fine-art.misc alt.12hr
>
> . 12hr email
> subscriptions => http://bbrace.laughingsquid.net/buy-into.html
>
>
> . Other | Mirror: http://www.eskimo.com/~bbrace/bbrace.html
> Projects | Reverse Solidus: http://bbrace.laughingsquid.net/
> | http://bbrace.net
>
> { brad brace } <<<<< bbrace@eskimo.com >>>> ~finger for pgp
>
> * http://www.bloglines.com/blog/bbrace
>
>
>
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
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