Since the beginning
Works in Limassol Cyprus

NeMe is a non profit, non government, Cyprus registered cultural organisation founded in November 2004. NeMe works on two platforms - a virtual and an itinerant one - and focuses on contemporary theories and their intersection with the arts.

NeMe's itinerant platform, the "IMCA" (Independent Museum of Contemporary Art) presents NeMe projects which include, exhibitions, performances, new media events, symposia and archives. The form of the IMCA is determined as a practice or process by the nature of each project with the notion of the exhibition "space" being constantly revised and redefined.

NeMe resides in two sites:

* provides a service by publishing critical texts and filtered cultural information which includes arts news, calls as well as providing a forum for public discussion. documents of all NeMe off and on line activities.
Discussions (38) Opportunities (9) Events (11) Jobs (0)

To: Rhizome Staff re:Spam

Rhizome Staff
Guys, if you need some help moderating this site and keep it spam free... please please do make an announcement. I'm sure that there are a lot of us out there who would be very willing to help.
My suggestion would be to ask people from different timezones from arround the world so as to manage a 24 hour monitoring.


The popularization of video art

Our latest text by Christos Barboutis examines, under the prism of media and communication studies, the heretic argument that video art should attempt to become accessible to wider audiences. Therefore, it considers the probability of video art facing the challenge to address a critical mass via its popularization. On the one hand, the paper focuses on the relationship between the video medium and those of television and cinema as communication outlets in the contemporary digitalized landscape, which is deemed crucial for sustaining the above-mentioned argument. On the other, the paper analyses the qualities of video art as a cultural artefact. Thus, one of the essential elements of video art becomes the relationship with the associations of power it introduces in the life-world of its public. They prescribe the safeguarding of the creative element in the video artists’ culture of content production as a sine qua non for the successful popularization of the medium. This safeguarding should be attained by the deployment of the appropriate art policies and the upholding of the universal right to the freedom of expression.


Critique of Software Security by Geoff Cox & Martin Knahl

Our latest text is now on line.
Security is predicated on protection from perceived violence or terrorism, but who will protect us from security? Behind this statement is the fact that those in power regularly commit acts of real and symbolic violence and this goes unpunished - indeed it is legitimated so effectively that we think we are protected by these acts of violence against us in the form of security. This essay asks how the inherent violence encoded into software might be understood in this way. The argument is that - rather than simply assuming that it protects the user from insecurity - security software itself constitutes violence. These are some of the conditions that produce states of emergency and that in turn create insecurities.
Read Geoff and Martin's complete text on and please feel free to comment.



Since the new design spam posts have signifacantly increased. Also there are a lot of duplicate posts.
Is there no one moderating what appears in this site any more?


Malleable World

There is an ongoing tradition, a whole sort of hieroglyphic, textual system of markings: where to find food, where dangers are, etc. Historically, markings have long been left for other travelers along trails, train paths, and in other spaces. There also are augmentations of experience and woe such as the poems carved into the walls of the Angel Island immigration detention center which paint vivid portraits of pain, confusion, anger and sadness of many individuals stuck there between 1910 and 1940. These two examples both show a progression and thread in time and a dichotomy.  Augmentation historically been used pragmatically and expressively, often in tandem.  Creativity and deep necessity have worked in tandem.

Read Jeremy Hight's complete text and feel free to comment.