RHIZOME DIGEST: 12.09.05

Dec. 8, 2005

Type: discussion

RHIZOME DIGEST: December 09, 2005 Content: +note+ 1. Lauren Cornell: Rhizome seeks designer for youth project +opportunity+ 2. Amy Alexander: UC San Diego Call for Graduate Applications 3. Elisa Giaccardi: Call for Artwork and Papers: IV 2006 and CGIV 2006 4. Brooke Singer: Tenure Track Job Opening: Media, Society and the Arts at SUNY Purchase 5. Timothy Weaver: Tenure Track Position Opening: Assistant Professor, Electonic Media Arts Design (eMAD). University of Denver 6. Mark Tribe: Tenure-track Faculty Position in Sculpture/Multi-Media at Brown University +announcement+ 7. Kristine Ploug: Artificial Special: Art Games 8. t.whid: Fine Art in Space and 31GRAND present: PodART 9. Jo-Anne Green: Turbulence Commission: "mimoSa" 10. patricia hughes: Breaking & Entering: Art and the Video Game +Commissioned by Rhizome.org+ 11. Alison Bing: Organic Mechanics: The Lure of Hi-Lo Tech (in Miami) +thread+ 12. Marisa Olson, marc garrett, Pall Thayer, Ryan Griffis, aabrahams, Joy Garnett, Jack Stenner, patrick lichty, Robbin Murphy, James Huckenpahler, Myriam Thyes, Simon Biggs, M. River, Andrei Thomaz: new name for Net Art News? + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at [email protected] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Lauren Cornell <[email protected]> Date: Dec 7, 2005 11:00 AM Subject: Rhizome seeks designer for youth project Hi, Please forward this brief call to any interested parties! Thank you! Lauren Rhizome seeks a designer to build an educational CD-ROM for youth. Candidates should have experience with graphic design and multi-media authoring. Familiarity with youth media is preferred. The CD-ROM will feature a selection of new media art works contextualized within supplementary materials. Please have interested parties contact laurencornell at rhizome dot org with their resume. Hourly rate is negotiable. Resume deadline is 12/14. About Rhizome: Established in 1996, Rhizome.org is an online platform for the global new media arts community. We support this community through a number of programs, including: online discussions, publications, an events calendar, opportunity listings, archiving of new media art, commissioning of new artwork, and offline and online exhibits. Since 2003, we have been affiliated with the New Museum of Contemporary Art. <a rel="nofollow" href="http://www.rhizome.org">http://www.rhizome.org</a> – Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. [email protected] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Amy Alexander <[email protected]> Date: Dec 4, 2005 12:44 PM Subject: UC San Diego Call for Graduate Applications University of California, San Diego, Department of Visual Arts, is currently accepting applications to its MFA and PhD programs in digital media. Rated as one of the top graduate program in new media arts in the U.S., our program is also among the largest, with eight full-time faculty. It is also one of the oldest: we started teaching computer art in 1973. Today our research interests and teaching cover the full range of areas in digital arts, including net art, software and generative art, online and live performance, distributed virtual worlds, computer games, net activism and tactical media, critical engineering, media installation, digital cinema, location based media. We also have a very strong commitment to theory and a number of our faculty are known for their critical writing as well as their art projects. Since the new media track exists within the larger framework of the Visual Arts Department with its thirty full-time faculty, graduate students benefit from access to top studio artists, media artists, art and media historians teaching in the same department. We have close relationships with a number of faculty in the Music department working on computer music, as well as top artists and critics teaching in other new media programs in Southern California. The additional unique resources available on campus to support faculty and student research include CRCA (Center for Research in Computing and the Arts) and CAL-IT(2) (California Institute for Telecommunication and Information Technology). CAL-IT(2)'s new building, which opens in the Spring of 2005, features one of the best set of research labs and technical resources for digital arts work anywhere in the world, as well as a gallery, screening rooms, and studios for visiting artists and graduate students and faculty. Further information and application procedures are available from: <a rel="nofollow" href="http://visarts.ucsd.edu">http://visarts.ucsd.edu</a> —– UCSD Visual Arts Computing Faculty Amy Alexander Adriene Jenik Sheldon Brown Natalie Jerimijenko Jordan Crandall Lev Manovich Ricardo Dominguez Brett Stalbaum – Note (from Amy Alexander) - Mail sent to the email address in the header may or may not actually reach me! Better to contact me at ajalexander at ucsddashedu. Replace the dash with the obvious character. Or find my latest contact info at the bottom of the plagiarist.org homepage. Danke, gracias, and thanks. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Elisa Giaccardi <[email protected]> Date: Dec 7, 2005 6:26 AM Subject: Call for Artwork and Papers: IV 2006 and CGIV 2006 Please share. Apologies for multiple postings. Call for Artwork and Papers: IV 2006, International Conference on Information Visualization London, England CGIV 2006, International Conference on Computer Graphics, Image and Visualization, Sydney, Australia Deadlines: 1 February 2006: Digital Art Gallery (D-ART 06) 1 March 2006: Submission of papers & Submission of tutorials 25 April 2006: Submission of camera-ready material. All the info can be found at: <a rel="nofollow" href="http://www.graphicslink.co.uk/">http://www.graphicslink.co.uk/</a> Thank you. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Brooke Singer <[email protected]> Date: Dec 8, 2005 7:28 AM Subject: Tenure Track Job Opening: Media, Society and the Arts at SUNY Purchase Purchase College, SUNY. The School of Natural and Social Sciences invites applications for a tenure-track position in Media, Society and the Arts (MSA) at the Assistant Professor level, beginning Fall 2006. MSA is an interdisciplinary major that links the arts, media studies and the social sciences. We seek candidates with research expertise in the sociology or anthropology of virtual culture and new media technologies. As part of regular duties, the successful candidate will offer courses that contribute to the New Media program as well as MSA, plus a course per year in the freshman general education program. Purchase College is an undergraduate institution located 25 miles north of New York City. The faculty is committed to providing a rigorous curriculum designed to prepare students for graduate work. Excellence in teaching and the potential to maintain an active research program are essential. Ph.D. in anthropology, sociology, or related field required by August 20! 06. Applicants should send a cover letter, CV, statements of research interests and teaching philosophy, representative publications, and three letters of reference to the attention of Melissa Swinton-Ghafoor, Affirmative Action Officer, Media, Society and Arts Search Committee, Purchase College, SUNY, 735 Anderson Hill Road, Purchase, NY 10577-1400. Review of applications will begin immediately and continue until the position is filled. Purchase College, SUNY is an Affirmative Action/Equal Opportunity Employer. Applications from minorities and women are strongly encouraged. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition on the politics of internet appearances, guest-curated by Marina Grzinic from the Rhizome ArtBase. <a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Timothy Weaver <[email protected]> Date: Dec 8, 2005 10:58 AM Subject: Tenure Track Position Opening: Assistant Professor, Electonic Media Arts Design (eMAD). University of Denver Tenure Track Position Opening: Assistant Professor, Electonic Media Arts Design (eMAD), School of Art & Art History, University of Denver, Denver, Colorado, USA Job Title: Assistant Professor ? eMAD Posting Hiring Range: Competitive Work Schedule (Days & Hours): 9 months, hours vary Department: Art & Art History Job Summary: Assistant Professor, tenure track, with position emphasis on Digital Video and related emerging domains in Electronic Media Arts Design. Teach five 10 week classes per year in well equipped Mac studio, up to 15 students/class, undergraduate/graduate eMAD and Digital Media Studies majors and undergraduate Studio Art and Game Development (Computer Science) majors. School has approximately 160 majors in eMAD, Art History and Studio Art.; 15 faculty (4 in eMAD); expanding MFA program in eMAD, 30 graduate Art History students. Preferred Qualifications: Ability to teach history of visual communication at multiple levels, digital video/motion graphics/time-based media, exhibition record all desirable. Minimum Qualifications (These qualifications refer to education and/or experience): MFA required at time of appointment. Job Open Date: 09-16-2005 Job Close Date: Open Until Filled Job Category: Faculty Job Type: Full-Time Appointment Status: Benefited Special Instructions to Applicants: Position open until filled. All applicants must complete the on-line application form at www.dujobs.org where you may also upload your cover letter and CV (including software proficiencies). Please send teaching philosophy, artist's statement, documentation of own and students' work (URL, video, DVD, CD-ROM), contact information (e-mail, address, phone) for 3 references and SASE to eMAD Search Committee, University of Denver, School of Art and Art History, 2121 East Asbury Avenue, Denver, Colorado 80208. The University of Denver is committed to enhancing the diversity of its faculty and staff and encourages applications from women, minorities, people with disabilities and veterans. DU is an EEO/AA employer. Additional background information available online>> University of Denver website at: <a rel="nofollow" href="http://www.du.edu">http://www.du.edu</a> DU School of Art & Art History profile at: <a rel="nofollow" href="http://www.du.edu/art">http://www.du.edu/art</a> DU SAAH eMAD program information at: <a rel="nofollow" href="http://www.du.edu/art/programs/emad/index.html">http://www.du.edu/art/programs/emad/index.html</a> DU Digital Media Studies program information at: <a rel="nofollow" href="http://dms.du.edu">http://dms.du.edu</a> Human Resources and reference information online >> DU Human Resources website at: <a rel="nofollow" href="http://www.du.edu/hr/employment/jobs.html">http://www.du.edu/hr/employment/jobs.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Mark Tribe <[email protected]> Date: Dec 7, 2005 10:13 AM Subject: Tenure-track Faculty Position in Sculpture/Multi-Media at Brown University Please post or forward to interested parties Announcement of Sculpture/Multi-Media ASSISTANT PROFESSOR IN VISUAL ART TENURE TRACK POSITION ? Sculpture/Multi-Media Position: Brown University Department of Visual Art seeks dynamic and energetic artist to teach sculpture at the undergraduate level. Requirements: Applicants should have an earned MFA, and 3 years (full time equivalent) college level teaching beyond Graduate School and must be able to teach both Beginning and Advanced Sculpture. This candidate will sometimes teach a Foundation Drawing/2d 3d/Design course. Qualified candidates must be well-versed in contemporary sculpture practice including installation, performance, video, and supportive digital applications as well as a wide range of experience in fabrication (wood, metal, mold making/plaster casting, plastics, or fiber, etc.). A strong exhibition record and knowledge of contemporary theory and practice is essential. Interest in developing interdisciplinary courses is a plus. Starting Date: Appointment to begin September 1, 2006. Application Procedure: Applicants should send paper copies of CV, letter of application, slide list, artist statement, teaching philosophy and 3 letters of recommendation, a portfolio of 10- 20 slides or CD/DVD as applicable (formatted for Mac) and/or website, and SASE to: Chair, Sculpture Search Box 1861 Visual Art Department Brown University Providence, RI 02912 Salary: Competitive and commensurate with qualifications and experience. Deadline: To receive full consideration complete applications must be postmarked by: January 7, 2006. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Kristine Ploug <[email protected]> Date: Dec 2, 2005 11:41 AM Subject: Artificial Special: Art Games Art Games Art Games is becoming a genre. Kristine Ploug gives an introduction. Originally published at: <a rel="nofollow" href="http://www.artificial.dk/articles/artgamesintro.htm">http://www.artificial.dk/articles/artgamesintro.htm</a> A list of recommended Art Games here: <a rel="nofollow" href="http://www.artificial.dk/articles/artgamesnetworks.htm">http://www.artificial.dk/articles/artgamesnetworks.htm</a> All articles in this series: <a rel="nofollow" href="http://www.artificial.dk/articles/artgamesspecial.htm">http://www.artificial.dk/articles/artgamesspecial.htm</a> Computer Games The first computer game, Spacewar, was born at Massachusetts Institute of Technology in 1961. Then an era of Pong and subsequently more advanced arcade games occurred. Then came the consoles ? both for use at home and the handheld ones, the latest arrival being the PlayStation Portable, the PSP. We now live in a time of increasingly advanced 3D games for different platforms. The computer game industry is thriving. It is making more money than the movie industry, and games are showing up in more and more contexts. A lot of box office hits are accompanied by games (Harry Potter, Lord of the Ring ?) and with the new movie King Kong the game is even launched before the movie. Games are virtually everywhere. Politicians have games on their websites as part of their election campaigns. Kids are increasingly learning through games. Games are everywhere and it is believed that they will move into even more places in the future. Introducing: Art Games But enough about games as such. As a small subcategory of computer games you find Art Games. They are made by artists as pieces of art. Some have ulterior motives, mainly political, others are merely a playful piece of interaction with the user. What makes them art and not just games? For some, the fact that they were made as art, for others the fact that they are exhibited as art - it can all be boiled down to the intention behind them, originating from either the curator or the artist. An example of an art game is Samorost, which was made as a quirky design project, rather than art, but has been seen by several curators as art. In the right context, commercial games can be perceived as art as well. There is no doubt that a lot of talent, skill and will goes into producing the commercial games. And although they are not produced as art, but merely as entertainment, we see a lot of examples of things that were not meant as art being exhibited in an art context. Benjamin Fry's Valence is an example of a tool with a concrete purpose that has been exhibited as art and thus becomes art. And what commercial computer games are lacking in artistic thought, they undoubtedly possess in craft and an impressive use of the technology. Another discussion is, whether it is good art or bad and I must admit that I find most commercial games inferior as art. And not least: I find the discussion boring. So, back to art games. Art Games: A Few Characteristics It seems that there are a few defining characteristics to art games. Tiffany Holmes gives a definition of art games in her article Arcade Classics Spawn Art? Current Trends in the Art Game Genre (2003). Her definition goes: " ? art games contain two of the following: a defined way to win or experience success in a mental challenge, passage through a series of levels (that may or may not be hierarchical), or a central character or icon which represents the player." I can add that in most cases the art games are neither addictive nor meant to be played over and over, but merely shorter comments. Most art games are playable online, they are usually made for a PC and usually meant for a single player. The games always have interaction, but this interaction doesn't always have an effect on what goes on in the game. In Natalie Bookchin's game The Intruder, the many different games played by the user are merely a way to keep the user busy, while listening to a story by Jorge Luis Borges. Art games can roughly be divided into two groups: political games and aesthetic games. A clear political game is Gonzalo Frasca's September 12. Another division can be made between the made-from-scratch games and the art mods ? modifications of existing games. A lot of the big games allow modding, where you can create your own version of the game. A category related to the art mods is Machinima (a short form of mechanical animation ), pre-recorded and often edited movies made in a game by many users coordinating their characters. At this year's Ars Electronica, they showed several Machinimas. Several art games don't quite fit the categories, but are using elements from the game format in the artwork. Computer based art has the advantage of using a media that is truly contemporary and integrated in our everyday life ? at Artificial, we believe that it is the natural art of our times. Reacting to ? and using the language of ? computer games is an obvious development. In a recent interview with Artificial, the creator behind Samorost, Jakub Dvorsky, said when asked what the game genre has to offer: "It's obvious - games are so popular because when you are playing games you are not only a viewer but also a player - you can influence what is happening in the game. So the artist creating an 'artistic game' can count on it and involve some new ideas in it, which couldn't work in movies, literature or in paintings. In my opinion, the game genre brings a whole new universe of possibilities for artists." With games being the art form of the future, it is quite funny, though, that a lot of artist s use the retro-aesthetics of the 70's and 80's games. The pixelated spaceship of Space Invaders is seen several places and so is Pac Man and Super Mario. It is quite rare to see an art game looking like a slick 3D photo - like Hitman. There might be several reasons for this. The nostalgic, iconic, retro-aesthetics might be what the artists are after, but it might also be because the 3D environment is simply not feasible. The computer industry spends years and lots of money on their production and resembling that on a artist budget might not be possible. To be Continued ? Over the next month, Artificial will bring you various articles about art games. Stay tuned. And in case you are still wondering: Computer games are for grown-ups - we have statistic material to back us on this one. More? For theoretical readings about art games: Pippa Stalker: <a rel="nofollow" href="http://www.selectparks.net/dl/PippaStalker_GamingInArt.pdf">http://www.selectparks.net/dl/PippaStalker_GamingInArt.pdf</a> Tiffany Holmes: "Arcade Classics Spawn Art? Current Trends in the Art Game Genre" Rebecca Cannon: Introduction to Artistic Computer Game Modification. Tilman Baumgärtel: On a Number of Aspects of Artistic Computer Games Anne-Marie Schleiner et al: Theme issue of the online journal Switch: Games Exhibitions: Computer Games by Artists (Curated by Tilman Baumgärtel) Trigger (Cutared by Rebecca Cannon) Cracking the Maze (Curated by Anne-Marie Schleiner) Other links: Website dedicated to art games run by Julian Oliver and Rebecca Cannon: <a rel="nofollow" href="http://www.selectparks.net/">http://www.selectparks.net/</a> Cool site with a blog and links to art games: <a rel="nofollow" href="http://www.gamesareart.com/">http://www.gamesareart.com/</a> Kristine Ploug Co-editor www.artificial.dk [email protected] Tel: +45 2819 8374 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: t.whid <[email protected]> Date: Dec 6, 2005 9:22 PM Subject:Fine Art in Space and 31GRAND present: PodART For Immediate Release: UPCOMING EXHIBITION AT FINE ART IN SPACE Gallery Hours: Monday through Saturday, 9am. to 5pm. Fine Art in Space 10-47 48th Avenue Long Island City, NY 11101 (718) 392-7766 PodART December 9, 2005 - January 17, 2005 at FINE ART IN SPACE Opening Reception: December 9, 2005, 7 to 9pm Fine Art in Space is pleased to present in collaboration with 31GRAND,the first group exhibition of video art intended to be viewed and soldsolely on the iPod. Apple, the computer of choice by much of the artworld is the inspiration for our new exhibition. This curatorial exploration was inspired by the introduction of thelatest iPod, which now plays video. In recent years, Video art hasbeen growing rapidly in popularity. Their ongoing introduction of moretechnologically advanced products has resulted in the acceptance andaccessibility of this media. Apple's latest achievements with the iPodhave garnered this art form even more portability. Artists featured in PodART will include the work of: Gogol Bordello,Jason Clay Lewis, Nelson Loskamp, MTAA, Marisa Olson, EugenioPercossi, Jean Pigozzi, Adam Stennett, Lee Walton, and Jeff Wyckoff. MTAA is an art duo working on and off-line and are known for theirconceptual and often humorous art projects. Past exhibitions have beenat the New Museum of Contemporary Art, The Getty Research Institute,and Postmasters gallery. Based in San Francisco, Marisa Olson's work has been commissioned by the Whitney Museum of American Art and she has most recently performed or exhibited at the New Museum for Contemporary Art, the Berkeley ArtMuseum/Pacific Film Archive, Side Cinema-Newcastle, New Langton Arts, Southern Exposure, Foxy Productions, Debs & Co, Galapagos, FluxFactory, 667 Shotwell, Pond, the international Futuresonic, Electrofringe, Cinemascope-London, Machinista, Scope, and VIPER festivals, and elsewhere. She has held residencies and fellowships at Goldsmiths, the New School, Northwestern University, the Technical University-Dresden, and the Banff Centre for the Arts. She participated in an exhibition which Artforum highlighted among the "Best of 2004" and while Wired has called her both funny and humorous,the New York Times has called her work "anything but stupid." Jeff Wyckoff is an artist and scientist whose video work includesintravital imaging, cancer research and often music. Mr. Wyckoff hasan upcoming lecture at MIT in February and exhibitions in Belgrade,A ntwerp, and is currently working with the Art and Genome Center in Amsterdam. Each video object is a limited edition and is sold in iPod forma twith the player. Press contact: Heather Stephens at [email protected] 31GRAND 31 Grand Street Brooklyn, NY 11211 718-388-2858 Gallery hours: F-M, 1pm ? 7pm [email protected] <a rel="nofollow" href="http://www.31grand.com">http://www.31grand.com</a> –<twhid>www.mteww.com</twhid>; + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Jo-Anne Green <[email protected]> Date: Dec 7, 2005 8:47 AM Subject: Turbulence Commission: "mimoSa" December 7, 2005 Turbulence Commission: "mimoSa: Urban Intervention and Information Correctional Machine" by Alexandre Freire, Etienne Delacroix, Giuliano Djahdjah, Luis "Asa" Fagundes, Murmur, Ricardo Ruiz, Romano, and Tatiana Wells <a rel="nofollow" href="http://turbulence.org/works/mimoSa/">http://turbulence.org/works/mimoSa/</a> Needs the VLC Media Player (see main page for URL) "mimoSa" is based on the concept that people start to think critically about media when they produce and distribute it themselves. In Brazil, new systems of media production and distribution are crucial to achieving a more just distribution of power and representation. "mimoSa" is a continuous workshop that moves around Brazilian cities collecting people?s stories using recycled and reconstructed technologies. The aim of the workshops is to design a machine capable of altering the Brazilian mediascape. During the workshops a group of artists, programmers, and activists create and operate this machine. The machine records stories, stores them in a database, broadcasts them on FM, and records them to CD. It also prints telephone numbers and instructions on city streets and walls so that people passing by are able to access the stories via their mobile phones. "mimoSa" maps these activities via its web portal from which visitors can access both audio and video interviews. Begun in November 2005, the web site will continue to grow as the artists travel and present workshops in various Brazilian cities; "mimoSa" will keep walking around until 1 GB of information is loaded to the server. "mimoSa: Urban Intervention and Information Correctional Machine" is a 2005 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. COLLABORATORS ALEXANDRE FREIRE: mobile programmer, responsible for setting up the audio mobile server. ETIENNE DELACROIX: MIT fellow and teacher at University of Sao Paulo. Works with discarded computers and other technological garbage. Responsible for assembly of a portable PC and the machine's backbone. GIULIANO DJAHDJAH: free-radio practitioner and documentarian, responsible for workshops and urban interventions. LUÍS "ASA" FAGUNDES: hacker, PHP, C++ programmer. MURMUR: a group collecting personal stories on mobile phones in Toronto, Canada. Responsible for mobile connectivity. RICARDO RUIZ: media practitioner, responsible for workshops, construction of the machine and urban interventions. ROMANO: radio artist and audio designer, responsible for audio recording. TATIANA WELLS: new media researcher, responsible for urban interventions and collecting stories. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: patricia hughes <[email protected]> Date: Dec 8, 2005 4:50 PM Subject: Breaking & Entering: Art and the Video Game OPENING December 9, 7-10pm @ PaceWildenstein 545 West 22nd St works by Cory Arcangel, JODI, Paper Rad, RSG, Jon Haddock, Eddo Stern, Brody Condon + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. + Commissioned by Rhizome.org + Organic Mechanics: The Lure of Hi-Lo Tech (in Miami) by Alison Bing Every December, thousands of US art world insiders flock to Miami, where six art fairs lure trendspotters trolling for The Next Big Thing. Treatment of new media by participants in this more mainstream commercial realm might be said to reflect the extent to which new media is being accepted in the broader art world. To say there wasn't lot of new media art on display in Miami, this year, would be both true and false. In a town known for flash and dazzle, there was a notable dearth of whiz-bang wizardry and techno novelty on view. But even though it didn't make a spectacle of itself, new media put on quite a show with what might be called organic mechanics: sophisticated technology that doesn't present itself as such, but instead uses high-tech means to mimic low-tech processes. Tucked in among the many paintings and collages were psychedelic tiled wall installations made possible by PhotoShop, digitally rendered paintings and drawings, and digital videos with decidedly low-res effects. These works appeal to a certain nostalgia for a time when collectors? new acquisitions did not necessitate the purchase of a power strip, but many seem to serve a more subversive purpose as well. New media artists have found a way to hack the art world system that still preferences the tangible, archival, and art historical, in order to introduce the culture-jamming idea that received imagery may yet be altered, and conventional wisdom reconfigured. A Taste for Low Tech Perhaps the most literal instance of catering to low-tech tastes was at NADA, where Takashi Murakami protégé Mahomi Kunikata transferred digital anime onto sushi, making technology digestible to collectors who might not otherwise find it especially palatable. To witness collectors gobble up Kunikata's work was to witness the PacMan-ization of new media, a nostalgic appeal to a time when technology was simpler and easy to grasp ? as was the art market. Kunikata's high-low tech hybrid was tough to match for sheer improbability and appeal to appetites, but Mads Lynnerup did the trick with his surprisingly self-explanatory digital video Untying a Shoe with an Erection, at Art Basel Miami Beach?s Video Lounge. Outside the Video Lounge, the seemingly anachronistic focus on painting at ABMB recalled a time, last century, when being a collector mostly meant purchasing painting and possibly sculpture – so it almost seemed like time travel crossing town to visit the Cisneros Fontanals Art Foundation (CiFo) and the Marguiles Collection, with their focus on photography, video, and new media works by the likes of Chantal Akerman, Julian Rosfeldt, Tabaimo, Tony Oursler, and others. But here, too, organic mechanics were at play: In Yang Zhenzhong's Let's Puff at CiFo, for example, a street scene rippled every time a young woman projected on the opposite wall blew in its direction. And despite all the pimp-my-canvas glossy oils at ABMB, the collectors there proved to be no oils-only Luddites. Among the biggest hits at the fair were Roxy Paine's computer-generated paintings and Kota Ezawa's digitally-produced light-box drawings reinterpreting famous photographs. Papering Over Differences At times, technology seemed unduly self-effacing in works on paper and installations shown in Miami. New media darling Matthew Ritchie made a splash with wall art pieces that appeared to drip onto the floor, but sorely missed were his even higher-impact Web-based works such as The Hard Way (<a rel="nofollow" href="http://adaweb.walkerart.org/influx/hardway/">http://adaweb.walkerart.org/influx/hardway/</a> ). William Kentridge's breakthrough film works involving torn-paper dictators and animatronic coffee-pots were duly heralded at Miami Art Central retrospective, but at ABMB his work was represented by drawings and a paper office set installation used in a piece revolving around a corporate-tycoon character. The lack of filmic context here for Kentridge's power-struggle poetics led one well-heeled fair-goer to slur over his corporate-sponsored champagne, "It's like Disney in three dimensions, only without the colorrr." But although technology occasionally seemed conspicuously absent in Miami, often it was merely papered over. At Pulse Art Fair, Cassandra C. Jones reconfigured digital photographs of cheerleaders exposing their skivvies into wallpaper patterns that paradoxically resemble Amish quilts, and Kendall Geer's After Love (Fuck) at ABMB spoofed Robert Indiana with digital tiling effects to create a fitting backdrop for framed semen and plastic-wrapped idols. The drawings by Assume Vivid Astro Focus at ABMB Positions could be hints of a new media work in progress – one always hopes for another splashy Bionic Woman/Yoko Ono tribute installation, complete with wall decals and floor-to-ceiling video – but they also held their own as intriguing works on paper. What Miami witnessed was not a reversal of fortune for technology; once invented, the wheel has a stubborn way of staying with us. But perhaps what we are seeing is a kind of reverse engineering – in computer speak, a way of dissembling systems already in place in order to rebuild a version that's similar in function, yet more reliable and responsive to lived experience. In this way, new media seems to be successfully tapping conservative collectors' object-oriented nostalgia. Yet this move also captures a zeitgeist of systems collapse and creative reconfiguration that echoes Situationism, the Beat Era, and pre-war Europe. The new operating paradigm for new media art may prove to be not PacMan but collage, that pre-computer Beta version of reverse-engineering advanced by Cubists. There's no denying technology in an art world and a society where it's so ubiquitous as to be invisible – and if we can apply it to undo flawed assumptions, we may yet embark on a meaningful rebuild. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Marisa Olson <[email protected]>, marc <[email protected]>, Pall Thayer <[email protected]>, Ryan Griffis <[email protected]>, aabrahams <[email protected]>, <[email protected]>, Jack Stenner <[email protected]>, patrick lichty <[email protected]>, urphy <[email protected]>, James Huckenpahler <[email protected]>, Myriam Thyes <[email protected]>, Simon Biggs <[email protected]>, M. River <[email protected]>, Andrei Thomaz <[email protected]> Date: Dec 4, 2005 2:49 PM Subject: new name for Net Art News? + Marisa Olson <[email protected]> posted: + Dear readers, I'm writing to solicit your advice. We would like to change the name of Net Art News and I'd like your input on a new name. As Lauren mentioned in a recent note to you, Rhizome is currently redesigning our site. This is an exciting moment in which we are thinking about all the recent developments in our field and how Rhizome can reflect, support, and foster them. On the editorial side, my goal with NetArtNews has been to broaden our scope and reach, getting more international in our coverage and also covering not only internet art but also software art, performance, sound art, data visualization, technology-enabled social sculpture, locative media, video, and the myriad other branches of new media practice. While we are by no means giving up on netart, the title Net Art News no longer reflects the breadth of the publication. The first and simplest title that comes to mind is 'Media Art News,' but of course this is potentially dry. I'm also not necessarily looking to split hairs over the phrases 'media art' and 'new media art.' The title needs to be rather short, self-descriptive, and hopefully also inviting. What are your suggestions? Any feedback would be greatly appreciated. If you'd like to refamiliarize yourself with Net Art News, you can look up previous pieces, by month, here: <a rel="nofollow" href="http://rhizome.org/netartnews/index.php">http://rhizome.org/netartnews/index.php</a> With thanks, Marisa + + + Marisa Olson Editor & Curator at Large Rhizome.org + marc <[email protected]> replied: + Hi Marisa and all, Perhaps, 'Rhizomatic ArtNews' - reflecting the nature of what Rhizome's original intentions & function? Thus decalring the ahem 'brand' in the title, whilst declaring the context at the same time. If you are now, more consciously bound to explore creativity that relates to all aspects of media art ina wider context, this is a start… Here are a few 'off the cuff' suggestions also:- Media Arts Transmissions Rhizomatic ArtNews Media Art Broadcast Media Art Voice Media Art at Rhizome Rhizomatic Relations Rhizomatic Communications Media Art Relations Media Art Today Media Art Creativity Creative Networking Info Creative Networking News Media Art Connections Media Art Radar Media creative reference + Marisa Olson replied: + Marc, Thanks for your thoughtful response! A number of these are interesting. Mark Tribe once told me that the title "Net Art News" wasn't intended to be just news about netart, but more net-based art news. Obviously the emphasis is on new media art, but I like that we (meaning not just staff, but us in the general Rhizome community) are moving towards a broader conception of what that encompasses… It says a lot about the vitality of our field! [….] + Pall Thayer <[email protected]> replied: + I agree that "Media Art Today" sounds good but we can go a step further and call it, "Media Art Tomorrow". I think we have to stop there though, "Media Art Next Week" is just too long. Or, what say we put ourselves on top of everything and call it "Art Tomorrow". That actually has a cool ring to it. I've always disliked the terms "media art" (what art is NOT "media art"?) and "new media art" (what's so new about media that's been around for decades?). + Ryan Griffis <[email protected]> replied: + I like Pall's suggestion for using "tomorrow"… but i don't like the avant garde associations of being "ahead" as a qualifier… ahead of what exactly? how about something like "Art Connections" (with the "media" or not) since most of the pieces are really about introducing then linking people to work or more info about work? Or running with Marc's "radar" concept: "Art Blips" (again, with or w/o "media") ? + aabrahams <[email protected]> replied: + As Ryan I don't like the avantgarde connotation of Tomorrow Among others I like Art_Radar annie + Marc Garrett replied: + I agree, 'Tomorrow' smells. + Pall Thayer replied: + It doesn't smell any more than "new media". Maybe I'll just use it as a nom de plume, "new work by Art Tomorrow". Best r. Art + Marc Garrett replied: + Hi Pall, I suppose one can assume 'smells' to be a rather subjective affair, as well as biological sensation. Although I am just about recovering from flu, and my nose cannot smell much at the moment. Personally, I do feel that 'Art Tomorrow', smacks of modernist & post-merdonist intentions (dare I say), or like a business marketing ploy, or like some mid-90's cyber-Kroker thang. I totally agree with your perception regarding the term "new media", it is pretty worn out these days, especially with how things are generally and swiftly shifting, moving along. It's going to be interesting watching some of the (more desperate) historians trying to claim honourship on the term "new media art", now. The territorial scuttling has already begun I believe, I can hear the keyboards tapping away…. "I created the term first" tap:::: "Yes I did- I said it first" tap:::: "No it wasn't you, It was me - I said it first" tap::::………………………'''''''……. "Honest, I said it first"………. *and history becomes yet another marketing strategy with the aim to promote the more dominant canons of the day, leaving the wider context of creativity to rot away forever in the vaults of 'they were not good enough to seen…………………* ooops, sorry for being a bit cynical at the end there. + [email protected] <[email protected]> suggested: + maybe call it… "Download" ?? + Jack Stenner <[email protected]> suggested: + Rhizomedia + Ryan Griffis replied: + Ryan Griffis <[email protected]> i think the ones below are getting somewhere interesting… sprout out (abe [linkoln]) pop3 (abe [linkoln]) artHive (Dirk [Vekemans]) Rhizomedia (from Jack Stenner) i think i'm kinda into "Rhizomedia" + Marisa Olson replied: + The hits keep on coming! James Huckenpahler wrote: > 3 possible titles, maybe too goofy or opaque… > > MEDIA EATS ITSELF > > PING > > RECURSOR And Robbin Murphy, of The Thing sent this fun list of ideas contributed by Thingist subscribers, when they were thinking of changing the name of bbs.thing.net (I asked Robbin if I could forward it given it's historical value!): ?ru.thing.net [x].thing.net 404.thing.net a.thing.net a6v92oq.thing.net abstract.thing.net ambient.thing.net ante.thing.net any.thing.net are_those_your_real_teeth.thing.net ars.thing.net art.thing.net atomic.thing.net authorized_version.thing.net big.thing.net biplane.thing.net blog.thing.net boring.thing.net boring_again.thing.net bourgeois.thing.net broken.thing.net btw.thing.net byebye.thing.net byte-sized.thing.net called.thing.net canadada.thing.net canned.thing.net caviar.thing.net click.thing.net community.thing.net concrete.thing.net confusing.thing.net construct.thing.net consumable.thing.net content.thing.net cool.thing.net cosmic.thing.net crazy.thing.net creative.thing.net dangly.thing.net darwin.thing.net das.thing.net der-sagin-enkulate-the-foret.thing.net door.thing.net electric.thing.net enter.thing.net entitled.thing.net every.thing.net everylittle.thing.net fading.thing.net famous_people_have_better_things_to_do.thing.net fatso.thing.net feathered.thing.net first.thing.net foolish.thing.net frank_sinatra.thing.net free_the_oxford_five.thing.net fuckedup.thing.net fuckme.thing.net fuckyou.thing.net funky.thing.net fuzzy.thing.net gate.thing.net getalife.thing.net get-into-the-swing-of.thing.net glamor.thing.net global.thing.net go.thing.net grand_imperial.thing.net happy.thing.net hitme.thing.net horseless.thing.net hypomnemata.thing.net i_havent_the_faintest_idea_what_youre_talking_about.thing.net i_saw_the_light_at.thing.net iam.thing.net iloveyou.thing.net index.thing.net industrialstrength.thing.net interface.thing.net international.thing.net iola.thing.net isocahedral.thing.net jail_the_oxford_five.thing.net josh-free.thing.net just_a_dream.thing.net just_kidding.thing.net just-the.thing.net kinder_gentler.thing.net know.thing.net LAFrance.thing.net live.thing.net living.thing.net medicated.thing.net miss.thing.net model.thing.net my.thing.net my_dog_ate_my_homework.thing.net napoleon.thing.net neo.thing.net net.thing.net nibbly.thing.net no.thing.net not-a.thing.net ohandonemore.thing.net. ohthisold.thing.net open.thing.net our.thing.net painless.thing.net piano.thing.net pizza.thing.net platform.thing.net pointless.thing.net poor-little.thing.net port.thing.net portal.thing.net proletariat.thing.net psychotropic.thing.net public.thing.net radioactive.thing.net red.thing.net res.thing.net rhomboid.thing.net rich.thing.net root.thing.net round.thing.net rushing.thing.net same.thing.net see.thing.net serious.thing.net sexy.thing.net she_looked_at_me_and_i_looked_right_back.thing.net silent.thing.net single.thing.net smelly.thing.net so_why_bother.thing.net some.thing.net soo.thing.net source.thing.net "sponsor".thing.net square.thing.net squeeze.my.thing.net sticky.thing.net stoned.thing.net stream.thing.net sugarfree.thing.net sure.thing.net swamp.thing.net sweet.thing.net swiss.thing.net t.thing.net telnet.thing.net that.thing.net thatfucking.thing.net the.thing.net the_other.thing.net themorethingschangethemoretheyremainthesame.thing.net thenextbig.thing.net thereal.thing.net thing.thing.net things.are.changing.thing.net thingy.thing.net titled.thing.net total.thing.net toy.thing.net triangular.thing.net tuba.thing.net tumbleweed.thing.net uboat.thing.net undergrowth.thing.net untitled.thing.net utopia.thing.net war_toy_free.thing.net what.thing.net whathehellisthat.thing.net what-is-this.thing.net when_i_hear_the_word_culture_i_reach_for_my_gun_again.thing.net whyamilisteningtogordonlightfoot.thing.net wild.thing.net wolfgangs.thing.net wornout.thing.net x.thing.net your_dog_ate_my_homework.thing.net + patrick lichty <[email protected]> suggested: + A few here: Rhizome Mediascape Electrosphere Tendril(s) mediascene + Myriam Thyes <[email protected]> replied: + Dear Marisa, dear colleagues, why not re-interprete the word NET? I like the word Net Art, though I´m not an artist that creates technically interactive works or design own new software: 1) NET can as well symbolize that people working in the new - electronic - media arts tend much more to build a communicative international NET than artists in traditional media do. 2) The communicative networking between us is more democratic / equal and less based on financial interests and hierarchy than the relations in the art market (I was a painter first, so I can tell). 3) Most of us need and use the interNET, no matter what kind of (electronic / digital) arts we are into. For these reasons I´d suggest to leave the name Net Art News as it is and just re-define its meaning. Sorry for my English, best, Myriam + Simon Biggs <[email protected]> replied: + Change one letter New Art News + M. River <[email protected]> replied: + like it. NAN has good graphic look. + Marc Garrett replied: + I get where you're coming from, but I have a problem with the term 'new'… Why must we conform to the trad-marketing rule, that to have something seen as contemporary that it must have the word 'new' in it all of the time? I tend to think that using the term 'new' these days, is almost like saying 'old'. A kind of retro-step backwards to the over-mediated, historical word'Modern'- imagine that- then it might as well be instead called of'nan', 'man' - 'modern art news', and where would we all be then? I feel, that a subtle trick could be used here. I think that it would be great to sustain and promote the idea of being 'new' or fresh, but without actually saying the word 'new'. That would be cool… + Andrei Thomaz <[email protected]> replied: + i really don't like the "futuristic names"… It is just if something could be better only because it uses high technology. If somebody works with Atari videogames from 80's, would can this work be published under the title "new artnews" ? And "net" (and things like that) has a point: it puts the question of connection and of rhizome above the futuristic and technologic ones ;-) excuse me for bad english, andrei + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation,  The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson ([email protected]). ISSN: 1525-9110. Volume 10, number 49. Article submissions to [email protected] are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact [email protected]. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +