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: 12.13.02
From: digest@rhizome.org (RHIZOME)
Date: Sat, 14 Dec 2002 20:29:15 -0500
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: December 13, 2002

Content:

+editor's note+
1. rachel greene: this week

+opportunity+
2. Lev Manovich: PhD | MFA | new media | Visual Arts Department UCSD

+announcement+
3. Valentina Tanni: netizens_webprize 2003
4. Mark Tribe: Rhizome Starter Plan

+work+
5. Mouchette: 2*Rhizome, I want to see you again
6. Gregory Chatonsky: My Voice (read by microphone)

+review+
7. Ryan Griffis: CLUI/Kazys Varnelis: Telco Hotel Central

+feature+
8. PROPAGANDA AT 0100101110101101.ORG: The World in One's Pocket?

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1.

Date: 12.13.02
From: rachel (rachel AT rhizome.org)
Subject: this week

A compilation of posts about Rhizome membership fees is now available at
http://rhizome.org/object.rhiz?12994. And I'd like to call attention to a
more economical Rhizome web hosting package, designed based on member
feedback: please see Mark Tribe's announcement below. Thanks to all those
who have been responding to the important organizational issues and
initiatives with which Rhizome is currently reckoning -- we very much
appreciate all feedback, input and suggestions (and support -- sign up for
Rhizome web hosting!!) -- Rachel p.s. There will be a Digest next week, but
not December 27th, as I will be away on holiday.

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2.

Date: 12.13.02
From: Lev Manovich (manovich AT jupiter.ucsd.edu)
Subject: PhD | MFA | new media | Visual Arts Department UCSD

/ * ----------------- promo copy START ------------------

Visual Arts Department, University of California, San Diego
http://visarts.ucsd.edu

In addition to offering MFA with a focus on new media art,
we are now also offering a PhD in

art history and criticism
visual culture
media theory
new media theory


PhD and MFA applications deadline for Fall 2003 admission: February 1, 2003.

Generous financial support is available for both PhD and MFA candidates.

We have 5 permanent new media faculty and currently searching for 2 more.

Past MFA graduates include Mark Tribe, the founder of rhizome.org; Mark
Daggett, first prize at README 2002 (a festival of software art, Moscow);
Chris Csikszentmihályi, a head of the MIT Media Lab's Computing Culture
group.

----------------- promo copy END ------------------ * /


/ * ------------------ LINKS START------------------

Southern California "New Media Map" which lists people and programs at UCSD
and other schools in this region:
www.manovich.net/new_media_map_02.htm

Visual Arts Department + information on PhD and MFA programs:
visarts.ucsd.edu

University of California, San Diego
www.ucsd.edu

------------------ LINKS END ------------------ * /

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3.

Date: 12.10.02
From: Valentina Tanni (v.tanni AT exibart.com)
Subject: netizens_webprize 2003


netizens_webprize 2003
international net_art competition

COMPETITION deadline_4 march 2003
WINNER ANNOUNCEMENT_april 2003
INFO_ www.netizensonline.it - bando AT netizensonline.it

The exhibition NETIZENS - cittadini della rete opened on 4th december at
Sala 1, an art gallery located in the very centre of Rome. The show
investigates the influence of the Internet on contemporary artistic research
through the work of five artists. The same day of the opening an
international net art competition has been launched. The competition is open
to artists of all countries that use the
Web as a creative tool.

Netizens_webprize has been organized by Sala 1 with the collaboration of
MACRO (Contemporary Art Museum of Rome) Medialab and Stefania Fabri,
multimedia expert. The aim of this initiative is to discover new talents and
support net based artworks. The competition remains open for three months (4
december 2002 - 4 march 2003) and the giury will announce the winner in
april 2003. The author of the best project will have a solo show in Sala 1
next year.

CALL FOR PARTICIPATION
netizens_webprize 2003


ART 1. Aim

The aim of the initiative is to discover new talents and support net based
artworks.

ART 2. Conditions for participating

The competition is open to all artists that use the Web as an artistic tool.
Participants can be of any nationality and must be at least eighteen years
of age.

ART 3. Project submission

Participants are invited to submit before 4 march 2003 a finished project
made using Internet as a creative medium. Other types of works won't be
accepted. The project must be sent by e-mail (as URL address) or by
conventional mail (on cd-rom) and include a brief description text and the
author's biography.

ART 4. Giury, winner and award

The winning project will be chosen among the ones -responding to this
characteristics- arrived before the deadline day. The works will be
examinated by a giury consisting of: Silvia Bordini, Stefania Fabri, Ida
Gerosa, Kathleen Goncharov, Gino Roncaglia, Gianni Romano, Domenico Scudero,
Mary Angela Schroth, Chiara Somajni.

The best work will be awarded during a ceremony at MACRO (Contemporary Art
Museum of Rome) in april 2003. The winner will have a solo show at Sala 1
Gallery in the period 2003/2004.
Ten projects will be also selected and included in Netizens website for an
on-line exhibition starting in april 2003.

addresses

Galleria Sala 1
Piazza di Porta San Giovanni 10
00185 Roma, Italy
E-MAIL
bando AT netizensonline.it

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+ad+

*zingmagazine 17* Subscribe online, mention *RHIZOME* 2 YEARS 4 ISSUES 4

$20 (http://www.zingmagazine.com/_ Curated Projects: Dr. Ben Satterfield
Music By General Assembly, Todd Hido/Melanie Flood, Serge Onnen, Sam
Hecht/Mary Barone, Mike Lohr, Giasco Bertoli, Luis Macias, Lee Stoetzel,
Brian Alfred,Angus Hood,Omar Lopez-Chahoud,Ester Partegas,Steven Severence

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4.

Date: 12.11.02
From: Mark Tribe (mark AT rhizome.org)
Subject: Rhizome Starter Plan

On October 25, Jess Loseby (jess AT rssgallery.com) wrote:

Firstly the web hosting packages. Although this is a good package
and the hosting company seem fine, I'm wondering if it could be targeted
better to the meet the needs of the 'starving artists'... Perhaps, what the
users of rhizome really need is... a 'bottom-rung' package... No frills no
service (outside basic tech support and forwarding email accounts) but ideal
for web based artworks as the fee is small and you can be set upand be
online in 24hrs.

+ +

It was a great suggestion, and I'm happy to say that we've worked out a
low-cost web hosting plan for Rhizome members.

The Rhizome Starter Plan is just $65 per year and allows Rhizome members
to take advantage of Datex.net's robust and reliable hosting platform at a
very
good price.

The starter plan includes:
· Hosting on a Linux server
· 20MB disk storage space
· 750MB data transfer per month
· Catch-all email forwarding (to your own email address)
· Daily web traffic stats
· 1 FTP account
· Capability to host your own domain name or use
http://rhizome.net/your_account_name

To sign up for a Rhizome Starter Plan account, please follow one of the
links below:

Secure Page: https://secure.mediaserve.net/datex/rhizome_starter.html
Non-secure Page (for older browsers): http://datex.net/rhizome_starter.html

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5.

Date: 12.09.02
From: Mouchette (mouchette AT mouchette.org)
Subject: 2*Rhizome, I want to see you again


Dear Rhizome,
Last time we met in private, on a page that I made for you alone. We shared
that brief moment just once in our lives, never again will you see that
page.
But now I made a new private page for you only:

http://mouchette.org/to/you?Rhizome,dda198cc70241c1e0dce7003ed0b6371

Look everywhere, the page has some secrets inside:

http://mouchette.org/to/you?Rhizome,dda198cc70241c1e0dce7003ed0b6371

I can't wait to have you click on me again,

*bisou*
Mouchette

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+ad+

Mute, issue 25, is out this week. Conceptually and volumetrically
expanded, (involves more cartographic & artists' projects & has doubled
the pages), this new bi-annual volume is phat. Articles on: WarChalking,
the Artists' Placement Group and Ambient Culture and more.
http://www.metamute.com

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6.

Date: 12.09.02
From: Gregory Chatonsky (gregory AT incident.net)
Subject: My Voice (read by microphone)


My Voice a new interactive work by Gregory Chatonsky is exhibited during the
PAL festival in Paris.

http://incident.net/works/myvoice/
http://www.pal-project.net/

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+ad+

10-10-10! It's the 10th Anniversary New York Digital Salon issue of
LEONARDO. 10 curators pick 10 works each for a top 100 survey of digital
art. Order your copy of LEONARDO Volume 35 Number 5 AT
http://mitpress2.mit.edu/e-journals/Leonardo/

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7.

Date: 12.09.02
From: Ryan Griffis (grifray AT yahoo.com)
Subject: CLUI/Kazys Varnelis: Telco Hotel Central

http://www.clui.org/clui_4_1/lotl/ Telco Hotel Central Exhibit at CLUI
Los Angeles On the outside, One Wilshire is an ordinary-looking 30-story
1960?s office tower in Los Angeles, located at a prestigious address:
the point where Wilshire Boulevard, the city?s grand west-heading
avenue, meets downtown. On the inside is quite a different story: One
Wilshire is a telco hotel, said to be the ?most interconnected building
in the west.? The interior is packed full of telecommunications
equipment, connected to the world through dozens of major fiber optic
conduits that spill into the building?s below-grade parking garage, from
conduits running under the streets outside, and rise through the tower
like an infestation of electronic vines.

The busting of the telco boom has put the owners of the building (the
notorious, privately-held investment comapny The Carlysle Group) in the
position of eager real estate agents, seeking tenants to plug into their
new fiber terminal rooms, which offer more bandwidth interconnectivity,
especially for direct Asian links, than nearly anywhere else in America.
This new posture of publicity enabled the Center to have an
unprecedented look inside this remarkable building, and to glimpse some
dramatic physical and architectural manifestations of the often
invisible, expanding global infosphere.

Equipped with digital cameras and video recorders, the CLUI, led by
urban historian Kazys Varnelis, toured the facility with the building?s
manager, Chris Pachall. While a few floors have lawyers offices, most of
the building is sectioned into rooms with corridors of server and
telecommunication switching racks, often protected by cages, and strung
together with coaxial and fiber optic cable, bulging from
ceiling-mounted raceways. The resulting exhibit was mounted at the
CLUI?s Los Angeles exhibit space within a few weeks, and Kazys Varnelis,
who teaches at the Southern California Institute of Architecture,
delivered a talk, Towers of Concentration, Lines of Growth, on Friday
August 29, 2002. A transcript from this lecture is available.
http://www.varnelis.net/projects/onewilshire/index.html

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8.

Date: 12.13.02
From: (PROPAGANDA AT 0100101110101101.ORG)
Subject: The World in One's Pocket?

>From "Springerin", Oct 2002 > http://www.springerin.at

The World in One's Pocket?

The Net project "VOPOS" by 0100101110101101.ORG

by Vera Tollmann

In December of last year, the European Union and the European Space
Organisation agreed to set up a European venture as competition for the
American Global Positioning System (GPS) by 2005. The non-military
system "Galileo" is to consist of 30 satellites and cover the entire
globe. [1] The EU argues that this decision is aimed at making it
independent of the GPS - which is still used for military purposes - by
giving it its own surveillance complex. The end users of this
geographical location system are to include customs and the judiciary,
transport and communications authorities, and tourism organisations. On
May 1 the White House in Washington announced that "SA" (Selective
Availability), which caused civilian equipment to give more imprecise
results, would no longer operate. These two decisions show what a
central role satellite systems will play, or already play, in everyday
life, alongside the telecommunications systems of telephone and
internet.

These developments, leading towards an ever more perfect universal
surveillance method, have not gone without comment from activists [2]
and artists. Whereas at the end of the nineties there were mainly
reactions to the - in some cases - extremely extensive installation of
video cameras in public places, [3] a new technological paradigm of
media art is now starting to emerge. Besides Web-based works about the
surveillance of data transfers, [4] the first artists have already begun
working with the GPS, such as the documenta participants tsunamii.net.
This involves a Web-related approach: tsunamii.net looked for
correspondences on the Web to the real places they passed on their
travels. The focus is on an alternative mapping of the internet.

The current project by 0100101110101101.org, which has the awkward name
"VOPOS" - a reference to former East German police as representatives of
a historical surveillance state that shows little more than a "radical
chic aesthetic" -, also functions partly via GPS. Tanio Copechi and
Renato Pasiopani, as the operators of 0100101110101101.org call
themselves, carry a GPS transmitter around with them. It sends the data
it receives to a server via mobile phone, and this data is then
visualised on the web site by means of software. With the aid of a
digital street map of Barcelona, which is where the two Italian artists
claim to be, users can see which street they are in - whether just one
or both of them is an open question. The clock can also be turned back -
this means it is possible to vaguely reconstruct the route taken through
the city by the "surveillees". But "VOPOS" has nothing to do with a
sociological interest in the erratic wanderings of everyday life, as the
situationist approach would suggest; it is a criticism of the potential
of the GPS: who uses the coordinates it provides, and what does the
electronic profile that can be deduced from them reveal?

The two artists do not just illustrate the way the GPS functions within
a larger communications complex; their artist strategy is also expressed
in their refusal to give their identity and provide a level of narrative
that could explain why they visit the places they do (unless someone
knows the city very well and thus has options for interpretation). It is
equally impossible to verify whether they really were at the positions
marked or not. "VOPOS" therefore also remains a game involving reality
and fiction, information and disinformation. For a knowledge of the way
the system could potentially function suffices to enable one to
critically take up the surveillant's perspective. As the second part of
the long-term project "Glasnost", "VOPOS" continues the planned
collection of comprehensive, person-specific data. The first phase -
which still exists on the web site - consisted in the project
"life_sharing". [5] 0100101110101101.org put the local hard disk of
their computer onto the Web, thus making their private e-mails, project
sketches and software publicly available.

What is the artistic added value of this project? To what extent is it
only a preparation for something that can be commercially exploited
later? After the experiences with the "Big Brother" series, a similar
scenario using GPS technology would also be imaginable: one group - the
surveillants - has to hinder another group - the "surveillees" - in
carrying out the game task allotted to them. "VOPOS" operates precisely
at the ambivalent point between affirmative slogans like that of one
mobile phone manufacturer - "Put the world in your pocket" -, and the
non-commercial production of transparency.

Translation: Tim Jones

Notes:
http://0100101110101101.ORG

1 http://europa.eu.int/comm/energy_transport/de/gal_de.html (Galileo
homepage)
http://www.heise.de/newsticker/data/dz-01.12.01-003 (Report on the
decision in favour of Galileo, 1 December 2001)

2 http://www.bigbrotherawards.at

3 See the Surveillance Camera Players:
http://www.notbored.org/the-scp.html

4 See the Software Carnivore: http://rhizome.org/carnivore

5 See Marina Grzinic: "Das Leben zurückgewinnen". In: springerin 1/01,
p. 10

###

Anything has been said about this renegade cyber-entity, accused of
being "simple thief", dubbed as "media dandy" and "cultural
terrorists" or, simply, "shit". 0100101110101101.ORG prdouced some of
the most perfect media exploits of the last years, such as the
creation and diffusion, at the opening of the 49th Venice Biennial, of
the computer virus "biennale.py" or the memorable spoof of the
Vatican website: almost identical with that of the Holy See, but with
slight deviations. HTTP://0100101110101101.ORG

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Rhizome.org is a 501(c)(3) nonprofit organization. If you value this
free publication, please consider making a contribution within your
means at http://rhizome.org/support. Checks and money orders may be sent
to Rhizome.org, 115 Mercer Street, New York, NY 10012. Contributions are
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acknowledged at http://rhizome.org/info/10.php. Our financial statement
is available upon request.

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.

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Rhizome Digest is filtered by Rachel Greene (rachel AT rhizome.org). ISSN:
1525-9110. Volume 7, number 50. 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.

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Subscribers to Rhizome Digest are subject to the terms set out in the
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