Rhizome.org Recent Discuss Posts

Re: RHIZOME_RAW: Media Arts for the ICA Web Site

Joseph Gray — 2008-10-11T16:47:14+01:00

a relevant follow-up to a long-ago thread:

_______________J U A N A L O N SO S T U D I O________________
Grand Central Arcade – 214 1st Ave S. Suite B15, Seattle, WA 98104
www.juan-alonso.blogspot.com

October 10, 2008

To Whom It May Concern,

I feel lucky and blessed to be an artist and have the opportunity to
create for a living. It is part of my philosophy as an artist to give
back to my community, from local to global. In the last18 months I
have sold some and donated over 30 works of art to organizations (some
art related, some not) and fundraisers, and have done so willingly.
That is more work given than work sold. The issue is, and more so now
with the current economic crisis, it seems every organization believes
that artists are the first professional group of people to ask for
donations for their fund-raiser, no matter what the cause is. It has
gotten out of hand. I don’t know of any other business group, as a
lot, that is automatically called when money needs to be raised.
Perhaps there are some out there. Perhaps people raising funds don’t
realize that artists are single-person businesses for the most part
and that as a general rule, artists are on the lower end of the income
levels, and that every piece given away to help a worthy cause is also
income we are not bringing in to our business. Perhaps fund-raising
organizations don’t realize that so far there is no tax incentive for
artists to donate our own work. If another individual donates my work,
they get to deduct it from their taxes. If I donate my work, the only
thing I can deduct is the cost of my materials, which I would do
anyway at the end of the year. Under current laws, our skill, talent
and labor is seen as worthless and it might be a good idea for some of
the organizations asking artists for work to start lobbying
governmental agencies to change their policies. As far as I know,
Artist Trust is the only one doing so. How about artists being able to
deduct a percentage of the price for which the piece sold? How’s that
for determining fair-market value?
Until recently, I gladly gave and even served on acquisition
committees for a couple of art-related organizations. At this point,
however, I’m suspending all donations of my artwork in order to make a
living at my job as an artist. I hope that other artists also realize
that the “exposure” incentive or the 10% back just doesn’t cut it
anymore. I hope organizations start tapping other, wealthier sources
for enriching themselves and that the IRS finally comes to realize
that artists are assets to the community as a whole.

Respectfully,

Juan Alonso

On Oct 10, 2008, at 2:20 PM, Steven Vroom wrote:

Below is an e-mail from artist Juan Alonso. He is now refusing to
donate art work to any charity. There is a letter attached where he
explains why.

Begin forwarded message:

From: Juan Alonso <juanalonso1@yahoo.com>
Date: October 10, 2008 10:49:22 AM PDT
To: Juan Alonso <juanalonso1@yahoo.com>
Subject: Artist Donations

Attached is a letter I wrote in response to the many requests for
art donations. It is also posted on Regina Hackett's blog http://blog.seattlepi.nwsource.com/art/archives/151076.asp
, my facebook page and will be posted on my blog on Monday. Public
comments (pro or con) on any of those blogs are best. Also feel
free to pass it along to anyone you think should read it.

Juan Alonso
Juan Alonso Studio
Grand Central Arcade
214 1st Avenue South, Suite B15
Seattle, Washington 98104
Ph. 206-390-4882 m
http://www.juanalonso.info
http://juan-alonso.blogspot.com

<Artist Donations Letter.doc>

Vroom Journal
Art Radio Seattle
-*-*--**---***-----*****--------********
Harvard & Roy Arts Council
list options:
http://grauwald.com/mailman/listinfo/hrac_grauwald.com
-*-*--**---***-----*****--------********
-*-*--**---***-----*****
-*-*--**---***
-*-*--**
-*-*
-*

-*-*--**---***-----*****--------********
Harvard & Roy Arts Council
list options:
http://grauwald.com/mailman/listinfo/hrac_grauwald.com
-*-*--**---***-----*****--------********
-*-*--**---***-----*****
-*-*--**---***
-*-*--**
-*-*
-*

she lives in a time of her own

curt cloninger — 2008-10-11T15:26:32+01:00

http://lab404.com/plotfracture/scott/a_time_of_her_own.mp3
http://www.youtube.com/v/7cgxs3RkpPA
http://www.youtube.com/v/jrl9c15msZw

http://lab404.com/makingandbreaking/acconci/mur5.jpg
http://metaverseterritories.com/imgs/SummaryImg.jpg
http://lab404.com/makingandbreaking/constant/yellow_sector.jpg
http://metaverseterritories.com/imgs/txtImg-9.jpg
http://lab404.com/makingandbreaking/constant/3.jpg
http://metaverseterritories.com/imgs/txtImg-17.jpg
http://lab404.com/makingandbreaking/constant/babylon1.jpg
http://lab404.com/makingandbreaking/acconci/2.jpg

http://www.cherryorchardstudio.com/notecards/Notecard%20Images/Asheville%20City%20Hall.jpg
http://www.a-year-in-asheville.com/images/2008/04/26/human_statue_1.jpg
http://iledere.parti-socialiste.fr/files/babel-brueghel-1.jpg

http://lab404.com/makingandbreaking/turrell/top.gif
http://metaverseterritories.com/imgs/La_jetee2.jpg
http://www.notesondesign.net/wp-content/uploads/2007/11/4.jpg

http://rhizome.org/search/?words=xanadu

THIS WEEKEND! Two Rhizome Events!

william l. moore — 2008-10-11T14:50:29+01:00

please consider inviting rafael fajardo and sweat. they have been at this for a long time.

http://www.sudor.net

thanks,
william l moore
http://www.williamlmoore.com

Stick em up!

don relyea — 2008-10-10T20:09:26+01:00

Paulson, Bush and Bernanke execute the greatest heist in the history of the world. More...
http://www.donrelyea.com/cgi-bin/blosxom.cgi/2008/10/10#stick_em_up

Touching Gravity 2/Tilt by Caryn Heilman

Turbulence.org — 2008-10-08T18:02:48+01:00

Turbulence Commission: Touching Gravity 2/Tilt by Caryn Heilman (LiquidBody MediaDance),
with music by Nana Simopoulos
http://turbulence.org/works/touching_gravity
Needs Flash player and core duo Mac or PC

Touching Gravity 2/Tilt is an interactive, aerial videodance superimposed on a composited image of two rivers in the towns of North Adams and Adams, Massachusetts. Part of the Networked Realities: (Re)Connecting the Adamses project, the two New England towns are (re)connected through a colorful, fluid, multilayered dance that incorporates the movement of the natural landscape from each town, seen through the “difference” blend mode of the Flash interface.

Users can create and save their own versions of the dance by determining the order and timing of five different clips. Periodically, additional clips will be added so that both the dance and the user experience may evolve.

Composer and instrumentalist Nana Simopoulos has contributed five tracks to accompany the five dance clips; each piece is played on a single instrument representing a different continent. Together, they form a single composition that is layered over the sounds of the two rivers, providing the listener with the ability to remix the musical textures.

Touching Gravity 2/Tilt is part of the larger project Networked Realities: (Re)Connecting the Adamses www.turbulence.org/networkedrealities -- a collaboration between Greylock Arts www.greylockarts.net and Turbulence.org www.turbulence.org -- that includes four commissioned networked art works that will all eventually be housed on the commissioned website www.newadams.es. Touching Gravity 2/Tilt will also be part of an interactive, site-specific series at Topia Arts Center (Adams) that looks at the idea of tilting angles of perception to reveal new possibilities.

Touching Gravity 2/Tilt is a 2008 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Andy Warhol Foundation for the Visual Arts. Additional support was provided by Frank and Barbara Peters through the Medici Circle award at the University of California at Irvine.

BIOGRAPHIES

Caryn Heilman danced for the Paul Taylor Dance Company for ten years before founding her own company, LiquidBody media, movement and dance. With PTDC, she performed on the world’s most prestigious stages and acted as a cultural ambassador for the United States in India, China, Turkey, Hungary and Japan. She is featured in the Emmy-nominated documentary film, Dancemaker. With LiquidBody, performance highlights include Jacob’s Pillow, MA; Dixon Place, NY; amphitheaters in Greece; a spa in Italy; and the Electronic Festival in Warsaw, Poland. Having received a foundation of choreographic tutelage from Paul Taylor – a master of American Modern Dance -- Caryn is diving into more experimental territory, focusing on the fluid systems of the body and choreographic structures that include audience interaction, multimedia, live music and aerial dance.

Caryn has received scholarships from the American Dance Festival, Alvin Ailey and is currently on fellowship at the University of California at Irvine completing her MFA in Dance and Technology. For the past three years, she served on the Professional Advisory Committee of the Dance Notation Bureau. LiquidBody’s second home is in the Northern Berkshires in Adams, MA where Caryn is Artistic Director of Topia Arts Center, a green arts and education center in development. www.liquidbody.org

Nana Simopoulos draws her music's melodic color from the map of world cultures. She artfully blends sounds and textures from around the world. Indian sarangi master Ustad Sultan Khan accompanies her on her last two releases, “After The Moon” and “Daughters Of The Sun” (Na Records), #1 on the NAV New Age and World radio charts. Nana’s first album, “Pandora’s Blues,” won critic’s choice from DOWNBEAT Magazine. Nana has been commissioned by numerous dance companies, such as Joffrey Ballet, American Dance Festival, Ballet Hispanico, North Carolina Dance Theater; and by former Pilobolus choreographer Peter Pucci. She has also written for film and theater, including “An Absolute Mystery,” which premiered at La Mama, and “American Dreams, Lost and Found.” www.nana.net

The Politics and Philosophy of Technological Advances

Patrick Millard — 2008-10-08T13:40:55+01:00

The Politics and Philosophy of Technological Advances

I do not recognize any difference between artifacts and natural bodies…
—Rene Descartes, Principles of Philosophy

The political and philosophical alterations that occur with the introduction of technology to the human body surmount any metaphysical and socio-political issues on the table today. Since Platonic times we have tried to discover and answer what consciousness and democracy are, and just as it seemed a sense of these issues was being settled in debate, the rise of technological enhancement and artificial intelligence and life has created a need to re-examine many of our perceptual realities. Answering questions about consciousness in machines, in cyborgs (part human, part machine), or androids and setting up distinctions between such entities and humanity increases a great gap of gray that was already quite wide.

It was Rene Descartes who proposed the entire material universe to be a large clockwork-like machine. According to this way of thinking everything moves in accordance with mechanical laws, as if by gears. In his Treatise on Man, Descartes pronounces:

I suppose the body to be nothing but a machine…We see clocks, artificial fountains, mills, and other such machines which, although man made, have the power to move on their own accord in many different ways…one may compare the nerves of the machines I am describing with the works of these fountains, its muscles and tendons with the various devices and springs which set them in motion…the digestion of food, the beating of the heart and arteries…respiration, walking…follow from the mere arrangement of the machine’s organs every bit as naturally as the movements of a clock or other automaton follow from the arrangements of its counterweights and wheels.

These same issues arise in our socio-political debates.

On issues surrounding biotechnologies, the political response is already extensive. In 2000, George W. Bush developed his President’s Council on Bioethics. The council takes on the role of creating reports about the pros and cons of genetic and biotech therapy and studies. In the 2004 report, Beyond Therapy: Biotechnology and the Pursuit of Happiness , it is argued that improving the genetic makeup of children will distance parents from their offspring, that genetic engineering for improved athleticism is unnatural and similar to the use of steroids, and that extending life will result in a generation of elders who refuse to let younger generations grow into their positions in life. The team is led by Leon Kass, Professor of Bioethics at the University of Chicago, and a political conservative who has opposed biotechnology for more than twenty-five years. In that time, issues such as in vitro fertilization, cosmetic surgery, organ transplants, therapeutic cloning, embryonic stem cell research, and any other technologically-based medical treatment that ‘disrupts the natural order of life’ (which includes birth, procreation, and death, the latter of which should be viewed as a ‘necessary and desirable end’ ) have been strictly opposed by Kass.

Our government does not always stand in opposition to embracing technology. When advances can be used to benefit such areas such as military strategy and power, the U.S. government has proved willing to spend the large sums of money necessary to make extensive research possible.

DARPA (Defense Advanced Research Projects Agency) is the central research and development organization of the Department of Defense. Their research into robotics, neural activity, nanotechnologies, and the technology of electronics in general has paved the way for revolutionary items such as Arpanet (now known to us as the Internet). Today DARPA can be credited with much of the advancement made in fields such as AI (artificial intelligence), virtual reality, and GPS (global positioning system) devices. All of these advancements are remarkable for an organization originally founded to ensure that Sputnik-like events would not surprise the United States again. In 2008 DARPA celebrated its 50th Anniversary.

It is easy to imagine how, in the next century, these political confrontations will explode onto the scene of artificial intelligence, robotic rights, and the separation between natural human beings and electronically enhanced human beings. As these ways of living begin to emerge more and more visibly in mass culture, opposition to and support for them will inevitably collide. The issues that will be debated on the political frontlines will be basic human rights and discussion about what is human. If an individual has a memory implant which improves his or her short or long-term memory, will they no longer be human? If having a new memory chip is not too far from being human, what if a person gets a boost in neural signals to their reflexes? Will this push the being to be classified as post-human or non-human? When decisions about what is or is not human are being made, it will be impossible to see in absolutes. Vision itself (likely to be artificially enhanced) will see a culture that will be too gray to make differentiations, as synthetic and organic materials continue to grow closer in appearance and operation. While we can easily draw lines in the sand at this point in history, that line will not be so recognizable in the future.

*excerpt from Formatting Gaia: A Comprehensive Outline of the Photographic Work

http://www.patrickmillard.com/

GIF Cinema Presents: A Visit to the Viaduct

Michael Szpakowski — 2008-10-07T19:53:59+01:00

http://www.somedancersandmusicians.com/viaduct/

needs a fastish connection to work smoothly.

Since I've found myself making a few of these
GIF pieces I've gathered them together here:

http://www.somedancersandmusicians.com/GIFcinema/GIFcinema.cgi

cheers
michael

Upload .. Download .. Perform

Tim Devin — 2008-10-07T12:38:57+01:00

Another great idea, Adam!

new vid: .. good haircut

Doron Golan — 2008-10-07T11:20:29+01:00

quicktime (35 MB, 3;50 min.)
http://the9th.com/?p=238

DigiMag 37 Interview_Geoff Cox: Social Networking is notWorking

Redazione Digicult — 2008-10-07T09:25:45+01:00

Digicult presents:
Digimag 37 - September 2008

GEOFF COX:
SOCIAL NETWORKING IS NOT WORKING
Txt: Clemente Pestelli
http://www.digicult.it/digimag/article.asp?id=1282

Geoff Cox is an artist, teacher and organiser of events connected with
digital experimentation in the United Kingdom. Within his curatorial route
for Arnolfini, an organisation dealing with contemporary art, he developed
an interesting project whose topic is the intersections between critical
theory of social networks and critical practice of the world of art.
Already from its name, "AntiSocial NotWorking", we can understand that the
project aims at questioning two of the founding terms of the Web 2.0:
"social" and "networking". Within the very rich portal, there are some of
the most interesting Internet projects of the last few years: from
<$BlogTitle$> by Jodi to "Amazon Noir" and "Google Will Eat Itself" by
Ubermorgen-Cirio-Ludovico, from "logo_wiki" by Wayne Clements to "Blue Tube"
and "Friendster Suicide" by Cory Arcangel, from "web2dizzaster" by
sumoto.iki to "Fake is a Fake" by Les Liens Invisibles.

With Geoff Cox, we talked about how, beyond the quick enthusiasm and the
rhetoric of social networks, it is urgent and necessary to develop a
critical theory of social networks, and about how contemporary artistic
practice could be essential for the exploration of new forms of
participation, activism and democracy on the Internet.

Clemente Pestelli: The title of the project is controversial and, at the
same time, fascinating. Can you explain, in a few words, what "AntiSocial
NotWorking" wants to suggest?

Geoff Cox: I'm glad you find it a fascinating title. It's deliberately
playful, a "hack" if you like, and one where it seems to contradict itself
with a double negative. The first point is simple: that by saying
"antisocial", the pervasive use of the term "social" is thrown into
question. I write about this in the accompanying notes to develop a critique
of the apparent
friendliness of social interactions through web 2.0 platforms, but at the
same time to strike a distinction from antisocial networking sites such
as"Hatebook" that are not dialectical enough in my view.

The crucial point is that by stressing friendliness and avoiding antagonism,
politics is avoided. What is also evoked is the critical tradition of
negation associated with dialectics. For instance, "negative dialectics"
would suggest a number of things but perhaps most importantly for this
context more of a focus on subjectivity and structures of communication.

The influence of communication in contemporary characterizations of labour
find their way into the second term "notworking". This is a common enough
joke - "notworking" as opposed to "networking" - and a good way into various
discussions about free labour and how labour time is less and less distinct
from time outside work - as 'nonwork'. Work on the Net is a clear example of
this tendency and one of the significant aspects of social network sites is
the way in which users volunteer their labour time - and their subjectivity.

I like the way when you put all this together -"antisocial" and
"notworking" - the meanings become multiple and contradictory. There is a
further aspect of contradiction and negation at work here too perhaps, in
evoking the concept of "negation of negation" to understand the title not as
a double negative or a simple reversal of one thing with another but an
ongoing deeper engagement.

Clemente Pestelli: In your "Notes in support of antisocial notworking", you
writes about how, during the ascent of social networks, social relationships
were emptied of every form of antagonism and so, in short, of every form of
politics. I think the analysis is right. But if we think about the first
period of the World Wide Web, we cannot but be impressed by the fact that
exactly the Internet was the privileged ground of political experimentation,
exploited by movements and activists from all over the world: an example is
the " Battle in Seattle " of 1999 and the role of Indymedia. Today,
corporate communication platforms such as Google, Microsoft and Yahoo allow
to share and spread even more information than before, but although this
fact, I can't see any conflictual approach that is as much efficient. What
do you think has happened? Is it something depending on a precise strategy
of the global corporations or is it something that has to do with the health
of movements?

Geoff Cox: Both I suppose. I would stress how the production of
non-antagonistic social relations has become absolutely central to social
control. In the notes I cite Rossiter who argues that without identifying
the antagonisms that politics simply cannot exist. As far as network
cultures are concerned this is a technical and social truism. Of course
there is nothing new in this, and earlier iterations of the net are full of
examples of antagonistic tactics.

As for your main question about what has happened more recently, I'm not
sure I'm qualified to answer this. However I suppose the issue for me is how
contradictions are evident in new ways, and that organisational forms are
more networked in character. There are a number of examples of
network-organized forms of political organization, enhancing the open
sharing of ideas - such as Indymedia, as you mention, and what is referred
to as the "multitude" more generally. Contemporary forms of protest tend to
reject centralized forms for more distributed and collective forms, but the
tendency has both positive and negative consequences, both releasing and
limiting future possibilities.

The example of Facebook exemplifies the point in that it both demonstrates
the potential for self-organisation and at the same time the drive to
commodify collective exchanges. Capital recuperates emergent tendencies
really well, as we know. The autonomists refer to the "cycle of struggle" to
emphasize that resistance needs to transform itself in parallel to
recuperative processes. In a really nice description, Tronti says the
restructuring of capital and the recomposition of resistance "chase each
others tails". More tactical and strategic alternatives need to be developed
all the time and I don't think there's a way out of this recursive loop.
Antagonism is a necessary part of this but I'm not sure where to look for
specific examples on the web, better to look elsewhere I think, to peer
production more broadly.

Clemente Pestelli: NotWorking, antithetic to networking, is the other key
word of the project. In particular, in the introductory notes to the
project, you refer to Tronti's essay "The Strategy of the Refusal" (1965).
What relationship is there, today, between job and social networks, when the
time you spend at work can be less and less distinguished from the time you
don't spend at work? How do you think it's possible to combine the idea of
"refusal of work" with the completely absorbing dimension of the Web 2.0?

Geoff Cox: As you say, the confusion over what constitutes work and non-work
turns attention to what constitutes effective action. Refusal to work is one
established oppositional tactic in recognition of exploitation in the
workplace. But it's harder to see how exploitation takes place in relation
to nonwork, or how notworking in itself might be productive. To simply
refuse to take part in social networking platforms or refuse to submit
personal information is not particularly effective in itself. The point, as
I tried to say in the notes, is how to think about "well-assembled
collectives" that can be involved in production that is not an exploitative
situation. As well as Tronti, I refer to Paolo Virno's "Grammar of the
Multitude" for this reason.

What is required are strategies and techniques of better organization
founded on different principles. Peer production offers one example of the
opportunity to explore the limits of democracy and rethink politics. I think
this is a really interesting area of activity that seems to be gathering
momentum - as both an expression of"non-representational democracy" and as
an alternative economic system altogether. Social networks hold the
potential to transform social relations for the common good but only if held
within the public realm and outside of private ownership.

Clemente Pestelli: "AntiSocial NotWorking" is a rich repository of projects
showing a critical point of view towards the different platforms of social
networks and the symbols of the Web 2.0. What can we expect from the works
that are contained in the database? A simple point of view or maybe some
useful techniques for a new creative resistance?

Geoff Cox: The project is modest in itself, hoping to draw together some
existing and new critical works, in a body of practices that take issue with
web 2.0 as an attack on peer production in the sense described earlier.
There are some well known projects and some not so well known but together
they demonstrate the usefulness of creative (art) practice to question
popular forms - or I might even want to make a distinction here between
popular and populism. Arts organizations have enthusiastically adopted the
rhetoric of social networking but the critique is less well developed, at
least in the UK.

The project has tried to draw in practices from software culture more
broadly and bring them to the attention of the contemporary art world -
remember I have produced this project as part of my curatorial remit at
Arnolfini which is a contemporary art organization that is only just
beginning to engage with the internet. But, as for more than this, your
question is spot on I think - whether oppositional strategies are merely
oppositional rather than transformative. This is one of the crucial
questions for anyone working in the area of critical practice.

Otherwise politics might simply be cast as a trendy theme as we see all the
time in contemporary arts practice. The challenge remains as how to make
this transformative or whether art can have a role at all in this. I think
the potential to transform social relations is demonstrated in the dynamics
of social networking technologies but as I said only if certain principles
are maintained. In addition, I think that the current struggles over sharing
digital content, such as those over peer to peer file-sharing, are crucially
important and this is where creative resistance is well-placed. Further
projects that I am involved in will continue to explore this issue in the
spirit of antisocial notworking.

http://project.arnolfini.org.uk/projects/2008/antisocial/
http://project.arnolfini.org.uk/projects/2008/antisocial/notes.php

....................................

DIGICULT is a cultural project involved in digital culture and electronic
arts. The DIGICULT project is directed by curator, critic and teacher Marco
Mancuso and based on the active participation of 40 professional people
about, who represent a wide Italian network of journalists, curators,
artists and critics working in the field of electronic culture and digital
art. And on a multitude of updated strategies around new media
communication, web 2.0 and networking activities. Translated in english,
DIGICULT is today a web portal updated daily with news but it's also the
editor of the monthly magazine DIGIMAG, discussing with a critic and
journalistic approach, about net art, hacktivism, video art, electronica,
audio video, interaction design, artificial intelligence, new media,
software art, performing art. DIGICULT produce the electronic music and
audiovisual podcast DIGIPOD and the newsletter international service
DIGINEWS. DIGICULT in finally involved in side activities like media
partnership and special journalistic/critic reports for festivals and
exhibitions, consultancy and curatorial activities and is now working for
Italian artists international promotion with its new born art agency
DIGIMADE, presenting their works to main international festivals, cultural
events, platforms and centers working with digital and electronics

www.digicult.it/en/
www.digicult.it/digimag_eng/
www.digicult.it/podcast
www.digicult.it/agency

Help with net art research

David — 2008-10-07T09:01:00+01:00

I am currently researching interaction with net art and have started to develop some pieces that explore how people participate with online art works.

I really need as many people as possible to have a go with these pieces, so if you have a few spare minutes I would appreciate your contribution. Please feel free to pass the links on to anyone else.

http://www.interrogations.org.uk/phd.asp

If you visit the site but do not participate it would be extremely helpful if you could leave a comment or email me saying why.

Thanks in advance

Continually Redefining Game Art

Santi — 2008-10-07T06:41:20+01:00

Thought this might be of interest.

www.perpetualmotionjellyjam.com/video/CAgames.mov

***Hangs head in shameless self promotion***

One Mile Scroll (2008) - Daniel Eatock

John Michael Boling — 2008-10-07T02:47:04+01:00

agreed. virtual space is beautifully stubborn when it comes to trying to convert/compress/translate it into the physical realm.

Pixilerated: CONCERT PERFORMANCE II

Maya Allison — 2008-10-06T17:08:14+01:00

Correction, this event should be on Oct. 11th (Saturday)

Networked: a (networked_book) about (networked_art)

Turbulence.org — 2008-10-06T16:51:46+01:00

Networked: a (networked_book) about (networked_art)
A Juried International Competition
Call for Proposals
Deadline: December 15, 2008
http://turbulence.org/networked

Five writers will be commissioned to develop chapters for a networked book about networked art. The chapters will be open for revision, commentary, and translation by online collaborators. Each commissioned writer will receive $3,000 (US).

Networked Committee:

Networked Partners:

http://new-radio.org

http://newmediafix.net

http://www.freewaves.org/

http://telic.info

"A networked book is an open book designed to be written, edited and read in a networked environment." - Institute for the Future of the Book

Networked Goals: (1) to commission five chapters and publish them online using Wiki/blog technology to enable the public to revise, update, debate and translate them; (2) to present public forums to publicize the online book and solicit participation in its development.

Networked Objectives:

We invite contributions that critically and creatively rethink how networked art is categorized, analyzed, legitimized -- and by whom -- as norms of authority, trust, authenticity and legitimacy evolve.

Networked proposes that a history or critique of interactive and/or participatory art must itself be interactive and/or participatory; that the technologies used to create a work suggest new forms a “book” might take.

We hope to spark a conversation between researchers and practitioners, curators, artists, and academics in the fields of art (music, sound, dance, e-lit, visual art …), architecture, convergence, mapping, urbanism, games, sociology, visualization, cultural studies, and environmental studies.

In keeping with the transdisciplinary nature of the book, authors may consider, but are by no means limited to, themes such as:

All papers will be reviewed by our international committee.

Commissioned chapters, as well as contributions by collaborators, will be subject to the Creative Commons License Attribution-Noncommercial-Share Alike 3.0/Unported:
http://creativecommons.org/licenses/by-nc-sa/3.0/

Once the chapters are published online, registered users will be able to revise, add to, and translate the existing texts. There is no end date for the project. When Networked has attracted substantive participation, we will consider publishing a print version of the project, which may itself be updated over time.

GUIDELINES:

Submissions must be based on original, unpublished research. They should include:

Acceptable Submission Formats: Either a web page (send url in an email) or a single text document (send as an email attachment)

Final chapters must be no less than 5,000 words.

Submissions and Questions should be sent to: jo at turbulence dot org

IMPORTANT DATES

Deadline for Proposals: December 15, 2008
Notification: January 31, 2009
Deadline for Complete Chapters: April 30, 2009
Online Publication Date: July 1, 2009

Funded by the National Endowment for the Arts.

A web-based Photoshop clone

Vijay Pattisapu — 2008-10-06T16:48:00+01:00

is handy!
http://www.sumo.fi/products/sumopaint/index.php?id=0

Pixilerated: VIDEO ART

Maya Allison — 2008-10-06T13:57:08+01:00

Pixilerations [v.5] is a new media exhibition and festival in Providence,
Rhode Island. With over sixty artists exhibiting and performing, it offers a
rare opportunity to view work that incorporates non-traditional materials
such as sound, biotechnology, interactive games, holography, robotics, and
virtual environments. Pixilerations is curated by leading experts in the
field, and co-sponsored by RISD and Brown University.

Pissed Off Artists Allegedly Urinate on Kruger Art

G.H. Hovagimyan — 2008-10-04T19:21:07+01:00

And the pissing contest continues!!!

Annie Abrahams at OTO

M. River — 2008-10-04T16:28:21+01:00

On October 10, from 7pm to 10 pm, Over The Opening is pleased to present The Big Kiss, a performance installation by Annie Abrahams.

What’s contact in a machine mediated world? What’s the power of the image? How does it feel to kiss without touching? Does the act change because we see it? What does it mean to construct an image with your tongue? And is there still desire? Does the act provoke it? What’s contact in a machine mediated world?

You are invited to participate in the creation of a communal kiss at OTO

Annie Abrahams is a Dutch artist living in France. Abrahams work is featured on her site “Being Human / Etant Humain”: a big interlinked universe that concentrates on the possibilities and limitations of communication as well as at aabrahams.wordpress.com

Thanks to the generous support of the Dutch consulate, Annie Abrahams will be traveling to Brooklyn for the performance and the Rhizome Commissions '08 presentation on Saturday, October 11 at 3pm at the New Museum, New York, NY

OTO:
http://www.tinjail.com/over_the_opening/

Once a month, from 7PM to 10PM, the artist collective MTAA convert their N6th St. Brooklyn studio into a venue for the presentation of time-based art. Next up at OTO - lab404's Curt Cloninger

map and directions to OTO
http://www.tinjail.com/over_the_opening/directions

Streaming Museum opens

Carlo Zanni — 2008-10-04T12:55:25+01:00

Date: October 3, 2008

Streaming Museum's exhibition "ARTISTS AND INNOVATORS FOR THE ENVIRONMENT" part one, will be on view October 3 to December 3 in cyberspace and public spaces on 7 continents. Streaming Museum, TED Prize and Urban Screens Melbourne 08 will collaborate in a global launch from Time Warner Center, New York City, on Friday, October 3 at 8 PM

Streaming Museum is a new hybrid Museum that presents real-time exhibitions in cyberspace and public space on seven continents. The Museum opened on January 29, 2008 and is produced in New York City in collaboration with international artists, curators, and cultural institutions. Exhibitions are viewed in cyberspace at www.streamingmuseum.org and Ars Virtua New Media Center in Second Life, and public locations around the world according to schedules listed on the website.

"Artists and Innovators for the Environment" is part one of a three-part exhibition series featuring international visionary creators - Buckminster Fuller, design scientist; James Nachtwey, photographer; John Cage, Gustavo Santaolalla, Huang Ruo, Jacob ter Veldhuis, and Emanuel Dimas de Melo Pimenta, composers; Agnes Denes and Anni Rapinoja environmental artists, Brian Mackern new media artist, Cedar Lake Dance, the Nunatak band of the British Antarctic base, as well as innovative designs for environmental sustainability by Chuck Hoberman and others.

For information contact:
Nina Colosi, Founder/Creative Director, Streaming Museum
nina@streamingmuseum.org
www.streamingmuseum.org