The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.

Subject: RHIZOME DIGEST: 2.1.02
Date: Fri, 1 Feb 2002 19:22:42 -0500

RHIZOME DIGEST: February 1, 2002


1. marko peljhan: MAKROLAB 2002--Call For Proposals
2. Soren Pold: Aesthetic Artefacts call for NordiCHI 2002
3. Jaka Zeleznikar: Call For Applications Of Net Art Works--BREAK_21/2002

4. Conor J Curran: Music visualisation software
5. Peter Luining: new build of objeckt_14

6. Tom Sherman: The Art-Style Computer-Processing System (1974)

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Date: 1.30.02
From: marko peljhan (marxx AT
Subject: MAKROLAB 2002--Call For Proposals

makrolab 2002 has two calls for proposals:
- for artist, strategic and tactical information analysts
- scientists and social scientists go to

Please review both.
Deadline for submissions to Projekt Atol extented until FEBRUARY 28,

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International Art / Science / Strategy / Tactics
Research Residency Programme:
Call for Proposals

MAKROLAB - Summer 2002
Atholl Estate, Perthshire, Scotland

The Arts Catalyst and Projekt Atol, offer research residencies at the
MAKROLAB in May, June, and July 2002 on the Atholl Estate in Perthshire,
Scotland. This opportunity takes place during the International Year of
Mountains, declared by the UN General Assembly.

The aim of the residency programme is to provide artists, strategic and
tactical information analysts, scientists and social scientists
(separate information sheet for scientists - see - with space and facilities
to undertake their own research in the global systems of:
MIGRATIONS and give them the opportunity to fully concentrate on their
work and interact in a creative and challenging dialogue with other
members of the crew. We are also interested to receive proposals from
artists for residencies to develop activities and projects with the
local community and schools exploring these themes. This work could be
the sole aspect of your application or alongside your research.

The MAKROLAB is a temporary sustainable research base, with living space
for 4 - 6 people. It will be connected to the internet through a
microwave link and equipped for transmitting signals on HF, VHF, UHF
ranges and receiving signals in the ranges of 0.1 - 2000 MHz and the C
and Ku bands.

The Atholl Estate is one of the largest estates in Scotland, situated on
the edge of the Cairngorm mountains. The MAKROLAB will be situated in
the Clunes Beat of the Atholl Estate. This is an area of rolling heather
moorland with steep slopes nearby rising to the high tops of the
southern side of the Cairngorm massif. We are looking for participants
who will welcome the opportunity not only to undertake their own
research in this environment, but who are also interested in the
interdisciplinary aspects of this project.

For further information about Makrolab, see:

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Read Peter Anders article "Anthropic Cyberspace"
in the latest LEONARDO Digital Salon Volume 34 Number 5.
Learn first hand about defining electronic space
and give yourself space to think.
Visit our web site AT

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Date: 1.31.02
From: Soren Pold (pold AT
Subject: Aesthetic Artefacts call for NordiCHI 2002

Call for submissions to NordiCHI 2002 in the new category of:

Aesthetic artefacts

NordiCHI 2002 introduces "aesthetic artefacts" as a new submission
category for experiments into how artistic expression and praxis affect
perspectives on interfaces, contexts and design.

The computer interface has developed from merely supporting work into a
broader cultural interface competing with and even replacing the book, the
gallery wall, the cinema screen, etc. Traditional functionalism fails in
relation to many new applications. At the same time, traditional
application areas may benefit from the inspiration from how digital forms
are articulated in artistic expression. Accordingly, digital arts challenge
the way we understand the computer, and the relation between form and
contents at the interface.

Examples of possible artefacts are (not limited to) interactive
artworks, computer games, interactive installations, netart, software
art, artistic interfaces, aesthetic experiments with HCI-related issues.
An important part of an aesthetic artefact submission is a short paper
that thoroughly reflects on CHI related issues affected by the artefact.
Accepted aesthetic artefacts will be exhibited at the conference in
conjunction with the demo session.

An aesthetic artefact submission is composed of three parts

- A short paper, conforming to the NordiCHI 2002 short paper guidelines,
describing the artefact and reflecting on its contribution to the HCI

- An exhibition plan, describing how the artefact is going to exhibited,
including spatial requirements (one page).

- (Optional) a representation of the artefact on video (VHS/PAL, S-VHS
is not accepted), CD-ROM or DVD.

The short paper and the exhibition plan should be submitted via the
conference web site, whereas the (optional) video/CD/DVD should be
submitted by ordinary mail in three copies.

Submissions will be reviewed by the programme committee supplemented by
an aesthetic artefacts special committee of artists and aesthetics
scholars. Aesthetic criteria as well as an assessment of contribution to
the ongoing understanding of human-computer interaction are taken into

Please observe that the presenters must supply all equipment necessary
for the exhibition. Limited Internet accesses will be available.

Please direct questions regarding aesthetic artefacts to
art AT

Electronic submission deadline for aesthetic artefacts: March 1, 2002
(late breaking results: August 1, 2002).

Full call for the conference available at:

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<> ELO invites Rhizome subscribers to
join leading web artists, writers, critics, theorists for the seminal
e-lit event of 2002. Rhizome subscribers who register before FEB 15 2002
may register at ELO member rates ($25 discount).

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Date: 1.28.02
From: Jaka Zeleznikar (jaka AT
Subject: Call For Applications Of Net Art Works--BREAK_21/2002

Break 21
6th International Festival of Emerging Artists

May 19th - 24th, 2002
Ljubljana, Slovenia
break21 AT
Tel.: + 386 (0)1 438 03 00

K6/4, Kersnikova 6, Ljubljana, Slovenia

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"Dead or Alive"

"Dead or Alive" implicates the urge, which tends to satisfy something at
all costs, taking no regard whether it demands the life to be taken. It
is assumed, that it represents something, for which, imperatively, it is
greater than life or death. In the tendency to give up life as the
highest value, the sacrifice is implicated or some urgent denunciation
in the economy of one's own life, which we could call a particular
death, for the sole purpose - to accomplish something.

In the title, the initial question appears. It questions death and life;
it demands an answer to the question about definitions, what is actually
dead and what is alive. To what extent something is dead, though only
inert; to what extent something is alive, though tends to be prolonged
with the help of machines; how to understand organic material in the
cryobanks and how biotechnical mechanisms/organisms? Are the cyber space
and avatars with artificial intelligence, which are present in the
Hollywood apparatus of the imaginary or the top cyber laboratories, our
or the parallel world? Bionics and eugenics establish new paradigms of
life and death as much as nanomechanics and intelligent neuronic nets.
Artificial life is the oxymoron, which penetrates the core of our theme.

Questions, posed to us by high technology, are still utterly legitimate
in traditional sense, since we understand them through the perspective
of modern age. Intermingling of everyday violence, which we encounter in
the streets, car accidents, murders, suicides, diseases, wars and
catastrophes on higher scales are balancing with births, rebirths,
changes of identity and initiations, creations of new life situations
and cosmic phenomena. Religious repertoires and great ideologies are all
built upon dichotomy of life and death. They tend to be valid within the
scale of the universal, while moments of ecstasy during meditation or
sex, pain and dreams are utterly intimate and identical to themselves.
Mental deviations, such as insanity, psychosis, neurosis, obsessions,
paranoia and hysteric states were interpreted as a kind of intermediary
state between life and death in primitive cultures, while in modern
societies, the border between the healthy as an attribute of life and
the ill as an attribute of death is being obliterated.

Life and death are great themes of art and a lot has been said about
them, however, some things can't be talked about too many times. Our
intention is for artists to deal with them innovatively, through the
perspective of new art and research artistic practice, which owns a
tactical value that points more at the poetics of life than poetics,
which is already known from traditional aesthetic paradigms. Forms of
expression may not be products and aesthetic artefacts but rather
processes, states, situations ... that comprise the dimension of time -

Deadline: March 1st 2002

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**MUTE MAGAZINE ART ISSUE** Peter Fend 10 page special, Andrew Gellatly
on selling art online, Benedict Seymour on the closure of London's Lux
Centre, Michael Corris on Conceptual art, Hari Kunzru in Las Vegas.
Reviews: Don't blow IT conference, Wizards of OS, Wolfgang Shaehle's
2001 Show

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Date: 1.29.2002
From: Conor J Curran (cjc AT
Subject: Music visualisation software
Keywords: visual, real-time, graphic, audio

Parallel v1.0 is now available for download from
It is a real-time graphics engine in Java using the Java 2D API. This
engine is controlled via MIDI messages received from various pieces of
equipment. This engine combines image manipulation and both generative
and deterministic techniques to create an visualisation of music and
rhythm. The software is called 'Parallel' and is available for download

An installer has been made for it, so installation problems should be
minimum. The capability of some form of MIDI input is essential to
operate the app. For those of you who would like to use the software,
but don't know what the javaVirtualMachine is, please download the
larger (7MB) of the two files to avoid hassles. An applet (requiring the
java 1.3 plugin) sampling the app's capabilities, is also available to
view from the site. Any feedback, queries etc. don't hesitate to mail

Anyone planning to use Parallel for live
performances/demonstrations/'stuff' - please ask permission first.
...Java source files are available on request...


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Date: 1.20.2002
From: Peter Luining (email AT
Subject: new build of objeckt_14
Keywords: visual, internet, audio

name: objekt_14 (build 2314)
artist: peter luining/
description: url based audio visual engine
platform: win98/winme/win2000/winxp
browser: msie 5+
plugin: macromedia shockwave 8.5
manual url:
objekt_14 url:

changes from last build: objekt_14 can now import soundfiles larger than
48 kb. mp3 support is out because of mp3 files that use flexible sample
rates caused objekt_14 to crash.

bug fixes: import bug (import of files should now be stable), sample
manipulation (should now be stable/ crash free).

known issues: objekt_14 supports the standard PCM WAV file format.
Though the standard PCM WAV file format is the most widely used wav
format there are several varieties of WAV file formats. Non-supported
WAV file formats include: CCITT A-Law, CCITT u-Law, DSP Group
TrueSpeech(TM), elemediaTM AX2400P music codec, IMA ADPCM, Microsoft
ADPCM, MSN Audio and GSM 6.10.

soon to come objekt_14 standalone versions for mac and pc. beta versions
available at:

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Date: 1.28.2002
From: Tom Sherman (twsherma AT
Subject: The Art-Style Computer-Processing System (1974)
Keywords: communication, video, processing, painting

"As it is, our perception of things is a circuit unable to admit
a great variety of new sensations all at once. Human perception
is best suited to slow modifications of routine behaviour."
--George Kubler

A communication system is for sending and receiving messages. A
communication system consists of two transceivers; two components that
transmit and receive messages. A communication system is limited when
the message is sent in only one direction, transmitter to receiver. This
limited system can be expanded by integrating a processing system at the
receiver end to provide access to the message. A processing system
permits special treatment of the message at the receiver end of the
communications system. The computer-processing system described in this
text is specifically designed to manipulate the message transmitted to
the two-dimensional surface of the video screen. The message source is
a commercial television broadcast. The message is limited to display on
the flat surface of the video screen. An analogy is formed between
processing the video message and the act of painting. This processing
system provides personal choice of how the message source is viewed, in
the same way the painter chooses to view the environment through his or
her method or style of painting. This system is labelled the ASCPS.

Style is a phenomenon of perception governed by the coincidence of
certain physical conditions.

The ASCPS is constructed of information obtained from every major
historically innovative treatment of the two-dimensional surface. The
system contains the concise history of painting. By block encoding
historically successful modes of sensing, the system contains a set of
period visions. These period visions are methods of seeing the
environment. They are rule-governed styles for processing messages. The
rules are those instituted by schools of painting dominating particular
periods of history. At this time, period visions contained by the system
are Abstract Expressionism, Abstract Impressionism, Action Painting,
Arabesque, Art Nouveau, Automatism, Barbizon School, Baroque, Bio-
Morphic, Cartoon, Classic, Colour-Field, Cubism, Dada, Danube School,
Divisionism, Expressionism, Fauvism, Futurism, Gothic (Late and
International), Group of Seven, History Painting, Hudson River School,
Impressionism, London Group, Mannerism, Neo- Classic, Neo-Impressionism,
Optical, Orphic Cubism, Painterly Abstraction, Photo-Realism,
Pointillism, Post-Impressionism, Primitive, Rayonism, Realism,
Renaissance, Rococo, Romanist, Romantic, Social Realism, Super-Realism,
Suprematism, Surrealism, Synthetism, Tenebrism, and Vorticism.

The vision circuit for each period contains additional processing
characteristics. These simulate decisions of individual artists
contained by schools of painting or period visions. The capacity of each
period vision-processing circuit depends on sensitive patterning of
physical conditions marking the consistent vision. Fine adjustment
control of contrast, brightness, colour, and form open the end of each
processing channel. The viewer fine-tunes a wide band of processed
message, attaining authorship of the message. The commercial cable
television system provides structure for immediate integration of the
ASCPS in the home viewing system. The ASCPS consists of a centrally
located computer with remote control units functioning as switching
devices, which afford access to the processing circuits of the system.
Passing the message through a chosen period vision is accomplished by
switching in the desired circuit by push-button selection on the remote
control unit.

Application of the ASCPS: The message is the broadcast of a network news
program. The information is in colour with low interference. The viewer
decides to process the message with the period vision labelled Rayonism.
Rayonism was an abstract Russian movement stylistically between Futurism
and Abstract Expressionism. Mikhail Larionov, an instructor at the
University of Moscow, published the Rayonist manifesto in 1913. This
selection is made on the remote-control unit. While passing through the
processing circuit, the message form is disintegrated to simulate the
radiation of lines of force emanating from the objects in the news
program. Important artists having this period vision are Mikhail
Larionov and Natalia Gontcharova. The viewer chooses to understand
Rayonism through Larionov's vision. This processing circuit is switched
in through a selection made on the control unit. Larionov's vision is
nonobjective. Visually, the news program is processed into a pure
abstraction, with objects becoming new forms as they disintegrate into
radiating colours. Fine-tuning controls permit control of colour and
contrast with Larionov's radiations.

The ASCPS is introduced to provide the best possible system for the
study of the history of painting. The system provides a previously
unattained view of the artist's systematic attempts to attain efficient
communication through the two-dimensional channel. The system simulates
the collective visual experience of recorded history and offers choice
of vision to the one-way communication system of commercial broadcast
television. The viewer, in implementing historically incoherent methods
of sensing on a contemporary message, can introduce message
equivocation; that is, uncertain knowledge about the transmitted message
when the received message is known. Uncertainty of message increases
with degrees of image latency, the time interval between image and
response or understanding. Message latency is abstraction.

The ASCPS is a stochastic system. That is, its output is in part
dependent on random or unpredictable events. Total randomness of message
produces monotony, a sense of sameness. Period vision-processing
circuits pattern and structure the message. The structure provides a
familiar visual language allowing new sensations to be perceived through
contrast. By processing an available random message, broadcast
television, the two-dimensional output of this communication system
becomes a highly structured moving image with a degree of

The completion and integration of the ASCPS into the existing cable
television system effectively surrounds (contains) the history of
painting. Expansion of the methods of communication depends on
technological invention. Components of this video-processing computer
system are being designed and tested by technological artists in
scattered communities around the globe.

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Epigraph from George Kubler, _The Shape of Time: Remarks on the History
of Things_, Yale University Press (New Haven and London), pg. 123-124.

Published in _Cultural Engineering_, Willard Holmes (ed.), National
Gallery of Canada, Ottawa, Ontario, Winter 1983; and in _Ingenierie
culturelle_, translation by Helene Papineau, Willard Holmes (ed.),
N.G.C., Ottawa, Ontario, Winter 1983; and in _Videation_ (Richmond,
Virginia): published by Bob Martin at Virginia Commonwealth University,
Spring 1977; and in _Journal for the Communication of Advanced
Television Studies_ (London, England), Vol. 2, No. 2, Fall 1974.

[this text will be republished in _Before and After the I-Bomb: An
Artist in the Information Environment_, an anthology of fifty-three of
Tom Sherman's texts to be released by the Banff Centre Press (Banff,
Alberta), May 2002.]

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