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.
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Subject: RHIZOME DIGEST: 1.17.03 From: digest@rhizome.org (RHIZOME) Date: Fri, 17 Jan 2003 17:39:53 -0500 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: January 17, 2003 Content: +opportunity+ 1. Jonah: Eyebeam opportunity 2. Justine Bizzocchi: Web Producer Needed 3. Taylor Nuttall: Art House / Esmee Fairbairn Artists¹ Bursary Scheme +announcement+ 4. Sergei Teterin: MACHINISTA 2003 [RU] - additional prizes for VJ's 5. Alexei Shulgin: read_me 2.3 software art festival 6. Michelle Deignan: Os_anm by Slateford +interview+ 7. Tilman Baumgaertel: Interview with Amy Alexander +review+ 8. ryan griffis: a (contextual) review of xurban\\\'s Knit++ +feature+ 9. Brett Stalbaum: Database Logic(s) and Landscape Art [3/5] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 1.16.03 From: Jonah (jonah AT eyebeam.org) Subject: Eyebeam opportunity Eyebeam is pleased to announce an open call to apply for the Spring 2003 cycle of its Artists in Residence Program, a multidisciplinary initiative that supports the development, creation and presentation of outstanding new works of art made with digital tools. The AIR Program offers five-month residencies to exceptional artists in three different areas: Education, Emerging Fields and Moving Image. Residents receive a stipend, access to cutting-edge tools, expert technical support from Eyebeam staff, production help from apprentices, and the option to participate in an annual group exhibition. The wide-ranging annual AIR exhibitions mirror the interdisciplinary studio environment by presenting a constellation of other events, including open studios, demonstrations of research in progress, panel discussions, on-line projects, and multimedia performances. The twelve artists who participated in the program's '02 pilot year were featured in Beta Launch: Artist's in Residence 2002: (http://www.eyebeam.org/artists/air02.html). The open call for applications begins January 10th. Applications are due February 10th. For more detail about the different residency programs, deadlines, applications and instructions, please refer to the information on Eyebeam web site: (http://www.eyebeam.org/artists/index.html). + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 1.15.03 From: Justine Bizzocchi (justine AT DIRECT.CA) Subject: Web Producer Needed The Banff New Media Institute at The Banff Centre is now hiring. Producer, Horizon Zero - http://www.horizonzero.ca Remuneration: $42,000-47,000/year Application deadline: January 25, 2003 Submit a letter of intent and full CV to: Horizon Zero Hiring Committee - MVA The Banff Centre, 107 Tunnel Mountain Drive Box 1020, Station 40 Banff, Alberta T1L 1H5 or via email: Horizon AT banffcentre.ca This position will, provide administrative and programming leadership in effecting the successful delivery of the Horizon Zero web publication. This position supervises four full time contract positions, one part-time position, as well as workstudies and freelance workers. In addition, this position oversees the monitoring of priorities and contracts established between The Banff Centre and The Department of Canadian Heritage and the monitoring and priorities of the contracts established between The Banff Centre and Horizon Zero contributors, freelance workers and service providers. This position initiates a long term implementation plan that relates to the overall development and delivery of the Horizon Zero web publication within the context of The Banff New Media Institute and The Banff Centre. EDITORIAL VISION HORIZON ZERO The Banff New Media Institute publishes the Horizon Zero, with funding from the Department of Canadian Heritage. It is available in its entirety in both French and English. Horizon Zero is dedicated to the digital arts in Canada. The term "digital arts" is taken to include: net.art; cd-rom and dvd-rom art; location-based art and interactive installations; virtual reality systems; digital photography; digital cinema and video; digital animation; artists' software, tools and games; electronic literature; and electronic music. The ultimate goal of Horizon Zero is to open up the field of new media to the larger realm of culture and promote Canadian artists in Canada and abroad. It should foster a dialogue between Canadian new media practitioners and their possible audiences, as well as encourage the cross-fertilization of "other" arts and new media. EXPERIENCE AND SKILLS REQUIRED This is a senior position that requires at least 10 years experience in producing, preferably in a web environment. The ideal candidate will understand and have technical skills in production of new media, and in managing production processes. They must have experience in preparing and managing budgets and preparing funding proposals and reports. The producer also provides direction for marketing and communications for HorizonZero. This position requires someone with mature judgment and the ability to provide leadership to a team, as well as work collaboratively within the larger management structure of The Banff New Media Institute. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 1.15.03 From: Taylor Nuttall (taylor AT greenquarter.co.uk) Subject: Art House / Esmee Fairbairn Artists¹ Bursary Scheme Art House / Esmee Fairbairn Artists¹ Bursary Scheme Project Description The Art House has secured funding for 12 artists¹ bursaries from the Esmee Fairbairn Foundation, Barclays and supported by the National Lottery through the Arts Council of England A4E scheme. The bursaries will be offered over a three year period (2003 / 2004 / 2005). The bursaries will be awarded primarily to visual artists and craftspeople, working in a wide range of media including digital media, sound, installation, sculpture and other media. Please get in touch if you are unsure whether your work is suitable. The Art House is an inclusive organisation and our intention is that artists with and without disabilities will be appointed. All of the artists will be enabled to make new work while receiving professional development training and access support. The Art House will provide all necessary to support to disabled artists in applying for the bursaries and all partner venues have good access. We will provide additional support to artists with disabilities in undertaking bursary projects. The artists will all be at an early stage of their careers, probably within the first three years of their professional practice. It will be possible for collaborating artists as well as individual artists to apply to the scheme. Six of the bursaries will be offered in Yorkshire and six elsewhere in the country. The bursaries will be offered in partnership with other organisations, which will provide the artists with space in which to work and exhibit. The brief for each residency will be different and reflect the character of the partner organisation as well as the aspirations of The Art House. The partners range from studio complexes such as Yorkshire Artspace Society in Sheffield, to internationally recognised sites such as Grizedale Arts and Yorkshire Sculpture Park. They include conventional gallery spaces, non-art spaces and public art opportunities, ensuring a wide range of potential projects. The briefs will be very open in many cases, allowing for artists working in a variety of media to respond, and for research and development within the bursary. Most are not commissions but opportunities for artists to extend their practice. Synergy between the residencies will be maximised, as it is important that the scheme operates as a single project rather than as 12 isolated residencies. This will occur through face to face contact and through a dedicated website, which will develop throughout the project. This will include visual and textual documentation of process, work in progress, finished work, critical assessment of the work and issues raised during the project, as well as being a medium for communication through a discussion forum and webchats. There will be a conference / event at the end of the project, which will bring together the artists, partners and other participants in the project, showcasing the work produced and establishing models of good practice for the future. This will be accompanied by a publication. How to apply To be eligible you should preferably be in the first three years of working as a practicing professional artist. This means you should be no more than three years out of full time education, or be no more than three years into returning to a career as an artist after a break, whether this was for reasons of illness, disability, economics, childcare or any other reason. If you are unsure whether you are eligible please contact us before applying. Please only apply for one bursary. You will not be given more than one award during the three years of the project. If you are unsuccessful this year you are free to apply again in future years. You need not necessarily apply for a bursary close to where you live, as there is likely to be support for accommodation near to the partner venues. We would encourage you to apply for the opportunity that most interests you. Please submit the following information: * No more than two sides of A4 describing your current practice / statement. * No more than two sides of A4 describing your approach to the venue you are applying to work at, and a proposal for the project you would like to undertake there. You may include sketches or other visual material as part of your proposal. You should take into account the nature of the venue and its audience, but most importantly you should make a proposal which will significantly extend your artistic practice. You should list equipment and materials you expect to use, and if possible give a rough idea of what these would cost. Get in touch if you want to discuss your proposal before submitting it. * Curriculum Vitae * Samples of work. Ideally one or more of the following : 6 to 12 slides or prints and / or catalogue excerpts; CD-ROMs; list of URLs; audio cassette tape or CD; showreel tape in VHS PAL format (no longer than 30 mins). You may submit material in more than one format. Please include a sheet listing any work included by medium, date produced and title. * Copies of any press reviews of your work. * A stamped self-addressed envelope for the return of material. We will only return work accompanied by an SAE. * Please ensure that you submit your application by the application deadline for the bursary you are applying for. Late applications will not be considered. =================================================== Bursary Three Folly Gallery, Lancaster Background: Folly promotes photographic, video, digital art and live art from its premises close to the centre of Lancaster. Folly has established itself as an innovative promoter of digital and media arts through its programme of exhibitions and events, and through its website. Further information at www.folly.co.uk The vision for Folly is: to act as a centre for excellence for emergent contemporary arts practice The aims of Folly are to: establish itself as a forum and melting pot to develop dialogue & discourse around the creative use of digital media, thereby raising the profile of contemporary art and artists in the region; become a centre for excellence for research-based practice in photography, film & video, digital media and live art; develop skills and provide progressive experiences for all its participants; ensure that the use of its resources is maximised. Folly is developing new resources to extend its current base of a publicly accessible darkroom, a linear video editing suite, a Linux based media lab and good online access with broad band connection. Current funding plans are in place to additionally provide an Apple Mac based laptop suite. The Bursary: The bursary will place an artist working in installation / new media or other suitable media in residence with a number of local artists to act as a catalyst for a broad range of interventions in non gallery settings. It is anticipated that in addition documentation in progress and discussion activities will take place online. The residency will form part of Folly's ongoing ?edit/copy/paste¹ and ?unencoded¹ programme (see www.unencoded.co.uk). To coincide with the project a one-week practical workshop will be based within the gallery, and the commissioned artist will be invited to participate in this workshop event and lead part of it. Location: the artist will be in residence at Folly Gallery and in the homes of artists local to Lancaster. Timescale: the start point for the project will be July 4th / 5th when Folly will be jointly hosting a film and new media festival. Current / previous work by the commissioned artist will be presented as part of a one day forum. The residency will run over a 2-month period from this event. Fee: £4,500 including materials. Support will be available towards expenses and accommodation costs. Application Deadline: Applications must be received by Friday 31 January 2003. =================================================== Bursary Four Yorkshire Artspace Society, Sheffield Background: Yorkshire ArtSpace exists to support visual artists and craftspeople by offering them affordable studio space, business support services and access to outreach opportunities. Just as importantly they aim to increase public access to the skills of artists and every year they offer a wide range of visual art and craft events and activities. Further information at www.artspace.org.uk . Persistence Works, designed by award winning Feilden Clegg Bradley Architects, is the UK¹s first purpose built fine art and craft studio complex. It provides a permanent new base for Yorkshire ArtSpace with 51 studios providing workspace for 68 artists and makers including painters, sculptors, jewellers, furniture makers and ceramicists. The Bursary: The bursary is for an artist working in any medium. The Public Art Space will become the studio of the successful candidate for the duration of the bursary and like all studios at Persistence Works is fully accessible and designed to accommodate the various needs of artists and makers in an atmosphere that offers privacy and security. Access to studios is 24/7. The public art space is 14m x 10m x 5m high so very large. The space would be suitable for a variety of working practices such as: large sculpture or installation, projections or lightworks or any process which takes full advantage of the space available. The studio is north facing, on ground level, has a concrete floor and block work walls, heating, lighting, power points, a sink with hot and cold water and extractor point. As the space is adjacent to the public reception area it is also ideal for showing work and is regularly used for this purpose. Location: The artist will be in residence at Persistence Works, Yorkshire Artspace¹s building in Sheffield. Timescale: The artist will be in residence for approximately six weeks between 14 April and 26 May. Fee: £3500 including materials. Support will be available towards expenses and accommodation costs. Application Deadline: Applications must be received by Friday 31 January 2003. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 1.16.03 From: Sergei Teterin (teterin AT pisem.net) Subject: MACHINISTA 2003 [RU] - additional prizes for VJ's "MACHINISTA 2003" - media art festival in net, organized and coordinated in Perm City, West Ural, Russia. Main subject of the festival is "Artificial Intelligence in Art: Faces of Machinic Ingenuity". The focus is on the new interaction of machinic and human in art and culture. Categories of accepted works: )· "Machine as the artist's co-author" · "Machine in place of the artist" · "VJ's vs. visualizers" Accepted are all media art works without genre limitations: video-art, music and sound, vj demos, multimedia installations, net-art and web-art, software art, graphical and 3D experiments etc. Works are accepted on the festival web site and published automatically. NEW ADDITIONAL PRIZES FOR VJ'S: 1. "ArKaos Interactive Visual Technologies" company (Belgium) will contribute special prizes for authors in the "Vj's vs. visualizers" category: "ArKaos VJ 2.2.1" BOXES and CDs with "ArKaos Visual Art Library", and some "ArKaos" t-shirts [:-)] URL: www.arkaos.net (http://www.arkaos.net) 2. "Electronica-Optica" is a visual distribution company that produces "VJTV". "VJTV" is a a show featuring interviews, mix sets, and shorts of various VJ and Visual artists around the world. "E-Optica" will be featuring a select portion of the works in "Machinista" to be aired on "VJTV". URLs: www.VJTV.net (http://www.VJTV.net) www.electronica-optica.com (http://www.electronica-optica.com) All necessary information and submission form can be found on the festival web site: http://www.machinista.ru/en Deadline: January 31, 2003. Director: Sergei Teterin (Perm City, Russia) (teterin AT pisem.net) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 1.15.03 From: Alexei Shulgin (alexei AT easylife.org) Subject: read_me 2.3 software art festival call for submissions - please, distribute ____________________________________ Read_me 2.3 Software Art Festival May 30 - 31, Media Centre Lume, Helsinki, Finland Deadline for entries: March 1 More info at: http://m-cult.org/read_me _____________________________________ Read_me 2.3 is a festival of software art that explores the territory between art and software culture. Read_me 2.3 draws connections between histories and practices in both software culture and art, and aims at creating an extended context, against which software art may be mapped. Read_me 2.3 is the second edition of Read_me, the first festival dedicated entirely to the phenomena of software art (Read_me 1.2 at: http://www.macros-center.ru/read_me ). Read_me 2.3 continues with the open structure of Read_me: all projects are submitted on-line to a publicly accessible database. However, the second Read_me edition has logically developed this idea further: the simple database / submission form has turned into the software art repository Runme.org (http://runme.org). All projects, submitted to Runme.org up to the Read_me 2.3 deadline (1 of March) will be reviewed by a collective of "experts" (http://m-cult.org/read_me/experts) and the best ones will be presented on the Read_me 2.3 event. Read_me 2.3 is not a competition in the traditional sense, and it will not have monetary prizes. The festival event on May 30-31 will present, discuss, and celebrate a selection of works singled out and featured without ranking by the Read_me experts collective. Read_me 2.3 will focus on the variety of discrete contexts and will aim at building bridges between them. _______________________________ To submit a project for Read_me 2.3 go to http://m-cult.org/read_me/submit.php and follow instructions. If you have any questions, please, contact og AT dxlab.org and alexei AT easylife.org Welcome! ________________________________ The project is a co-operation between NIFCA, The Nordic Institute for Contemporary Art (http://www.nifca.org), Lume (http://www.lume.fi), and m-cult (http://www.m-cult.org). Curators: Olga Goriunova, Alexei Shulgin ________________________________ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ See who made the list of all-time greatest digital works in the 10th Anniversary New York Digital Salon issue of LEONARDO, Volume 35, Number 5. Curators for the issue include Christiane Paul, Steve Dietz, Benjamin Weil, Joel Chadabe, Lev Manovich, and others. Order your copy AT http://mitpress2.mit.edu/e-journals/Leonardo/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 1.6.03 From: Michelle Deignan (mdeignan AT variablemedia.info) Subject: Os_anm by Slateford Variablemedia is pleased to announce it's latest project, os_anm by slateford. Started January 3rd 2003 os_anm will be hosted for three months at www.variablemedia.org. Os_anm is a lo-resolution pixel animation tool (programmed in Java). It is partly inspired by the proto-digital media of teletext. The tool combines drawing functions, playback and its own scripting language. Slateford provide the tool, the visitors to variablemedia provide the content. Animations created on os_anm are stored in an online database. New animations can be created, existing ones viewed, added to, or 're-mixed'. Os_anm is open source prototype software. Currently os_anm operates in an online environment. Slateford have decided to use their residency at variablemedia.org to develop a standalone version of the software. Updates to os_anm will be posted to the site. The source code for each update will be freely available, as will the final software when complete. A development kit to help others develop their own variations and additions to the core system will also be made available. Progress in the project development will be reflected in changes to the Java applet on the site. New functionality will be added to this to demonstrate and test developments in the main software. Info on the software development, along with source code downloads and the developer's kit, can be found in the 'development' section of the variablemedia project site. Os_anm is currently suitable for: Mac OS X, Solaris, Linux, or Windows 98/NT/2000. Windows XP users will need to upgrade to the latest Service Pack. Slateford are Simon Yuill (Scotland) and Tryggve Askildsen (Norway). They have never met. Their work is produced through online collaboration. It derives from their common love of old-school coding and an interest in exploring its aesthetics through contemporary computer media. All slateford works are black and white. Slateford are supported by Lipparosa. Lipparosa is a code repository for speculative software and theoretical codeworks. It was set up by Simon Yuill in November 2002. " - we are making old-time code - we live in a grey world - we hope for the future but enjoy today - sometimes we do not know why we do what we do - it works for us - we hope it works for you - " slateford, 2002. Variablemedia was created by artists Michelle Deignan and Simon Goodwin as an Internet space for artists to explore place, process and temporality. The www.variablemedia.org site hosts a continuing series of artists' "site specific" web projects. Artists occupy the site's space for a period of between one and three months. This space is available for them to change, update and add to during their project's run. New Media Scotland are currently hosting another slateford project called 'greylines 00-06', a series of interactive code-doodles exploring simple graphical ideas. The project is presented as part of New Media Scotland's HOST commissions and launched on 15th December 2002. _______________________ Links: http://www.variablemedia.org http://www.variablemedia.info 'greylines 00-06' at New Media Scotland: http://host.mediascot.org Lipparosa: http://www.lipparosa.org slateford web-site: http://www.slateford.org For further Information please contact: info AT variablemedia.info + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 12.30.02 From: Tilman Baumgaertel (tilman_baumgaertel AT csi.com) Subject: Interview with Amy Alexander Ultimatively, everything becomes video games Interview with Amy Alexander / By Tilman Baumgärtel Colorful letters crawl across the screen like insects or fly like birds. American net artist Amy Alexander directs the swarms of words from the internet with a remote control and her mighty Mattel Power glove during her performance piece ?B0timati0n? (http://videopolis.botimation.org/). In ?B0timati0n?, Cut Up writing meets Oskar Fischinger, Konkrete Poesie is cross breeded with a psychedelic light show, and all that is turned into a VJ set. After a performance of the piece in Berlin at Raum3, I talked with Alexander about "B0timati0n" and her previous works. ?: You did a performance last night here in Berlin. Can you describe "B0timati0n"? Amy Alexander: "B0timati0n" is a performance search engine. I am UeberGeek, the internet VJ. I have a program that is really a front-end to a commercial search engine. I type in search terms, and it grabs search results through the search engine, which than animate in psychedelic colors. As UeberGeek I sort of conduct this thing, waving my arm. I have a lot of geek toys, like my Mattel Power Glove, a remote control and an air mouse. ?: It almost looks like a light show. Have you performed at clubs and discos with it? Alexander: So far I have mostly done it at media arts festivals, but I want to bring it more into public places. The most public places I have performed in so far were storefronts in Munich and Los Angeles. Those were good spots, because people were just passing by on the street, and they didn't know what was coming up, and all of a sudden there is this weird performance in their face. ?: The performance looked very slick and could be dismissed as eye candy? Are you trying to make a point that goes beyond a good looking VJ-type of show? Alexander: Yes, you have to be careful - you never know what someone will sneak into eye candy nowadays! "B0timati0n" is about the juxtaposition between geek culture and pop culture. The stereotypical geek is really obsessed with computers, is not very interested in the rest of the world and doesn't have very good social skills - a geek used to be this cliché, nobody wanted to be thought of this way. But that has changed: programmers started making a lot of money, and all of a sudden they had this cult status. They started to appear in popular culture, with websites like "Slashdot" and so on. So suddenly it became cool to be a programmer. Of course, that was initially money-induced, during the dot com boom... Even pop culture and leisure have become really geeky. Rock'n'roll used to be about electric guitars and smashing things. Now the coolest things are laptop techno (which is typing) and DJ-ing (which is turning knobs). The tools of toil have become the tools of leisure. In the States, people are going to coffee houses with their laptops, and they "relax", while doing work on their computer. There are also gaming rooms, that are replacing the arcades, where you see teenage boys playing computer games. But they are sitting in this office furniture, typing away. Somehow, this commercial, technical culture has made leisure culture really boring. B0timati0n is the answer to the tedium of DJ-ing! (laughs) ?: Are you geek yourself? Alexander: It is hard to say. I guess in real life, I'm a backwards geek, because I actually started out making music and then film and realtime video art and hating computers. But then I ended up programming my digital media projects. I got very tired of programming, and I felt like a geek. I was working on these art projects, but there was a lot of tedium. Programming, even on art projects gets tedious - well a lot of ways of working on and experiencing - digital art get tedious and geeky - at least for somebody hyperactive like me who is used to doing things more kinetically. So, I started looking for ways to combat that - or at least tweak it! ?: To me it also seemed like the performance was also an attempt to dramatize the mundane interface of the computer? Alexander: Yeah, I am trying to dramatize, tongue-in-cheek. There is this interface level, but there is also the content level. People used to watch movies in cinemas on these large-scale screens, and now they are sitting in front of their computer, watching little Quicktime-Movies and DVDs on the laptop screen. The web is supposed to be so cool and programming is supposed to be so cool, but the content is all mostly about commercial content and commercial culture, of course. But it's the juxtaposition of the two that I think creates the web's aesthetic. The crux of "B0timati0n" is typing in these search terms, abstract concepts like "Love" and "Safety" or sometimes more political things, like "War Games"... and what comes back, in some authoritative way, are these commercial, "webified" definitions of these terms. Watching how the individual searchterms come back is important though, not just, OK, here's some arbitrary commercial trash appropriated into something. These terms are being redefined. ?: One of the search results that appears most frequently are things like "Copyright by"? Alexander: Yeah. And a lot of the content we have on the web is just things like: "You're browser doesn't support frames." And a lot of what comes up are people trying to sell you some web-based service. The web tends to be very self-reflexive. I am very interested in search engines, because they are this universal, worldwide meta mass medium. It becomes a very big propaganda tool. The way they are structured tends to be very incestuous, despite what you read about the democracy of Google's page ranking system. Companies that own a lot of domains can link all their domains together, and so they come up very high in the ranking. So if somebody looks for something, this corporate version of the answer to his question is what comes up the highest, and individuals are ten pages out. So it is quite interesting to me to use search engine results as material for this performance. This is supposed to be cool culture, but what comes back is a lot of trash. I have it animated, it looks like video games, so there is this friction between what I - as UeberGeek - want to be cool and the reality of the content. And the same thing happens with my geek toys. They are very physical, but ultimately I am waving around a mouse and controlling onscreen this horrible web texts that says: "Looking for love? Try the love calculator!" ?: Is there also the idea to make data accessible again in a sensual fashion, to enter into the data space? Alexander: It is about the attempt to enter into the data world or have data enter our world. Of course, this is a ricidulous proposition. As UeberGeek, I continue to try, because this is the epitomy of cool for me or her. Sometimes people ask if it's a reference to Stelarc. In some ways it is. It is about the obsolescence of Stelarc. (laughs) ?: There is a obvious connection between the way you use text in your performance and the Cut-Up-technique of people like William Burroughs. I sometimes think that this kind of high art concept from 20. century avantgarde movements have turned into pop culture by computers. A high art concept like "cut up" can become material for a psychedelic light show like "B0timatiOn". Alexander: Yep, I guess it's true that everything becomes pop culture.Ultimatively, everything becomes a video game, is another way to look at this. All these pop culture elements are homogenizing, like the Web homogenizes everything. In some of the remixes I am doing, I mix songs from the 80's with sounds from video game themes. When I put in search terms, I use words from the songs or games that often also have meaning in another context. "Doom" is a real word, but most of the responses to a search queries of the word "Doom" don't have anything to do with the real meaning of "doom", but rather with the game "Doom". Thanks to search engines, the meaning of every word gets changed into a Web-Culture-ified or Game-ified redefinition. ?: You only use text, but technically it would also be possible to use images. Why do you rely on text exclusively? Alexander: That is something I thought about a lot. Not that I would never use images, but I don't want to use them for the sake of being visual. For now it is going to stay only text, because it is the ultimate reduction of the content. And also it is also the best representation of nerdiness and dryness. Low tech is the ultimate high tech, text is the ultimate cool technology. When I was a kid, the adults used to criticize the kids, because kids wouldn't read and would watch TV all the time. Now the new pop culture is reading on the internet. Everything is text: the web, instant messaging, SMS. But still the adults complain about the kids - these text-based technologies are going to turn your brain to mush! ?: The name of your website is plagiarist.org and a lot of your work is about the issue of intellectual property. Alexander: The idea of intellectual property in the digital age is that of course when you are stealing you don't take anything away. That is one of the tenets of Open Source. If you steal a car from someone, this person doesn't have the car anymore. If you steal a website, they still have the property and you have a copy too. My attitude with plagiarist.org is that it is a moot point.. At some point appropriation was a big deal in the arts, but now that has become just a part of the fabric. You either appropriate or you don't, it is just something that it is there. If I am stealing from anyone, I am stealing from the search engines, because they already stole it from the original authors. One has to look at it that way. My point is that it's ridiculous to worry about these issues. ?: In fact most of your work wouldn't possible without other people's data. Alexander: Yes, but it is ironic, not for shock value. "Plagiarist" on the plagiarist website is this imaginary character, always stealing from others and hoping to get away with it. In 1999, when there was a lot of hoopla around the zero one group stealing other people's site, Plagiarist decided that it would be a good chance for a plagiarist to get into the act. Plagiarist felt this duty to settle the whole damned thing by stealing the whole zero one site and then announcing it to the net art scene as a Christmas gift. We wondered: would they steal it back, and in fact they did. What was interesting and funny and sad all at the same time was that this was a prank about how self-reflexive things have become in the net art community. I wondered would this get a disproportionate amount of attention, and in fact it really did. That was really sad. (laughs) ?: Do you think that this would change, if the community would open up more to the general public? That there should be more museum shows with net and software art? Alexander: I don't think that's really it. The art world still wants something that they can put into a gallery and exhibit, and not something that is just on the net. When the "Multi-Cultural Recycler" was in gallery shows, people would say: 'Can you make a custom version of the "Multi-Cultural Recycler" that the rest of the world can't post to?' And of course this was just the point that everybody could participate. There were a lot of shows that wanted to print out the images and hang them on the wall. And the funny thing about these images is that they are really nothing. The user just clicks on some buttons, and it is ridiculous to hang them on the wall. It would be the equivalent of a sound bite. I also know some art gallery people, and they find it difficult to present the pieces technically. Net art is a strange animal for art museums. Some net artists are very much against art museums. I am not, because as much as I am interested in the net as public space, I also think that art museums are public space I wouldn't want to exhibit just in an art museum, but if a gallery asks to show my work, I usually let them, because there is some segment of the population that is going to the art museum, that won't see it on the net. As far as net art is concerned the problem is not how accepted it is in the art world, because I think it is not such a big deal. To me it is more important to be accessible to the public. Net art has this big advantage of automatically exhibiting in a public space. There are a lot of artists who are working heavily in that area, to make it publicly available, so that the general public can see it, and it doesn't become just an art piece and it is not just about staring into its own belly button. Obviously the work that is about net art has a little tougher time in that area. It doesn't mean that it shouldn't exist. I did things like the "Interview yourself" project, that are just net art community projects. I wouldn't want to do fifty of them, but I think it is OK to do some things that just relate to this community. ?: You considered to be a public space for the presentation of art, but unlike in the early days of the net, there is now so much stuff on the net that it is so much harder to find these projects. How do you deal with this fact? Alexander: That still happens, projects appear in "Slashdot" and so on. Of course, it is much harder, but then again there is a proportionally much larger number of people looking at the projects, too. For example, I get a lot more hits from search engines now than I used to, because people are looking up things like "plagiarist" or "bot" or "geek". I look in my log and I see what strange links people are coming from. And they are rarely looking for net art, but more often for intellectual property thieves! So actually it should be easier to reach people. Often people can use the strategies that big corporations do to increase their rankings in the search engines, and that can be desirable - depending on the situation. ?: There used to be these buttons inside the Netscape browser "What's hot?" and "What's new?" that presented links to interesting and weird sites. I would think that things like the "Multi-cultural recycler" got a lot of exposure over these channels. Alexander: Yeah, that was in a lot of "What's hot", "What's new" lists, Yahoo, etcetera. I had a couple of hits like that with other projects. I mean it's fleeting, it is fifteen minutes fame for sure, and you disappear after that. But it is useful. ?: Then there is your project "Netsong", which is a very interesting interface between internet data and browser. Tell me about it? Alexander: ?Netsong? sings the web. It is the second in a series of projects that use software bots. The first one was "The bot (One investing the horse)". Bots are the software used by search engines to create their indexes. They are also called spiders, and these programs are used by search engines like Altaviasta, Google, all of them. They crawl around on the web, they follow links from page to page and they gather all this data, and that becomes the searchable index. So if you look for a search word, you type in "dog", and the results for dog come back. But you never see any of this underlying stuff - the links the bot followed to get there. Sometimes artists have become interested in visualizing these process, and not just artists, but all kinds of web geeks. They make these graphical projects with diagrams of web spider links, which I think is interesting, but ultimately this comes down to data visualization - you can only see the data in an abstract and aggregate way. I am rather interested in anti-data visualization. I am interested in making it hyper-representational, looking very closely at the content. This happens in "B0tmati0n" of course, where there is this over-highlighting of web text, but also in some of the other projects. In theBot and Netsong, I took up the stereotypical temptation to anthropomorphize software. I have the bot being this creature that runs around in the net and is really very excited to read all this text, and that's why it reads it so enthusiastically. I layered speech synthesis, so it reads web text sort of like some strange beat poetry, even though there is this underlying boredom to it, too, as with most speech synthesis. And there is this weird cadence while reading the URLs: http:// whatever dot com. The bot is sort of ritualistic. It sort of creates this narrative. If the web has a story, this is it. And the only person that gets to read this story, is the bot - this spider. In the second project, I collaborated with Peter Traub, who is a composer, net artist and programmer. We decided that the bot would be now be inspired to start singing. It works like a radio program - different people can tune in to one another's "requests". And the music is complete with lyric sheets in case you can't understand what it is singing. ?: These bots feel so helpless, you almost feel sorry for them. Alexander: Yes, you can't help but feeling sorry for him. But he claims he has a good time. In fact he must have a good time, because he has stamina for this endlessly. ?: It seems that you use a lot of characters in your work, like "UeberGeek", "Plagiarist", "The Bot". Alexander: I'd love to say that this is a brilliant strategy I came up with, but in reality I just do this. Maybe it has to do with the tendency to anthropomorphize computers. I need to psychoanalyse myself at some point to find out why I do that. But I do seem to do it a lot. (laughs) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 1.15.03 From: ryan griffis (grifray AT yahoo.com) Subject: a (contextual) review of xurban\\\'s Knit++ A short collection of thoughts collected with the help of xurban collective's _Knit++_ http://turbulence.org/Works/Knit%2B%2B/index.htm The textile industry is where capitalism began; it was the industry the brought the industrial revolution from England to America - and it is the means by which capitalism is gradually conquering such places as Pakistan, to the eternal regrets of Luddites like Bin Laden. Lewis, Mark, _From Lowell to Islamabad, Via Greensboro_ forbes.com Equipped with networks and arguments, backed up by decades of research, a hybrid movement - wrongly labeled by the mainstream media as _anti-globalisation_ - gained momentum. One of the particular features of this movement lies in its apparent inability and unwillingness to answer the question that is typical of any kind of movement on the rise or any generation on the move: what's to be done? Lovink and Schneider, _A Virtual World is Possible_ (posted to n5m4.org) After recently connecting to the xurban collective's online portion of _Knit++_ a few relationships between _global_ social/protest movements and the rise of networked art and culture presented themselves as interesting for discussion. Or at least i imagined these connections within the context of other projects and discussions on _New Media_ , tactical media, US aggression, and cyberfeminist practice. Not that any of this would be new, or form a consolidated theory, but - maybe suffering from the inability to answer _the question_ as Lovink and Schneider argue of new social movements - the asking of questions can be as serious a project as answering them, even if those questions may seem redundant. _Knit++_ presents an interface that allows visitors to navigate through narrative, pictorial, and animated information that, when seen in the context of the project, makes connections between textiles, computer and social networks, and institutional power. While the composition of the interface is fairly familiar, with a screen-like field for changing information above a control panel of sorts, the conceptual links created are not. The control panel symbolically replicates the groups proposition of _entanglement as opposed to intertwining_ (artists' statement), which is what occurs conceptually when one moves through the project's space. Various projects incorporating sewing, issues of women's work, and global locality can be moved through by selecting from the tangled map of virtual locations in the control panel. Drawing connections between textile production and the WWW, especially in terms of work, has been explored in other projects, most recently Helen Whitehead's _Web, Warp, and Weft_ ( http://trace.ntu.ac.uk/www/webwarpweft/ ). As has the Neo/Luddite connection, though perhaps, not always adequately. The original textile worker Luddites of 19th Century England fought to destroy the machines that were replacing them, not just out of fear of the machines, but because they knew (at this early stage of industrialism) that the machinery was the evolving capital class's method for dealing with the problem of labor. Looking at the questions and attempts at solutions raised by _Knit++_ through the historical and contemporary rhetoric that forms the narratives of the Neo/Luddite movement can be useful and interesting for those interested/involved in continuing social movements and networked communication. (see also Slacker Luddites from Electronic Civil Disobedience by Critical Art Ensemble http://www.critical-art.net for another reading of the significance of Luddism) The work of the xurban collective takes, what many would call an oppositional position toward the global expansion of capital and state sponsored culture: _Civil society should be constructed outside the State and the Capitalist sponsors network. Non-profit organizations are traps._ Statements like this would place xurbanites into a new catagory of Luddite for many technocrats and economists that represent libertarian interests like Forbes or other, authoritarian yearnings ( http://www.pantos.org/atw/perspectives/0301.html ). Many such technocratic pundits find it ironic that groups of people (like the Carbon Defense League http://www.hactivist.com ) are using high tech to fight so-called _progress_. But there is also irony in the rhetorical use of _Luddite_ to describe someone like Bin Laden, someone who has profited from modernization and construction and whose terrorist organization isn?t exactly an international labor movement. Of course, I feel ridiculous even having Al Queda and arts/activist groups like the CDL and xurban in the same paragraph, for obvious reasons, but, after looking at US Congressional hearings on _cyber protests_ and DDoS attacks, I'm not sure the authorities would feel the same ( http://www.usdoj.gov/criminal/cybercrime/dag0229.htm ). Terrorism and attempts to form networks that operate in opposition to undemocratic institutions are apparently the same, and it doesn't matter if the virus is of the biological or computer variety. The line between email from Electronic Disturbance Theater participants and envelope bombs from the Unabomber is a fine one according to the US Congress and its business leaders, who seem to want to draft another Frame Breaking Act-like law governing digital information (where the DMCA doesn?t). But all this throwing around of loaded historical terms like _Luddite_ seems to fit nicely into the, by now well-worn, discourse of _the Other_, allowing us to easily create shells of identity based on irrational fear and aggressive desire. While most discussion of _the Other_ (academic or not) has focused on gender, ethnicity, and race, the model is equally useful when looking at contemporary incidents that have a history in the ongoing treatment of labor in the West in general. But this nice fit is not so comfortable. As modern Western/Northern capital is more globally expansive than ever, the models for personal and labor relations seem to be homogenizing, so _the Other_ is adapting to the needs of capital. Race and ethnicity become problematic as locations of fear and anxiety in a global economy ruled by capital, but class - and many argue gender ? is multicultural as far as economics is concerned. At least it could seem multicultural by masking lingering racial/ethnic fear ? since overt class oppression is apparently acceptable (in the US anyway) while other forms aren?t. The rhetorical power of terms and concepts like _Luddite_ to simplify both history and the present is not easily dismissed. Such concepts may become the mask for older fears that will allow for the popular repression of future resistance to domination by capital, especially in a so-called global setting. While _Knit++_ appears to primarily function as an interactive, if fairly static and by now conventional, artwork, one can also view it as a document and solicitation for something else. It's obvious, as one goes through the project that you're only getting a remnant of what's going on - and I don't just mean the coinciding physical installation, though that's a part too. Visualizing relationships, like that between the struggles of women, labor, and geography can be a tool that helps us allow for difference while forming working networks. -ryan griffis + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 1.6.03 From: Brett Stalbaum (beestal AT cadre.sjsu.edu) Subject: Database Logic(s) and Landscape Art [3/5] Database Logic(s) and Landscape Art Brett Stalbaum, C5 corporation Mountainous: Semiotics, and the precession of semantic models [3/5] To explore the issues of virtuality in a cultural context, I observe first that the semiotic context culturally (for artists) is one in which the precession of models is related to a supposed semiotic reversal of syntamatic axis and paradigmatic axis within the more general cultural logic of database. Roland Barthes (generation 68) demonstrated that symbol systems are capable of taking on additional layers of meaning as systems of connotation (paradigm) emerge on top of systems of denotation (syntagm). [20] Lev Manovich (generation 89) demonstrates that one of the cultural implications of database is that paradigm (model) becomes increasingly visible in relation to syntagm, speculating its eventual replacement as the explicit axis. [21] The model (name, address, phone, email) moves to the foreground, while the story of the population of the database (first sale, 7 billionth customer served), becomes less visible. I say that this is the "context culturally" because this axis (in various positions) has been apparent as an aesthetic issue since the early 20th century. For example, consider the classic Hollywood style of narrative film editing (tending toward emphasis of the syntagmatic axis) versus the paradigmatic montage techniques of Vertov and Eisenstein in early 20th century cinema. I will raise questions about this bi-axial cultural model soon enough, but for the present time we need it to chase out those questions. This axial semiotic context and its supposed historical shift toward paradigm are historically simultaneous with the precession of the model through active digital sign systems. [22] The virtual is not a result of computation, but rather the virtual was discovered during a two century period when the resources making computation and model based exploration possible were developed, including many mathematical discoveries. The virtual (call it what you will: attractors, abstract machines) was discovered using these resources, rather than being created by them. It would be extremely difficult to argue against the notion that the late axial shift noted by Manovich (somewhat simultaneously with the postmodern), is not related to computerization and informatics; particularly the emergence of database starting in the 1960's. And Baudrillard, for his part, makes it quite plain that "the real is produced from miniaturized units, from matrices, memory banks and command models" [23] in his discussion of precession. Hence the axial shift observed in semiotics is very likely bound to precession in some way through information systems and the discovery of the virtual. How might we tie these phenomena together? A preliminary view is that the precession of models is in fact an intermediary between the technical logics of database and its expression culturally. For example, the design of a relational database management system starts with semantic techniques such as entity relationship modeling (ERM) in order to build a bridge between the cultural world of the problem (Customer, Invoice, Order, Part number), and the technical organization and type of data (such as tables in a RDBMS). Still, the matter of how precession mediates between the interfacial cultural logic of database and data as technical form is complicated by the embeddedness of precession in a context where it can be manifest, simultaneously, as both a cultural mediator, and within the technical logic of database. Thus it seems that in order to escape a bad patch of tautological quicksand, (precession mediates between technical form and database culture because technical form is also precession which mediates database culture), we need to distinguish between the analytic mechanics of precession, (where Delanda's reading of Deleuze might be of help to us), and precession as evaluative cultural analysis. To some degree, this describes the split between science and the postmodern, and the analytic tradition and the continental tradition in philosophy. Artist/programmer Carmin Karasic gives a brilliant example of evaluative cultural analysis when she observes that the long financial recession in the United States in the early 21st century was preceded by a decline in the stock market, rather than the decline in the stock market being preceded by the beginning of a recession. [24] In this, we see a situation where the complex, distributed, abstraction [25] that we refer to as capital markets leads the rest of the economy in the dance; inflecting other aspects of economic activity such as labor, production and consumer confidence more so than reflecting them. Indeed, a casual look at the general data seems very much to support the thesis. This is the profound influence of the virtual (in this case, more in the Baudrillardian sense than the Deleuzian), over the actual (such as jobs.) Many view this type of analysis as representative of the triumph of precession, which as we have seen is bound in some way to the foregrounding of the paradigmatic axis in aesthetics. However, working with this largely metaphorical notion of precession, as is the tradition of Baudrillard, seems inappropriate for the kind of landscape as database practice C5 is interested in specifically because it is largely metaphorical. Thus it is as amicable to irony and other distractions of postmodernity (such as Baudrillard's delightful discussions of Disneyland), as it is to insightful observations such as Karasic's. It is hard to get a hook into the actual mechanics of economic history through such evaluative cultural analysis. Certainly, the provocation of the example would leave economists of different intellectual persuasions arguing on both sides of the proposition. The notion of precession for our purposes as database/landscape artists is more usefully defined in a narrow technical manner, if mostly for tactical reasons. Under this view, data and informatics inflect a powerful influence over what happens because technical models are precession. Precession is technical form that mediates culture through database because we can relate data to everything actual; and "everything is everything that happens". [26] For better or worse, this suspends the matter of cultural analysis, (and a lot of problems with metaphor), postponing precessive cultural analysis at least until we have a clearer picture of actual dynamics. Another tactical reason to work with technical models is that it is to the degree that any speculated shift toward paradigm is expressed in a technical basis of data in database logic that there is some space for computer artists to work as computer artists. The models (manifolds, vector fields and phase portraits) we discuss in the context of these tactics are (at least initially) [27] semantically stable, thus we might name the basis of the cultural shift more specifically: the precession of semantic models, which allow for calculable processes of deduction to perform algorithmic prediction based on attractors. We view this as an enhancement to the use of connotative traits such as qualities of character, which were formerly the basis of prediction and decision-making, in both the arts and in the political aspect of the landscape. In a fine example of the latter, explorer, poet and the 1856 United States presidential candidate John C. Fremont [28] explained, "We encamped on the shore, opposite a very remarkable rock in the lake, which had attracted our attention for many miles... This striking feature suggested a name for the lake, and I called it Pyramid Lake." [29] Today, decisions regarding 'where' are made very differently due to the precessive shift: place is evaluated through technical qualities derived from data, because romantic aesthetic analysis of character (such as "remarkable"), can not answer many of the most important questions we have about the landscape today. [30] Rather, the task for artists today is to explore why examples of the sublime [31] are sublime [32] by modeling them and revealing more of their complexity in relation to other systems. This is in addition to examining the prowess of our human aesthetic sensibilities [33], which is still interesting; there is no good reason to jettison the sublime just because it is romantic. Rather, the goal is to understand the sublime as a likely indicator of (or pointer to) the presence of attractor(s) which can ultimately be modeled. Humans are significantly superior to computers in regards to inferencing; possessing profound abilities of induction as compared to the computer's profound ability of deduction. Our tact involves utilizing the participation of people and extremely large sets of data to enhance and even replace what was once the seemingly boundless landscape of the 19th century, a landscape which has become suddenly smaller in the 21st century , with a boundlessness of data relations to explore. The precession of semantic models extends even to naming of place, for example, the UTM [35] system allows the naming of every square meter on the surface of the Earth in terms that emphasize not characterization but calculability. Thus we might infer once again that it is the calculable, mineable, predictable relations of data that function as the primary aspects of data that drive the real. Data and their semantics tend to guide the way they are used, almost as cultural reflex. Are artists bound to work through semantic models in a way dictated by the purposes for which data is collected, such as "economic, rainfall and surveillance?" Are the strategies of contemporary data processing (data processed into information begets knowledge) the artistic Zeitgeist of our time, in much the same manner that the writings of Edmund Burke [36] influenced the 19th century romantic style in the landscape arts during that previous era? [image: 11 286471E 4428277N] (http://www.c5corp.com/raw_images/pyr.jpg) The seeming victory of precession and the axial shift toward the paradigmatic in the regime of active cultural processes may not be as complete as the tradition of postmodern aesthetics leads one to believe, because postmodernist thought may in fact be guilty of excessive focus on emerging cultural conditions as these make the sometimes slow transition between novelty and ubiquity. Blinded by novelty in a few dimensions, our observations of the manifold constituting our contemporary semiotic network culture may be lacking important vectors. The semiotic axis may be but two dynamic dimensions/descriptors of a larger semiotic multiplicity. A manifold of undiscovered vectors needing semantic description in order to approach a complete semiotic model may be required to explain our cultural conditions. Such inquiry might explain how dominantly syntagmatic systems co-exist and interact beside dominantly paradigmatic systems. Through this, it might be possible to explain or predict the instability of the polar axis. These propositions can not quite be demonstrated yet, but there are certainly ample indications hinting that contemporary cultural conditions do not exactly snap to the axial grid. For example, technologically progressive cultural assumptions embedded as secondary meanings on top of primary denotative scientific data can be viewed under the former semiotic regime of the syntagm, while the use of a database and data mining to unearth relations amidst large datasets can be viewed under that of a paradigmatic order through model based processing. Thus there is at least the appearance of quite possibly interoperable systems actively functioning in the midst of different semiotic regimes. An even bigger question mark can be planted in the Earth regarding subject-less informatic relations. Such relations, if they exist, of course remain completely uncertain relative to any axial analysis, because this semiotic context is after all subject-oriented to begin with. We can assume, and probably must assume, that precession plays a role here, but again, uncertainty abounds. These are unresolved questions best addressed in practice. This preliminary survey of the issues is the only map we have right now. Even though the shape of the coastline may be a little warped, and even though we know only a little about the terrain to be discovered inland, we can say that we are confident about the general shape of the problems that face artists working with database and landscape. It is time to let the unexpected modify, fill in, even transform that understanding in practice. It is a common safety practice to leave a note, or let some friends know, where you are going (in case you do not come back). The rest of this essay discusses where we are planning to venture. [next installment: Multiplicity of the local: Applications of database logic in the landscape] [20] Barthes, Roland, The Rhetoric of the Image, Image/Music/Text, translated by Steven Heath, The Nooday Press, 1977 [21] Manovich, Lev, Database as Symbolic Form, 1998, http://www-apparitions.ucsd.edu/~manovich/docs/database.rtf, http://www.manovich.net/docs/database.rtf [22] This is especially digestible if we recognize that Georges Boole, Charles Babbage and Lady Ada Augusta Lovelace were all 19th century figures; that Alan Turing, Grace Hopper, and Vannevar Bush are contemporaries of the early and middle 20th; and E.F. Codd a figure of the late 20th century and early 21st century. The simultaneity of romanticism, modernism and the beginnings of postmodernism is noted. [23] Baudrillard, Jean Simulacra and Simulations Stanford University Press, ed Mark Poster 1988, page 167 [24] Paraphrased from a personal conversation, with permission. [25] Abstract by definition, given that money is an abstraction of market value. [26] Ibid. Slayton and Wittig [27] Such models are often utilized to demonstrate or predict bifurcations of the system, or critical singularities under which the systems behavior takes on new forms, including new vectors requiring observation and new semantics. [28] http://memory.loc.gov/ammem/today/jan31.html [29] Ibid. [30] For example, the insurance industry would never allow a housing development to be built on an intermittent flood plane, which would be predicted of course by computer models in a GIS system. That is, unless a short, inexpensive dyke is easy to build and does not impinge on water flow into other areas. In other words, topological and geological data again make the decision, even if the homes to be built there would be aesthetically pleasing, or "remarkable". [31] I am aware that Kant's notion of the sublime involves the idea that the amount of information available to the senses can not be processed, and that the human ability to inference intuitively under these circumstances (and the related feeling), define sublimity. But there is no reason not to suspect that virtuality will not progressively impinge on sublime, specifically because the virtual has enhanced our ability (cybernetically) to model and posses cognitively insights into complex systems. It is likely that the sublime will be constantly forced to retreat into beauty, but new sublimity revealed, as we ascend a thousand plateaus, so to speak. [32] This is the specific area of inquiry for C5's "The Perfect View" project. http://www.c5corp.com/projects/perfectview/index.shtml [33] The notion that the ability to use human aesthetic reasoning to problem solve under circumstances of sublimity is in no way defunct. [34] For example, it has often been said in the post 9/11/2K1 period that the oceans no longer protect the United States. We could also refer to the ongoing cultural debate over Globalism. [35] USGS, (United States Geological Survey) The Universal Transverse Mercator (UTM) Grid Fact Sheet 077-01 (August 2001) http://mac.usgs.gov/mac/isb/pubs/factsheets/fs07701.html [36] http://www.library.yale.edu/beinecke/sublime1.htm + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 tax-deductible to the extent allowed by law and are gratefully 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Rachel Greene (rachel AT rhizome.org). ISSN: 1525-9110. Volume 8, number 3. 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. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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