Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Collectible After All: Christiane Paul on net art at the Whitney Museum

The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.

 Douglas Davis, image from The World's First Collaborative Sentence (1994).

Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?

I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.

US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.

booomerrranganggboobooomerranrang: Nancy Holt's networked video

Nancy Holt, Boomerang (1974), still from video.

In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.

I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.

Sound and Image in Electronic Harmony

Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson




The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...


Reappearance of the Undead


In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...


Discussions (281) Opportunities (10) Events (4) Jobs (0)

Re: Re: RHIZOME_RAW: on bad digital art

Hey, Pall, et al.

I'm trying to wrap my head around your distinction, here. It's interesting.

My first response to your initial email was that your two categories
might leave out a lot of work. What about art in which technology is
the object (or 'final product'), rather than a tool for the creation
of some other object? And what about work that engages with technology
as it's _subject_? Admittedly, the latter can include lots of things
that are neither digital or electronic, but I still find them
interesting to consider in this wider context...

For the sake of vocabulary, would you mind giving a specific example
regarding the utility of the tech vs the tech, itself? It doesn't have
to be an Art example, per se, just a practical example--perhaps a
software one? A railroad one..?

I ask because I think your distinction raises lots of questions. It
might imply that technologies may not be defined by their utility
(separate from Marxist use value, of course), but actually...

* What's the relation between a thing's definition/being and its
function (assuming this is the same as utility)?
* What is the relationship between the constitution of the tech and labor?
* Btwn the employment of the tech's utility & labor? (ie the game
coder vs the gamer--this gets at authorship, too)
* If you change a tech's intended utility, do you change it's
* If you change an object's intended utility, do you change it's
* What's the difference between the last two questions, in your own
definition of these things?

These questions (or, rather, their answers) could have many wider
artistic & political implications. Think, for instance, of
hacktivism... How do things change? What's the relationship between
changing a tool or object and social change? Can technological change
(which is a largely chronological process, whether you approach it
from a more deterministic or materialist perspective) and/or changing
of a [thing] (through remixing, viral attack, parody, etc) be a _tool_
for social change?

What is the utility of utility, Pall? :)

Oh, and also... If only on behalf of all the bad artists, I might ask
that we not use the word 'bad.' (Unless, of course, you use it as
Michael Jackson did.) Since we're talking about utility, anyway, maybe
we should simply look at whether it gets the job done. This invokes a
more functional than emotional aesthetic, and I won't deny the
thumbs-up/thumbs-down inclination, but if we're charging ourselves
with some more thoughtful form of criticism, maybe we should just look
at the means by which the work attempts to do what it does, and how
successful it is in that regard.


On 8/9/06, <> wrote:
> I'm not going to address any responses just yet. I'm going to wait a bit and see
> what happens. Part of what I'm interested in is seeing how people interpret my
> original post. However, I just want to clarify one thing so that the discussion
> doesn't veer off into outer space. By "using utility of technology", I'm not
> referring to utility as opposed to non-utility. Rather, I'm referring to the
> public conception of the way any technology was or is meant to be used. "Art
> that uses technology as a medium" can still have utility but that utility
> doesn't necessarily have to have anything to do with the technology's intended
> or perceived utility.
> Pall
> Quoting jonCates <>:
> > On Aug 9, 2006, at 8:15 AM, Pall Thayer wrote:
> > > >Something occured to me last night and I'm going to toss it out
> > > there and see what people think.
> >
> > "Utopian technology is that technology which has fallen from grace.
> > It has been stripped of its purity and reendowed with utility. The
> > fall is necessitated by a return to contact with humanity. Having
> > once left the production table, the technology that lives the godly
> > life of state-of- the-art uselessness has no further interaction with
> > humans as users or as inventors; rather, humans serve only as a means
> > to maintain its uselessness. The location of the most complex pure
> > technology is of no mystery. Deep in the core of the war machine is
> > the missile system. Ultimately, all research is centered around this
> > invisible monument to uselessness. The bigger and more powerful it
> > becomes, the greater its value. But should it ever be touched by
> > utility - that is should it ever be used - its value becomes naught.
> > To be of value, it must be maintained, upgraded, and expanded, but it
> > must never actually do anything. This idol of destruction is forever
> > hungry, and is willing to eat all resources. In return, however, it
> > excretes objects of utility. Consumer communications and
> > transportation systems, for example, have dramatically improved due
> > to the continuous research aimed at increasing the grandeur of the
> > apparatus of uselessness.
> >
> > There can be a stopping point to this process - a discovery made by
> > the collapsing Soviet Union. For all the `patriots of democracy' who
> > gave a collective sigh of relief and boasted that they were at last
> > proven right - "communism doesn't work" - there still may be a need
> > to worry. The fall of the USSR had little to do with ideology. The US
> > and USSR were competitors in producing the best apparatus of
> > uselessness in order to prove its own respective Hegelian mastery of
> > the globe. Modern autocrats and oligarchs have long known that a
> > standing army puts an undue strain on the economy. To be sure,
> > standing armies were early monuments to uselessness, but in terms of
> > both size and cost, they are dwarfed by the standing missile system
> > of the electronic age. As with all things that are useless, there
> > will be no return on the investment in it. The useless represents a
> > 100% loss of capital.
> >
> > Although such investment seems to go against the utilitarian grain of
> > visible bourgeois culture, whether in socialist or in constitutional
> > republics, the compulsive desire for a useless master is much greater
> > (Japan is an interesting exception to this rule). Unfortunately for
> > the USSR, they were unable to indulge in pure excess expenditure at
> > the same rate as the US. The soviet techno-idol was a little more
> > constipated, and could not maintain the needed rate of excretion.
> > Consequently, once the limits of uselessness were reached, that
> > system imploded.
> >
> > The US government, on the other hand, has to this day remained
> > convinced that further progress can be made. Reagan and his Star Wars
> > campaign issued a policy radically expanding the useless. Reagan, of
> > course, was the perfect one to make the policy, since he was an idol
> > to uselessness himself. He represents one of the few times that
> > uselessness has taken an organic form in this century. (This is part
> > of the reason he was considered such a bourgeois hero. He was willing
> > to personally plunge into uselessness without apology. He did not let
> > a thing stand in for him). Playing on yuppie paranoia (the fascists'
> > friend), Reagan convinced the public loyal to him that a defensive
> > monument (Star Wars) to uselessness was needed, just in case the
> > offensive monument (the missile system) was not enough. He was
> > successful enough in his plea to guarantee that years of useless
> > research will ensue that no one will be able to stop, even if his
> > original monumental vision (a net of laser armed satellites) should
> > be erased. In this manner, Reagan made sure that the apparatus of
> > uselessness would expand even if the cold war ended."
> >
> > data.src:
> >
> > title: The Technology Of Uselessness
> > dvr: Critical Art Ensemble
> > date: 1994
> > uri:
> >
> > // jonCates
> > # criticalartware - core.developer
> > #
> > +
> > -> post:
> > -> questions:
> > -> subscribe/unsubscribe:
> > -> give:
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at
> >
> --
> +
> -> post:
> -> questions:
> -> subscribe/unsubscribe:
> -> give:
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at


Re: Re: Re: net art?

Hey, Jim, et al.

Regarding Rhizome's front page content...

The reblog is managed by the Site Editors, so it is a reflection of
their diverse interests as much as what people are posting to Raw or
on other blogs that are then reblogged.

When I assign articles for Rhizome News, I try to maintain a balance
between various practices within our 'wide field,' as you put it,
including online & offline work. These News pieces also get reblogged.
Additionally, we are working on automating announcements about new
Member Curated exhibits and new additions to the ArtBase, so that they
are instantly reblogged. This may help in bumping up the number of
internet-based works that are linked on the front page.

Meanwhile, we'd love to see more of you initiating Member Curated
shows... It would be interesting to see what you are currently looking
at, and how you're contextualizing it...

I hope everyone's having a nice summer!

All the best,

On 7/25/06, Jim Andrews <> wrote:
> digital art is a wide field. there is much happening for performance, installations, mobile networks, workshops, conferences, and so on, offline or concerning local networks. and that's all good to hear about. you click links on's home page and you go to sites informing you of such things, and you read descriptions of the projects and see photos maybe even a video or whatever. documentation about the project.
> but i would also like to be informed via's web site of projects where you experience the art itself online, not just documentation about the art. and maybe it's my imagination but it seems to me i see less and less of that on's web site.
> net art is for the world. or much of it is, deals with language issues in an international way, ie, presents the work in more than one language or has much to say independent of its particular written/spoken language. i'd like to see more of this sort of art on's home page.
> ja
> +
> -> post:
> -> questions:
> -> subscribe/unsubscribe:
> -> give:
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at


Fwd: [spectre] NOEL SHERIDAN 1936-2006

---------- Forwarded message ----------
From: EAF Director <>
Date: Jul 23, 2006 6:37 PM
Subject: [spectre] NOEL SHERIDAN 1936-2006
To: "" <>

It is with sadness that the Experimental Art Foundation announces the
death of its inaugural Director, Professor Noel Sheridan.

Born in Dublin in 1936, Noel studied at Trinity College, Dublin, and
Columbia University in New York. He was a painter, and a conceptual
artist, often working in video and performance. He was deeply
committed to the development and promotion of contemporary arts.

In 1974 Noel was invited to Adelaide to be the Experimental Art
Foundation's first Director. He was already a leading exponent of the
conceptual and post-object art beginning to flourish, in Sydney
particularly, in the late nineteen sixties. In this area he will be
remembered, particularly in Adelaide, for the work 'Everyone Should
Get Stones', a work of great intellectual energy and humour, touring
and testing many styles of philosophical approach to 'reality' with a
relativist's panache indebted to the avant-garde Irish literary
tradition of Becket, Joyce & Flann O'Brien. The work was published in
book form by the EAF and shown as a gallery installation at the Art
Gallery of South Australia.

Noel took up the position of EAF Director with unbridled enthusiasm
and energy, wit, charm and humour. He quickly gave the Foundation an
international profile and exposed the local community to
extraordinary art and performance.

Much of Noel's career was in education where, as Director of the
National College of Art & Design in Dublin from 1980 to 2003, with a
four-year hiatus to direct the Perth Institute of Contemporary Arts
in Australia 1989-1993, he influenced generations of artists and arts

In 1994 Noel was awarded an Emeritus Medal for his cultural
contribution by the Australia Council for the Arts. In 2001 the Royal
Hibernian Academy, Dublin, held a retrospective exhibition of his
work and, in conjunction with, this Four Courts Press published a
book, 'On Reflection', which includes an autobiographical account and
contributions from many others, including Donald Brook and George

Noel Sheridan died in Fremantle, Western Australia, on 12th July, aged 70.

A two-minute silence was held by the Irish Parliament to note his passing.

EXPERIMENTAL ART FOUNDATION curates its exhibition program to
represent new work that expands current debates and ideas in
contemporary visual art. The EAF incorporates a gallery space,
bookshop and artists studios.

Lion Arts Centre North Terrace at Morphett Street Adelaide * PO Box
8091 Station Arcade South Australia 5000 * Tel: +618 8211 7505 * Fax
+618 8211 7323 * * Bookshop: * * Director: Melentie Pandilovski

The Experimental Art Foundation is assisted by the Commonwealth
Government through the Australia Council, it arts funding and
advisory body and by the South Australian Government through Arts SA.
The EAF is also supported through the Visual Arts and Craft Strategy,
an initiative of the Australian, State and Territory Governments.

SPECTRE list for media culture in Deep Europe
Info, archive and help:


Fwd: [spectre] Out of Beirut: Exit Stamp July 17 2006

---------- Forwarded message ----------
From: nat muller <>
Date: Jul 20, 2006 8:13 AM
Subject: [spectre] Out of Beirut: Exit Stamp July 17 2006

Out of Beirut: Exit Stamp July 17 2006

My Lebanese exit stamp reads July 17th; it was supposed to read August
4th. It wasn't till the next day, Tuesday July 18th that I arrived with
the second flight of the Dutch evacuation convoy via Aleppo at the
military airbase in Eindhoven. My friends and family were relieved to see
me "out of Beirut", and escaping the violence. The flurry of smses with
these 3 simple words "are you out?" keep coming in till today, July 20th.
It is strange how an exit can take on different connotations, what is
deemed a lucky escape in one context, is an artistic export product in
another: "Out of Beirut" is the name of an exhibition recently held at
the museum of Modern Art in Oxford. I had made a mental note to ask my
artist friends in Beirut to borrow the catalogue from them. There was no
time. Nor was there time to say goodbye to friends; it all happened so

I had only registered with the Dutch embassy on Friday July 14th; noone
was picking up the phone so J. and I decided to go there. Very few people
there, just one obviously distressed Dutchman of Lebanese origin. "I
haven't been back since 26 years, and now this", he tells me. The lady at
the counter copies my passport and asks me for phone numbers. She
reassures me that now we have only reached "Phase I", and that no
evacuation plans are being made. She advises me to stay in Beirut, and
not attempt to go to Syria by myself, since the embassy cannot vouch for
my safety. Fine, I wasn't thinking of leaving to Syria, despite the many
phone calls of Swiss friends urging me to join them just across the border
in Tartus.

In the meanwhile the situation keeps escalating, and bombs keep pounding
infrastructure, the South, and the Dahiyeh; the casualties mount. We move
from Qasqas to a friend's place in Achrafieh. By now electricity is on and
off. We see the first refugees wandering around bewildered in the streets
of well-to do Achrafieh. Whenever electricity is on, we are glued to the
TV. I joke that the only new Arabic word I learned this time around is
"khabar ajil" (breaking news). One wonders when news stops being news,
how long it will take the world this time to turn its head away with bored
media saturation; how many more atrocities have to be committed before
something can be viewed as "news". There's a paralysing silence on the
part of the international community, especially the EU: no official or
strong condemnation of the disproportionate use of force, absolutely

I am in the middle of an interview with Belgian national radio Sunday
night, fulminating at how biased the media coverage is, when an sms of the
Dutch embassy shows up on my phone: "Evacuation at 5.30 am at the Dutch
embassy; bring money, passport, food, one piece of luggage." I panic: to
stay/to go; how can I say goodbye to my friends? I only have hours. In
the middle of my panic someone from Foreign Affairs in The Hague calls me.
His voice is so calm and friendly, as if he rehearsed the words and tone
to perfection. He inquires whether I had received the sms, whether I was
fine and had any additional questions. "Is the crossing to Syria safe", I
ask him. It takes him a few


Fwd: Satellite Jockey (Sonar, Futuresonic, and exclusive downloads)

From: rick silva <>

Hi all,

a couple of updates on the Satellite Jockey project ( ).

following the show in Barcelona's Sonar Festival ( )

S.J. moves on to Manchester's Futuresonic 2006 Festival ( )
this next weekend where

Satellite Jockey "Eco-Dub Mix" ( )
will premiere

Also as part of the Futuresonic installation, a soundtrack to surf
google earth by:

Satellite Jockey - Low Pressure (Sound) System Mix ( )
18 min / 20 mb

1. Vladmir Ussachevsky - Wireless Fantasy
2. Kaffe Matthews - She could
3. Kid 606 - Site Specific Sound Installation
4. Alva Noto - 06-f117.tiff
5. Fennesz - Before I Leave
6. AGF - Loading

And (if you read Italian) an interview with me about the S.J. project
in this month's Digimag ( )