The Rhizome Archive | Rhizome Digest: Highlights from the New Media Art Field

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: 6.7.02
From: list@rhizome.org (RHIZOME)
Date: Fri, 7 Jun 2002 10:52:37 -0400
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: June 7, 2002

Content:

+announcement+
1. Wolfgang Staehle: Auction for the Thing
2. Beverly Tang: LA Siggraph + Rhizome.LA Party [6/14]
3. Pierre Robert: | a r c h é e | 05_2002 | sommaire

+opportunity+
4. Joan Freedman: Position at Hopkins Digital Media
Center

+work+
5. Barbara Lattanzi: HF Critical Mass software
6. Eryk Salvaggio: Net.Art Portrait of Edie Sedgwick

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

1.

Date: 6.6.02
From: Wolfgang Staehle (wolfgangsta AT thing.net)
Subject: AUCTION FOR THE THING

AUCTION FOR THE THING Online art auction at http://auction.thing.net
JUNE 6 - JUNE 16, 2002

Participating artists as of June 5, 2002:

0100101110101101.org, Cory Arcangel, Peter Coffin, Vuk Cosic, Christoph
Draeger, Ken Feingold, Peter Fend, Rainer Ganahl, Janine Gordon, Johan
Grimonprez, Noritoshi Hirakawa, Heidrun Holzfeind, Simone Huelser, Serge
Kliaving, Richard Kongrosian, Joseph Kosuth, Philipp Lachenmann, Joerg
Lohse, Miltos Manetas, Paul Myoda, Stephan Pascher, Gabriele Picco,
Cesare Pietroiusti, Walid Raad, Erwin Redl, Karin Sander, Max Schumann,
Frank Schroder, John Simon, Beat Streuli, Gwenn Thomas, Oliver Wasow,
Lawrence Weiner, David West, Hartmut Wilkening and Carlo Zanni.

Since 1991 THE THING has provided an ongoing venue for developing,
supporting, and presenting innovative media art and criticism.

>From sponsoring a prescient electronic edition by the noted artist Peter
Halley in 1993, the ranks of artists who were among the earliest to
explore the possibilities of electronic networks through THE THING
include Beat Streuli, Mariko Mori, Rainer Ganahl, Craig Kalpakjian and
Daniel Pflumm. Similarly, notable curators such as Benjamin Weil and
Jordan Crandall undertook many of their foundational projects in
conjunction with THE THING.

THE THING has served as a workplace with access to production and
network facilities for visiting artists, cultural workers, and
technicians; as a space for ad hoc gatherings, events, and exhibitions;
and as the publisher and maintainer of a series of arts-oriented
newsletters and publicly accessible websites, most notably the THE THING
BBS at http://bbs.thing.net.

Please contribute to this ongoing, innovative cultural project.

http://auction.thing.net

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

2.

Date: 6.3.2002
From: Beverly Tang (b AT sublimina.com)
Subject: LA Siggraph + Rhizome.LA Party [6/14]

Friday, june 14th, 2002
Giddy Up & Code

L.A. Siggraph and Rhizome.la present
Giddy Up & Code
a networking extravaganza hosted by Discreet featuring DJ Wolfie, DJ
Jason Seville, & DJ Reverend Dan sound artists: Inerex, F100, j.frede,
Marleah Tobin, Josh Russell, and DJ Zhao and more performers plus our
2nd annual BYOV (Bring Your Own Video) screening of original digital
animation shorts by local artists

the program:
No Host Bar!
7pm-8pm social hour with Chipotle's Guacamole Bar
8pm-8:30pm the 2nd Annual BYOV showcase
8:30pm-2am DJ's, sound artists and performers throughout the night

location:
The Pool Room at the Hollywood Athletic Club
(enter thru gated patio on Sunset Blvd.)
6525 W. Sunset Blvd. (between Highland Ave. and Vine St.)

the parking: (parking fee from $7-$10)
two parking lots are on Schrader Blvd. (side street just west of the
club)
- one lot is the club's parking lot
- the other is across the street from club's parking lot

admission:
free to L.A. ACM SIGGRAPH members
members get priority entry at 7pm
$10 for non-members dressed in southwestern attire
$15 for non-members if not dressed in southwestern attire
doors open for non-members at 7:30pm
early entry is one of the benefits of membership

visit our website for more information: www.la.siggraph.org

http://www.la.siggraph.org

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

3.

Date: 6.4.2002
From: Pierre Robert (pierre.robert AT archee.qc.ca)
Subject: | a r c h é e | 05_2002 | sommaire

Actualisez la page d'accueil !!!
http://archee.qc.ca/

-------
Bienvenue aux nouveaux abonnés!
Merci aux fidèles amis-es d'a r c h é e!
------------------------

Internet au service d'une nouvelle triangulation dynamique
«artiste-oeuvre-spectateur »: Nouvelles médiations et nouveaux critères
de légitimation

« Âge, clivages sexuels, origine. nombreux sont les "caractères
secondaires" des auteurs qui oblitèrent encore souvent la reconnaissance
d'une oeuvre en agissant comme critères de validation ou d'invalidation
du travail artistique. Internet semble aujourd'hui pouvoir pallier ces
discriminations, notamment par la réorganisation des conditions de
visibilité et de légitimation du travail des artistes. »

Un texte d'Elsa Olu

| http://archee.qc.ca/ar.php4?btn=texte&no=185&note=ok
+-----------------------------------------------------------+

- > « Science Fair : Feminist Configurations in Cyberspace »

Un compte rendu de Caroline Loncol Daigneault mettant en relief les
travaux de huit artistes dans le cadre d'un projet thématique « art,
science et femmes » produit par le Studio XX de Montréal, un organisme
dédié aux femmes et aux nouvelles technologies.

Un texte de Caroline Loncol Daigneault

| http://archee.qc.ca/ar.php4?btn=texte&no=186&note=ok
+-----------------------------------------------------------+

+-+
|
|--- > Statut documentaire et médiologie du spectacle vivant sur
Internet

Un développement théorique inédit portant,entre autres, sur la mutation
cinématographique du théâtre sur le Web.

Un texte de Jean-Claude Chirollet

| http://archee.qc.ca/ar.php4?btn=texte&no=187&note=ok
+-----------------------------------------------------------+

+-+
|
|--- > Cybercosme 5_2

Regard de Xavier Cahen
010101 : Art in Technological Times - SFMoMa
Forty Flowers par Katinka Matson
Edge
Matière + Mémoire
Le projet ADaM
World-Information.org
Arts Catalyst

Par Pierre Robert

| http://archee.qc.ca/ar.php4?btn=texte&no=188&note=ok
+-----------------------------------------------------------+

***** COLLABORATION *****

a r c h é e est toujours à l'affût de nouveaux collaborateurs. Où que
vous soyez dans le cyberespace, nous accueillons vos propositions avec
intérêt. Pour des informations supplémentaires consultez la page
COLLABORATION : http://archee.qc.ca/collaboration.htm ou écrivez à la
rédaction : mailto:redaction AT archee.qc.ca Au plaisir de vous lire et de
vous publier.

>> p.s. Archée offre un cachet pour les articles inédits.

Pierre Robert
Directeur et rédacteur en chef

http://archee.qc.ca/
http://archee.qc.ca/liste_envoi/inscription.htm

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

4.

Date: 5.31.2002
From: Joan Freedman (freedman AT jhu.edu)
Subject: Digital Audio Specialist position at Hopkins Digital Media
Center

The Johns Hopkins University Digital Media Center is looking for a
Digital Audio/Music Artist who is interested in assisting students with
audio projects and teaching workshops. Please pass this job announcement
on to anyone who may be qualified for this position.

JOB TITLE: Digital Media Specialist (Audio) GRADE: 90 REQUISITION #:
L02-7358 SALARY: Competitive HOURS: 28 hours per week including some
evenings and weekends LOCATION: Mattin Center DEPARTMENT: Digital Media
Center

General Description: The Digital Media Specialist (Audio) will be
responsible for the maintenance of digital audio studio and instruct
students in the use of digital audio hardware and software. This
position requires the incumbent to be able to work independently with
little supervision; design and conduct workshops and tutorials; inspire
and model creative use of technology in the creation of art; keep up
with new technologies; be available for on-call back-up for lab
monitors; assist with other duties as assigned.

Qualifications: MS, MA, or MFA with emphasis in music or recording
engineering. Incumbent must have superior people skills; ability to
exercise good judgment; take initiative and handle multiple tasks; be
able to learn new information quickly; have strong written and verbal
communication skills; be organized, have superior knowledge of digital
music hardware such as Kurzweil Synthesizer, Yamaha 12-channel mixer,
Tascam DAT and CD recorder, MIDI Time AV; have superior knowledge of
digital music software such as Digital Performer (with Librarian),
Digidesign Pro Tools, Sound Designer II, Finale, MSP MAX. Incumbent must
have the ability to work with guest artists and technicians and to
assist students in the creation of inter-disciplinary, multi-media works
of digital art. Preferred Qualifications: Experience with multimedia,
web authoring (database/cold fusion), Photoshop; extensive system-level
knowledge of both Macs and PCs; ability to read and write music. Please
apply online at http://jobs.jhu.edu/ and send a resume to
digitalmedia AT jhu.edu --

http://digitalmedia.jhu.edu
http://jobs.jhu.edu/

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

+ad+

**MUTE MAGAZINE NEW ISSUE** Coco Fusco/Ricardo Dominguez on activism and
art; JJ King on the US military's response to asymmetry and Gregor
Claude on the digital commons. Matthew Hyland on David Blunkett, Flint
Michigan and Brandon Labelle on musique concrete and 'Very Cyberfeminist
International'. http://www.metamute.com/mutemagazine/issue23/index.htm

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

5.

Date: 6.3.2002
From: Barbara Lattanzi (threads AT pce.net)
Subject: HF Critical Mass software

=_ =_ =_ =_ =_ =_ =_=

_ _ _ _ _H_F _ _ _ _ _

_C_R_I_T_I_C_A_L_

_ _ _ M_A _S _S _ _

v1.0 SOFTWARE

HF CRITICAL MASS is freely available software, which is based on a 1971
film by Hollis Frampton titled "Critical Mass".

HF CRITICAL MASS adopts the structure of the earlier film as an
interface for improvising playback of digital video (quicktime movies).

Mac and Windows versions for download at:

http://www.wildernesspuppets.net/hfcm/

=_ =_ =_ =_ =_ =_ =_=

The films of the late Hollis Frampton spanned the late 1960s through the
early 1980s. His work, Critical Mass, is one of a series of films
collectively titled "Hapax Legomena" that investigate "the specific
conditions of cinematic representation and the limitations and paradoxes
of visual description and narrative." (description by Steve Polta - San
Francisco Cinemateque, 2002)

=_ =_ =_ =_ =_ =_ =_=

Barbara Lattanzi
http://www.wildernesspuppets.net
http://www.wildernesspuppets.net/hfcm/

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

6.

Date: 6.5.2002
From: Eryk Salvaggio (eryk AT maine.rr.com)
Subject: Net.Art Portrait of Edie Sedgwick

Net.Art Portrait of Edie Sedgwick
A Single-Page, Six Rule Compliant Work of Net.Art
by Eryk Salvaggio

http://www.salsabomb.com/edie/edie.html

As a note, I'd like to say that this piece develops slowly, and does
more than you might expect at first glance. I've grown very fond of it
aesthetically but sat on it for a while because it seems derivitive-
JODI's code, Warhol's Photo- but I've grown to like it more for that
exact reason. I just think it's a remarkably pretty piece, once it
really gets going.

Feedback Appreciated.

Cheers,
-e.

http://www.salsabomb.com/edie/edie.html

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

+ad+

The time has arrived to pick up the new Leonardo Music Journal,
(LMJ),Volume 11, including a double CD titled "Not Necessarily 'English
Music.'" The journal and CD feature pieces from pioneering U.K.composers
and performers from the late 60s through the mid-70s. Visit the LMJ
website at http://mitpress2.mit.edu/Leonardo/lmj/

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome.org is a 501(c)(3) nonprofit organization. If you value this
free publication, please consider making a contribution within your
means.

We accept online credit card contributions at
http://rhizome.org/support. Checks may be sent to Rhizome.org, 115
Mercer Street, New York, NY 10012. Or call us at +1.212.625.3191.

Contributors are gratefully acknowledged on our web site at
http://rhizome.org/info/10.php3.

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 Rachel Greene (rachel AT rhizome.org). ISSN:
1525-9110. Volume 7, number 23. Article submissions to list AT rhizome.org
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 info AT rhizome.org.

To unsubscribe from this list, visit http://rhizome.org/subscribe.rhiz.

Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php3.