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: 6.14.02
From: list@rhizome.org (RHIZOME)
Date: Fri, 14 Jun 2002 11:20:03 -0400
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: June 14, 2002

Content:

+announcement+
1. Fatima Lasay: Collaboration, Networking and Resource-Sharing: Myanmar
22-27
2. brainstorm: http://www.byteart.org & eco hacker meeting

+opportunity+
3. James Hanks: job opening: Programme Manager of Exhibitions

+work+
4. Brandon Barr: bannerart.org -- new works

+feature+
5. Lev Manovich: Learning From Prada (4/5)

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1.

Date: 6.12.02
From: Fatima Lasay (fats AT up.edu.ph)
Subject: Collaboration, Networking and Resource-Sharing: Myanmar 22-27
June 2002

Beikthano Gallery
113/38, Kaba Aye Pagoda Road
Bahan, Yangon (Rangoon)
Myanmar (Burma)

Collaboration, Networking and Resource-Sharing: Myanmar (CNRM) is
conceived as an open-ended project to assist Myanmar artists who have
been deprived of resources, for the establishment of contemporary art
and culture in Myanmar. The event will also serve as a foundation for
setting up a strong international network of artists, curators, writers
and organisers interested in furthering independent art, collaborative
structures, intercultural collaboration and socially engaged art. CNRM
has immediate and longer-term components:

:: The immediate project: International symposium and Open Academy
workshops on collaboration, networking & resource sharing to take place
in June 2002 :: The longer-term project: establishment of an art center,
to be managed by artists, with artists-in-residency programmmes for
local and foreign artists. This will be set up from the fourth quarter
of 2002

For Collaboration, Networking and Resource-Sharing: Myanmar, artists
from Gangaw Village and Inya Artists groups, and other independent
artists interested in modern and contemporary art, are coming together
to form a new community, Ayeyarwady Art Assembly, to promote and advance
modern and contemporary art in Myanmar. This new community will include
artists from Yangon, Mandalay and various other regions of Myanmar.

INTERNATIONAL SYMPOSIUM AND OPEN ACADEMY ON COLLABORATION, NETWORKING
AND RESOURCE-SHARING 22-23 June 2002

The symposium will feature papers by invited speakers and open
discussions with participants. It aims for intellectual and practical
exchanges of knowledge to promote self-organization by artists, with
emphasis on setting up structures for collaboration, networking and
resource-sharing. Various models of organizational and collaborative
structures will be examined in order to identify suitable courses of
action for the setting up a platform for independent discourse and
promotion of modern and contemporary and to support the creation of an
artists-run artspace/ gallery (art center) in Myanmar.

Target Audience: Organizations, foundations and international funding
agencies involved in art and cultural work; critics, writers, academics,
artists and arts groups from within Myanmar, and from outside Myanmar.

Panel topics include:
:: Working with International Cultural Institutions: Policies,
Strategies, Intentions and Constrains
:: Artists-run Organisations - Self-management Strategies, Possibilities
and Limitations
:: Networking and Resource Sharing in the Globalised Economy
:: Sustenance and Development of Independent Art Centers

Symposium speakers and respondents:
Tay Tong, Manager, Theatreworks, Singapore
Yoshio Takano, Japan Foundation Asia-Centre
Keiko Sei, Brno Tech. University, Czech Republic
Asst. Prof Fatima Lasay, University of Philippines
Pooja Sood, Khoj International Workshops, New Delhi, India
Ivy Josiah, Five Arts Centre & Women's Aid Org., Malaysia
Jason Wright, installation artist, Canada
Assoc. Prof. Ma. Corazon A. Hila, University of Philippines
Audrey Wong, The Substation, Singapore
Nisar Keshvani, fineartforum, Singapore/Australia
Yasuko Furuichi, The Japan Foundation Asia Center, Japan
Ly Daravuth, Reyum Art Gallery/ Foundation, Phnom Penh, Cambodia
Jay Koh, director, IFIMA
Khin Swe Win, artist, educator and writer, Myanmar

OPEN ACADEMY: INTERNATIONAL ARTISTS' WORKSHOPS AND PROJECTS 24-27 June
2002

The workshop sessions are conceived as 'open academy' learning
environments, for presenters and participants alike. These workshops
will pave the way for more open academy programs in the future. Although
the topics are organised with priority placed on the developmental needs
as expressed by Myanmar artists, the workshops are also intended to
generate possibilities for further collaboration amongst participants
and development of art practices internationally.

Workshop topics:
Contemporary paintings - styles, mediums and methods
Viewing, analysis and discussion
Contemporary performance
Contemporary sculpture and installation
Media and Digital Art
Curatorial Perspectives and Art Writing
Interdisciplinary Art Practices

Info:
Jay Koh
j3k AT gmx.net

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+ad+

CONFRONTING THE PRISON INDUSTRIAL COMPLEX
Benefit screening for the release of Sandbox Magazine #10: Incarceration
6/22/02/ AT Galapagos (9pm, 70 N.6th St., Williamsburg, Brooklyn)
Featuring Danny Hoch, Rhodessa Jones & The Medea Project.
http://www.sandboxarts.org

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2.

Date: 6.10.02
From: brainstorm (brainstorm AT i-love.u.ch)
Subject: http://www.byteart.org & eco hacker meeting

during the art33 fair in basel, switzerland the byteart.02 - the
digitalalternative will take place at "raum33" from the 15. of july
until the 17. of july - each day from 15.00 to 21.00 CET login at
http://www.byteart.org / http://www.institute.org the physical address
is st. albansrheinweg beside the "wettstein" bridge - entrance by the
parking places

for questions mailto:team AT byteart.org

greets
noa

artists/networks install their applications on server & clients --->
affective workstations where you work on DREAMS, SEX, IMAGE, VIDEO,
SOUND & FOOD.

USE those applications/ workstations & services:

PLUGIN YUR DIGITAL DEVICE
DIGITALIZE YOUR INFORMATION
USE STATIONS TO GENERATE INFORMATION
LOAD THEM UP
GET MONEY OR CREDITS

BASEL | RAUM33 | 15-17|06|02 | 1500-2100

FREE WORK
FREE DOWNLOAD
OPEN LICENSE
OPEN INFORMATION
GET CREDITS
GET MONEY

STATIONS & INSTALLATIONS
PUBLiC AUDI/O STUDIO
offenes & öffentliches soundstudio
[upload mp3] : [forum]
PUBLIC PORN PALACE
sexkaraoke und akustische intimitäten
[info] [load sex]
TR0JANiSCHE KÜCHE
in fremde küchen und den rechner eindringen
[info] [recipes upload]
PUBLIC MOVIE
eigene und freie filme frei publizieren
[info] [upload movie]
DREAM101 HOTEL
schlafen, slack, arbeit, träume und hirntrash.
[dreamto:] [forum]
PUBLIC IMAGE
dance your pattern - publish your images.
[info] [upload images] [link]
PLANET TEGEL
meet the prisoners of tegel - your individual cell space
[info] [upload] [forum]

FREE MARKETS
PUBLIC FORUM SPACE
short presentations, free surfing & lifeevents
[program] [online foren]
PUBLIC DOMAIN BAR
Files auf CD brennen und micropayment
[register] [login] [info]
RAUM33 BAR
drinks & shots
[info]

SERVICES
FREE NETWORK
SERVERFESTIVAL: vernetzte WORKSTATIONS.
[access]
ART OR NOT
ratingsystem für den ultimativen partizipativen arthack
[link] [info]
FTP.PERFORMANCE
ver?nderung des digitalen ursprungs ...
[link]
newECONOMY SYS.021
in das system investieren (=irritieren)
[info] [login]

BYTEART | ART & ECO HACKER MEETING | 15-17|06|02
byteart.org [location & organisation]
institute.tk [interface & idea]
simplebrainhotel.com [concept, web & database]
copyleft.cc [license]
edragee.net [economy & forum]

http://www.byteart.org
http://www.institute.org

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+ad+

IT IS necessary to buy "Not Necessarily 'English Music,'" Leonardo Music
Journal Volume 11. Not only is it curated by David Toop, but it includes
a double CD. Tune in and turn on to the LMJ website at
http://mitpress2.mit.edu/Leonardo/lmj/

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3.

Date: 6.11.02
From: James Hanks (hanks AT fact.co.uk)
Subject: job opening: Programme Manager of Exhibitions

Here is some information you and your team may find interesting. Please
circulate to anyone you feel would appreciate receiving it. thanks for
your help and apologies for any cross posting.

FACT is one of the leading European arts organisations specialising in
the commissioning, presentation and support of film, video and new media
art. In early 2003 FACT will launch its own £9m purpose-built centre in
Liverpool. We're now looking to recruit to the following roles within
the centre:

Programme Manager [Exhibitions]
Responsible for day-to-day management of exhibitions, events
and delivery teams.
Programme Technician [Exhibitions]
Responsible for all technical and installation matters related
to the commissioning, exhibition and events programmes.
Curator [New Media]
Part of programming team with key responsibility for commissioning,
curating and managing new and emerging media projects and
project spaces.

Salaries for all posts £17-20k depending on experience.

Deadline for receipt of all applications: THURS JULY 4

Interviews will be held on 16, 17 and 18 July respectively.

For an information pack please write to or e-mail
Zoë Chapman, FACT, PO Box 911, Liverpool L69 1AR [chapman AT fact.co.uk]
For further information about FACT please visit www.fact.co.uk

--
James Hanks

Marketing & Information Assistant

FACT, the Foundation for Art & Creative Technology
PO Box 911
Liverpool, L69 1AR

t: + 44 151 709 2663
f: + 44 151 707 2150
www.fact.co.uk

tenantspin
The UK's only tenant-run internet TV channel

Broadcasting live from New York, 13 - 16 June at www.tenantspin.org

http://www.fact.co.uk
http://www.tenantspin.org

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+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

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4.

Date: 6.10.02
From: Brandon Barr (barr AT mail.rochester.edu)
Subject: bannerart.org -- new works

There is new work at the Banner Art Collective (http://bannerart.org/)
by Babel, Roberto Echen, Ji Bêt, Millie Niss, and Tamara Laï.

Come visit and get their works for your own webpage.

{The Banner Art Collective creates, collects, and distributes web.art
within the limitations and context of web advertisements.}

--
Banner Art Collective
Make some art. Host some art.
http://bannerart.org/

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5.

Date: 6.12.02
From: Lev Manovich (manovich AT ucsd.edu)
Subject: Learning From Prada (PART 4)

The Poetics of Augmented Space: Learning from Prada [May 2002]

PART 4: The Electronic Vernacular [posted 6/12/02]

When we look at what visual artists are doing with a moving image in a
gallery setting in comparison with these other contemporary fields, we
can see that the white gallery box still functions as a space of
contemplation, quite different from the aggressive, surprising,
overwhelming spaces of a boutique, trade show floor, an airport, or a
retail/entertainment area of a major metropolis. While a number of
video artists continue the explorations of 1960s ³expanded cinema²
movement by pushing moving image interfaces in many interesting
directions, outside of a gallery space we can find at least as rich
field of experiments.

I can single out three areas. First, contemporary urban architecture -
in particular, many proposals of the last decade to incorporate large
projection screens into architecture which would project the activity
inside, such as Rem Koolhaus 1992 unrealized project for the new ZKM
building in Karlsruhe; a number of projects, also mostly unrealized so
far, by Robert Venturi to create what he calls ³architecture as
communication² (buildings covered with electronic displays); realized
archiectural/media installations by Diller + Scofilio such as Jump Cuts
and Facsimile ; the highly concentrated use of video screens and
information displays in certain cities such as Seoul and Tokyo or in
Time Square in NYC. Second is the use of video displays in trade show
design such as in annual SIGGRAPH Conventions. The third is the best of
retail environments (I will discuss this in more detail shortly).

The projects and theories of Robert Venturi deserve a special
consideration since for him an electronic display is not an optional
addition but the very center of architecture in information age. Since
the 1960s Venturi continuously argued that architecture should learn
from vernacular and commercial culture (billboards, Las Vegas, strip
malls, architecture of the past). Appropriately, his books Complexity
and Contradiction in Architecture and Learning from Las Vegas are often
referred to as the founding documents of post-modern aesthetics. Venturi
argued that we should refuse the modernist desire to impose minimalist
ornament-free spaces, and instead embrace complexity, contradiction,
heterogeneity and iconography in our build environments. In the 1990s
he articulated the new vision of ³Architecture as communication for
information age (rather than as space for the Industrial Age).² Venturi
wants us to think of ³architecture as iconographic representation
emitting electronic imagery from its surfaces day and night.² Pointing
out at some of the already mentioned examples of the aggressive
incorporation of electronic displays in contemporary environments such
as Time Square in NYC, and also arguing that traditional architecture
always included ornament, iconography and visual narratives (for
instance, a Medieval cathedral with its narrative window mosaics,
narrative sculpture covering the façade, and the narrative paintings),
Venturi proposed that architecture should return to its traditional
definition as information surface. Of course, if the messages
communicated by traditional architecture were static and reflected the
dominant ideology, today electronic dynamic interactive displays make
possible for these messages to change continuously and to be the space
of contestation and dialog, thus functioning as the material
manifestation of the often invisible public sphere.

Although this has not been a part of Venturi¹s core vision, it is
relevant to mention here a growing number of projects where the large
publicly mounted screen is open for programming by the public who can
send images via Internet, or choose information being displayed via
their cell phones. Even more radical is Vectorial Elevation, Relational
Architecture #4 by artist Raffael Lozano-Hemmer This project made
possible for people from all over the world to control a mutant
electronic architecture (made from search lights) in a Mexico City¹s
square. To quote from the statement of the jury of Prix Ars Electronica
2002 which awarded this project Golden Nica at Ars Electronica 2002 in
Interactive Art category:

"Vectorial Elevation was a large scale interactive installation that
transformed Mexico City¹s historic centre using robotic searchlights
controlled over the Internet. Visitors to the project web site at
<http://www.alzado.net> could design ephemeral light sculptures over the
National Palace, City Hall, the Cathedral and the Templo Mayor Aztec
ruins. The sculptures, made by 18 xenon searchlights located around the
Zócalo Square, could be seen from a 10-mile radius and were sequentially
rendered as they arrived over the Net. The website featured a 3D-java
interface that allowed participants to make a vectorial design over the
city and see it virtually from any point of view. When the project
server in Mexico received a submission, it was numbered and entered into
a queue. Every six seconds the searchlights would orient themselves
automatically and three webcams would take pictures to document a
participant¹s design."

Venturi¹s vision of ³architecture as iconographic representation² is not
without its problems. If we focus completely on the idea of architecture
as information surface, we may forget that traditional architecture
communicated messages and narratives not only through flat narrative
surfaces but also through the particular articulation of space. To use
the same example of a medieval cathedral, it communicated Christian
narratives not only through it's the images covering its surfaces but
also through its whole spatial structure. In the case of modernist
architecture, it similarly communicated its own narratives (the themes
of progress, technology, efficiency, and rationality) through its new
spaces constructed from simple geometric forms ­ and also through its
bare, industrial looking surfaces. (Thus the absence of information from
the surface, articulated in the famous ³ornament is crime² slogan by
Adolf Loos, itself became a powerful communication technique of modern
architecture).

An important design problem of own time is how to combine the new
functioning of a surface as an electronic display with new kind of
spaces that will symbolize the specificity of our own time. While
Venturi fits electronic displays on his buildings that closely follow
traditional vernacular architecture, this is obviously not the only
possible strategy. A well-known Freshwater Pavilion by NOX/Lars
Spuybroek (1996) follows a much more radical approach. To emphasize that
the interior of the space constantly mutates, Spuybroek eliminates all
strait surface and strait angle; he makes the shapes defining the space
appear to move; and he introduces computer-controlled lights that change
the illumination of an interior. As described by Ineke Schwartz, ³There
is no distinction between horizontal and vertical, between floors, walls
and ceilings. Building and exhibition have fused: mist blows around your
ears, a geyser erupts, water gleams and splatters all around you,
projections fall directly onto the building and its visitors, the air is
filled with waves of electronic sound.²

I think that Spuybroek¹s building is a successful symbol for information
age. Its surfaces which apear to be constantly changing illustrate the
key effect of a computer revolution: substitution of every constant by a
variable. In other words, the space which symbolizes information age is
not a symmetrical and ornamental space of traditional architecture,
rectangular volumes of modernism, broken and blown up volumes of
deconstruction, or even "blobs" generated by young architects who
learned Alias or similar 3-D software ­ rather, it is space whose shapes
are inherently mutable, and whose soft contours act as a metaphor for
the key quality of computer-driven representations and systems:
variability.

[PART 5 will be posted shortly]

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Rhizome Digest is filtered by Rachel Greene (rachel AT rhizome.org).
ISSN: 1525-9110. Volume 7, number 24. Article submissions to
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