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: 8.17.03
Date: Sun, 17 Aug 2003 15:36:01 -0400

RHIZOME DIGEST: August 17, 2003


1. Candace Fujishige: AIM ANNOUNCEMENT: AIM on Sunset reception
2. Rachel Greene: Paris -- ICHIM 03 -- September /
3. Ignacio Nieto: DATA CONTROL

4. Yael Eylat: guest lecturers program
5. Benjamin Fischer: Call for Entries: TARGET BLANK: 17. STUTTGARTER
6. Vonda Yarberry: Electronic Arts/Computer Animation tenure track
faculty position

7. Jo-Anne Green: Turbulence Spotlight: "Alphanumeric Labs" by August

8. Jim Andrews, Neil Jenkins, Rachel Greene, t.whid: samorost.swf: Czech
flash piece

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Date: 8.09.03
From: Candace Fujishige (aim AT
Subject: AIM ANNOUNCEMENT: AIM on Sunset reception


AIM, the USC School of Fine Art's time-based media festival, the City of
West Hollywood, the Key Club, and IIKVISION present, AIM ON SUNSET,
screenings of selected AIM works on the video billboards on West
Hollywood's Sunset Strip.

8410 Sunset Boulevard, near the Standard
& The Key Club, 9039 Sunset Boulevard

-- * -- * -- * -- * -- * -- * -- * -- * -- * -- * -- *

The reception celebrating AIM on Sunset will be held: August 21, 2003
7:30-9:30 PM at 8410 Sunset Boulevard, in the courtyard

Metered street parking or $10 parking available at the Hyatt across the

Please RSVP to aim AT, including your name and number of guests.

-- * -- * -- * -- * -- * -- * -- * -- * -- * -- * -- *

AIM on Sunset runs June to December, 2003. Selections include the work
of six digital and video artists exhibited on the three video billboards
located on the Sunset Strip. Featured artists include Martha Gorzycki:
Unfurling, Annetta Kapon: Verbatim, Johnny Karaguez: Noize, Brian Karl
and Tirtza Even: Flicker,Dennis H Miller: Vis a Vis, and Gregory J
Scranton: ROY-G-BIV.

Kapon's Verbatim is playing at 8410 Sunset Blvd (opposite the Hyatt)
intermittently between commercials. All other works are being screened
at the Key Club, 9039 Sunset Blvd. on the hour and each half hour. For
more information on the artists or the AIM festival in general please
visit our website at

AIM ON SUNSET has been curated by AIM director Lynzie Baldwin and AIM
co-founder Janet Owen.

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Date: 8.12.03
From: Rachel Greene (rachel AT
Subject: Paris -- ICHIM 03 -- September /

Begin forwarded message:

From: Ichim 03 Ecole du Louvre (mailing AT
Date: Tue Aug 12, 2003 12:53:57 AM US/Eastern
To: (rachel AT
Subject: Paris -- ICHIM 03 -- September /
[rachel AT]
Reply-To: ichim03 AT

Le Louvre, Aug. 8th, 2003
To : rachel AT

As we approach the end of Summer, you still have time to take the most
exciting and educational trip of the season...

Come to ICHIM 03, the international conference for Cultural Institutions
and Digital Technology, which will take place September 8-12, 2003, at
Le Louvre in Paris, France!

You can afford it: Air France is offering discounts on already low
airfares to all ICHIM registrants. Housing for the entire week is
available at the lovely Cité internationale, located just a few
bus/metro stops away from Le Louvre, starting at 170 euros per person,
all inclusive.

Check out the ICHIM 03 website ( You will find details
about the conference schedule and our preliminary workshops, featuring
"The Wireless Museum", a free workshop offered by Antenna Audio.

Paris and ICHIM 03 await you this September!


les Institutions Culturelles et le Numérique
Cultural institutions and Digital Technology
I C H I M 0 3 L O U V R E
Paris, Ecole du Louvre, 8 - 12 Sept 03
(ichim03 AT

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Date: 8.12.03
From: Ignacio Nieto (igcionito AT


José Ignacio Nieto Larraín

Ernesto Muzard 2024 Depto 36.
Providencia / Santiago
Phone-fax: 56 (2) 4300969
Mobil: 095114452
Email: ignacio_nieto AT

The exhibition will show three works:


the project executer was investigating about art in internet (
and software-art, so he thinks about changing the support could be to
buy a web page. It could send messages to the guests through a button
and print them to be shown as a part of the exhibition. Another plus of
buying the page would be that it could have a larger range of audience
(national and foreing). For this, the page have advertising by artistic
bulletines for spanish spoken people: Esferapública (Lima / Buenos
Aires), Nettime Latino (DF México), MeArte (Buenos Aires), and in public
spaces inside the city of Santiago.

The name of the site will be: It will consist of: A
homepage of 6 buttons. This dinamic page will talk about the Pacific

1. Button: About_Me Access to a page in which you can ask about the
sources of the conflict.

2. Button: Read_Me Access to a page in which you can read two different
summaries, of a same conflict, written from different points of view,
taken from the Sources searched in internet.

3. Button: Random_Me Builts a page in where you can combine different
versions of the chosen event.

4. Button: Email_Me Access to the an email where the user could sent
facts that where not included in the oficial summaries.

5. Button: Re_Write_Me Creates a page where the user can combine the
histoty of the conflicts taken from the oficial summary, with the facts
sent by the users.

Each page made by the buttons (Random_Me and Re_Write_Me) will be send
to an email address, printed and exhibited on the east wall of the
gallery. Every message will be put it on a transparent plastic and will
include a sticker of the three directions of the Bolivia Chile and Peru
Educational Departaments.

During the exhibition there will be posters with the promotion of the
site and the exhbition. These ones, made on silkscreen, will be put in
Schools of Arts of Santiago.

2. The North Chilean landscape, the South Peruvian and the East Bolivian

In the west wall of the gallery, to confront the messages printed and
sent by the public, a a group of three digital photographies (of 150 X
100 cmts. each, aprox.), will be settled. Those will appeal to the noise
as a visual solution. They will take as a model the distorsioned signal
captured through the photo lent of tv channels.

3. Waiting Room

To complement and strengthen the work conceptual and visually in the
space of the exhibition, the executer make contact with the japanese
artist and programmer Masayuki Akamatsu, and ask him to make a special
software to it, which will consist in removing the image taken trough a
camera faking an earthquake on the screen. This effect will work with
loop; it will go back to the real image and will start again
continuously. In the north wall of the gallery will besettled a digital
video camera connected to the computer. In front of it, some chairs
similars to what the waiting rooms of hospitals have.

The last day, there will be a close of the exhibition including Pisco
Sour a made as Peru people drink it.

Exhibition inviting to change the course of the history

The Balmaceda 1215 Gallery continues with the exhibition season of the
year 2003, with the opening of the exhibition ?Data control?, of the
artist Ignacio Nieto, the next thursday 7th , August, at 19:30 hrs.

The project consist in the creation of an interactive web site
( about the history of the Pacific War. Such event
will be taken relatively by the audience, who will be able to compare at
the same time the Chilean and Peruvian version of it, and then combine
the texts or even to add non chosen facts. The interactive pages will be
printed and shown on the Balmaceda 1215 Gallery, tensioned, also, with
three digital printed photographies of the distotioned image of the
signal of the Chilean tv channels. A third element conform this work: a
computer settled on the gallery will transmit the image of the room
itself, worked with a digital effect simulating an earthquake.

?Data Control? presents a questioning about the information systems and
about the traffic of such information. The piece exposes different
formats and ways of intervention of current systems: web, photography,
video and a computer software can and are being manipulated from the
arbitrary and human proposal. The steady condition of culture, is
vulnerable to the massmedia that process all the information. The
proposal of this artist, if even starts with the opening, it will
develop until it gets its highest point of tension and saturation at the
moment of the closing, therefore we suggest a visit also in that date:
friday 29th of August, at 19:30 hrs.

The showing is part of the gallery project Campo de Pruebas (Test Camp),
which convoked artists to work on a specific piece for the gallery and
to intervent it as a support for their works that, in this case, is also
a virtual support; the work is developed also in internet.

The curators of ?Campo de Pruebas? were the visual artists Nury González
and Ximena Zomosa, with the helping of the art historian Soledad Novoa.

Campo de Pruebas Nº4: ?Data Control? (of Ignacio
)From 07 to 29 of August, 2003
Free Entrance
Balmaceda 1215 Gallery, Avda. Balmaceda 1215 , 2nd
Schedulerom mon. to fri., 15:00 - 19:00 hrs.


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Date: 8.11.03
From: Yael Eylat (eylat AT
Subject: guest lecturers program

Guest Lecturers Program - Academic Year 2003/2004

Deadline for proposals: September, 10th 2003

Camera Obscura - school of art, was established in 1978, and is today
the largest educational institution in Tel-Aviv for the study of cinema,
video, Digital Media and photography. The school offers a four-year
academic program in three departments-Cinema & Video, Photography, and
Digital Media-in addition to a three-year academic program in Script
Writing and in Journalism & Communication.

Camera Obscura has always aspired to keep abreast of the latest
intellectual and technological developments, while remaining firmly
anchored in tradition, by featuring a dynamic study program, which is
constantly updated in accordance with the technological and cultural
developments of our age.

Over the years, Camera Obscura has executed special projects in which
guests from abroad were invited to deliver lectures and workshops in the
framework of the school.

And now, in the occasion of our school's 25th anniversary, we are
initiating a special guest lecturers program, in which we invite guests
from all over the world. Camera Obscura is now aiming at expanding the
long traditional international relations, in constituting a constant
dialogue between our faculty and students, and between artists from
various creative environments, in order to widen our artistic
perspectives. Artists and experts from the fields of Cinema,
photography, New Media and Script writing, are to be invited for a
period of 2-3 weeks to deliver workshops and lectures in their fields of

The guest lecturer is intended to deliver lectures in the school for
three days in a week, following a specifically developed program, which
will be planned in particular, as required. The basic formation of the
two-week lecture program consists of: >5 meetings of 3 hours each, with
two distinguished groups (morning and afternoon); >Two lectures (one for
students and one for the faculty) and two critic sessions.

"Camera Obscura" will be providing a flight ticket and accommodation for
the guests.

The school is equipped with a photographic laboratory, a photography
studio, a computer room and class rooms with a computer, vhs, sound
system and a projector.

Qualified lecturers are invited to apply for this program by e-mail,
including the following details:

Full Name
e-mail address
Proposed workshops:
Workshop 1 (Lower level)
Workshop 2 (Upper level)
Proposed lectures
Technical requirements

e-mail addresss: info AT

followed by the subject: guest lecturers program

Last date

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Date: 8.13.2003
From: Benjamin Fischer (benjamin_lists AT
Subject: Call for Entries: TARGET BLANK: 17. STUTTGARTER





Film Video Neue Medien Installation Performance Vortraege

Festival 15.-18. Januar 2004
Warm Up 9.-14. Januar 2004

Target Blank - der Stuttgarter Filmwinter geht in die 17. Runde - stets
auf der Suche nach Innovativem, Kritischem und Unbekanntem in der
Medienkunst und Filmkultur, nach den Zwischenzonen und Freiraeumen im
Medienbetrieb. Nach dem Rekord von ueber 1300 Einreichungen beim letzten
Festival sind alle Film-, Medien- und Kunstschaffende herzlich
eingeladen, ihre Arbeiten in den Bereichen Film, Video, CD-ROM/DVD-ROM,
Internet, Installation und Performance fuer den kommenden Filmwinter

Online-Projekte koennen direkt ueber die Festival Website eingereicht werden. Anmeldeformulare fuer Film,
Video, CD-ROM/DVD-ROM, Installation und Performance koennen im
PDF-Format heruntergeladen werden.

Deadline fuer Einreichungen: 15. September 2003

In den Sektionen Film/Video und Neue Medien werden Preise in Hoehe von
ueber 11.500 EUR vom Publikum und unterschiedlichen Jurykommissionen

Die Hoppe-Ritter Kunstfoerderung stiftet EUR 2.000,- fuer eine Film-
oder Videoproduktion, die von einem Team realisiert wurde.

Norman 2004
Preis der Jury fuer Film und Video in Hoehe von EUR 1.500,- Preis der
Landeshauptstadt Stuttgart fuer Neue Medien Zwei Preise in Hoehe von
insg. EUR 4.000,- gehen an Arbeiten aus dem Bereich CD-ROM/DVD-ROM oder
an Projekte im Internet.

Milla & Partner Preis
Preis fuer Medien im Raum (Installationen) in Hoehe von EUR 2000,-

Publikumspreise in den Bereichen Film/Video und Internet in Hoehe von
jeweils EUR 1.000,-

Sowie weitere Preise und die heissbegehrte Wand 5-Ehrenauszeichnung

Neben den beiden Wettbewerben fuer Film/Video und Neue Medien wird das
Festivalprogramm mit Spezialreihen, Panels, Praesentationen und
Musikevents ergaenzt.

Weitere Informationen:
Wand 5 e.V. im Filmhaus
Friedrichstr. 23 A
D - 70174 Stuttgart

Tel: +49-711-226 91 60
Fax: +49-711-226 91 61
Mail: wanda AT



Film Video New Media Installation Performance Lectures

Festival, January 15-18, 2004
Warm Up, January 9-14, 2004

Target Blank - the 17th edition of the Stuttgart Filmwinter is looking
for innovative, critical, and unknown posititions in media art and film
culture. After the record of 1300 submissions at the last festival the
organizer Wand 5 cordially invites filmmakers, media producers, and
artists to submit their work. Productions in the field of film, video,
CD-ROM/DVD-ROM, installation, and performance are very welcome.

Internet-projects may be submitted online on the festival's website Entry forms and regulations for submissions in
the field of film, video, CD-ROM/DVD-ROM, installation, and performance
can be downloaded as PDF-file.

Deadline for submission: September 15, 2003

In the sections film/video and new media prizes amounting more than
11.500 EUR will be awarded by the audience and various jury commissions.

The Hoppe-Ritter Art Sponsorship endows an award of EUR 2.000 for a team
production in the field of film and video.

Award of the Jury
Award of the Jury for film and video of EUR 1.500

State Capital Stuttgart Awards for New Media
These awards of EUR 4.000 go to an independently produced work on
CD-ROM/DVD-ROM or to a project published on the internet/www.

Milla & Partner Award
Award for media in space (installations) of EUR 2.500

DASDING-Audience Award
Audience award for film/video and internet of respectively EUR 1.000
as well as further prizes and the popular honourable mention by Wand 5

Besides the competitions for film/video and new media a wide range of
special programmes, panels, presentations and music events will be

Further information:
Wand 5 e.V./Filmhaus
Friedrichstr. 23 A
D - 70174 Stuttgart

Tel: +49-711-226 91 60
Fax: +49-711-226 91 61
Mail: wanda AT

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Date: 8.13.03
From: Vonda Yarberry (VYarberry AT
Subject: Electronic Arts/Computer Animation tenure track faculty

Electronic Arts/Computer Animation tenure track faculty position

Established BFA and BS in interdisciplinary Electronic Arts program is
seeking an additional computer animation faculty member. Great benefits,
exemplary technology budget, wonderful teaching environment.

Starting date - August 2004

Required Qualifications: Professional knowledge in one or more of the
electronic arts; strong aesthetic and technical proficiency; ability to
integrate contemporary theory/issues into curriculum; commitment to
collaborative interdisciplinary programs; demonstrated organizational
abilities; a 60-hour MFA.

For a complete listing:

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Date: 8.14.03
From: Jo-Anne Green (jo AT
Subject: Turbulence Spotlight: "Alphanumeric Labs" by August Highland

August 14, 2003
Turbulence Spotlight: "Alphanumeric Labs" by August Highland

August Highland has set about the task of changing everything
conventional about the publishing industry. To give a literary work the
same intrinsic material value as a painting, Highland conceived of the
"Massive Production" publishing model. Instead of producing one book and
selling thousands of copies of that book to readers, each one of whom
own a re-printed, disposable object, Highland produces thousands of
one-of-a-kind books and sells only the original copy of that book to one
person who then owns a work of art with the same intrinsic value of a
painting or sculpture.

Highland applies the same production ethic to "Alphanumeric Labs." Like
all the projects by the "Superheroes of Humanities" the visual work by
"Alphanumeric Labs" are literary works that have migrated across the
boundary line where literature morphs from text intended to be read
(library material) to text intended to be viewed (museum material).
Currently there are four series in the Howard Fineman Collection.
Highland has 20 series planned for "Alphanumeric Labs," each to contain
1,000 works. Individual works are professionally converted from a
digital art piece to a "painting" of monumental size. They are sold as
one-of-a-kind artworks for between $2,500 to $5,000.


August Highland is the Director of "Culture Animal," a literary
production company. "Culture Animal" presents tens of thousands of
literary works by August Highland under approximately 80 personae. This
conceptual literary performance is called "Metapoetics Theatre."
"Culture Animal" has developed over 30 projects, each with an individual
website. The work is presented by one or more personae who produce
literary work in a particular genre or subgenre originated by Highland
himself. All the personae of "Culture Animal" are members of one of
three simulated literary movements. They are the "Worldwide Literati
Mobilization Network, the "International Belles Lettres Federation" and
the "Superheroes of Humanities." The literary genres that August
Highland has originated are "Hyper-Literary Fiction," "Microlinear
Storytelling," "Next-Gen Nanopoetics," and "Genre-Splicing."

Highland is also Editor and Publisher of an online international
literary quarterly. The "Muse Apprentice Guild" first appeared online in
August, 2002. The premiere issue contained 60 writers and 100 literary
works. The Spring, 2003 issue of the M.A.G. presented over 4,000
literary works by 600 writers. The M.A.G. has 35 contributing editors or
"liaisons" around the world and is the Internet's largest and most
widely read international literary quarterly.

For more information about Turbulence, please visit

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Date: 8.12.03-8.13.03
From: Jim Andrews (jim AT, Neil Jenkins (neil AT,
Rachel Greene (rachel AT, t.whid (twhid AT
Subject: samorost.swf: Czech flash piece

Jim Andrews (jim AT posted:

Here is a Czech flash piece: done by Jakub Dvorsky and
Tomas Dvorak, as indicated by the credits you see at the end of this

Thanks to Danny Kodicek from the dirGames-L list for this link.


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Neil Jenkins (neil AT replied:

quite beautiful, reminds me why i love Jan ...vankmajer's films i rarely
play games, but this has me going nutty jim.. any help on how to get
through the engine room ??!!!


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Jim Andrews replied:

i fluked through the engine room. i just went back. i clicked the left
control to set the 0 Direction meter to 50, clicked the left white
button, and then clicked one of the right buttons. not sure of the logic
of this one. anyway, this is the second to final scene.

it's kind of 'myst' like, this piece, in the puzzles. the art is really
well done, isn't it. and the sound design is appropriate. and the
puzzles/navigation are amusing, i thought.

I don't know Jan ...vankmajer's films, Neil. Why does this piece remind
you of them?

If anyone reads Czech on the list, would be interested to read what the
credits say at the end. Is this a student piece? Pretty durn good for a
student piece, if it is a student piece.


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Neil Jenkins replied:

cheers Jim.. finally made it through to the end...

"i fluked through the engine room."

i think i did too..

"I don't know Jan ...vankmajer's films, Neil. Why does this piece remind
you of them?"

...vankmajer has to be one of the masters of czech cinema, a good
overview of his work can be found at -
his films and animations, often a mixture of found objects, models and
people are surreal, stunning - the samorost piece reminded me
particularly of his version of 'Alice' (in wonderland) and his most
recent (to my knowledge) film 'Otesánek', whose main character, a tree
stump is brought to life by a childless couple. I can't recommend his
work enough :)

"If anyone reads Czech on the list, would be interested to read what the
credits say at the end."

will try and get through to the end game again and give you a very rough
translation (i'm no expert, but i have a good czech dictionary!)

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Rachel Greene (rachel AT replied:

Jim -- I only got to the scene with the dude smoking the pipe. How do I
move on from there? Thanks Rachel

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Jim Andrews replied:

Hi Rachel,

Tighten the ski-lift line by clicking it where it is clickable.

Then get the dude stoned. When the hash is all gone, he drops the pipe,
which is also the key. Click the pipe/key, and click the button on the
lock. Or is it click the button on the lock and then click the pipe/key?

The little hero will then ski up the hill.

Change the sign at the top of the hill to point to the left, and get the
guy at the bottom of the hill out of the way (the little hero will
complain otherwise). Then click the little hero and he'll ski down the
hill and off into the next scene.

This sort of piece is a matter of looking for significant items and
cursor changes; things that are clickable cause the cursor to change
shape, and one proceeds via some sequence of clicks/actions.

Someone on the dirGames list criticized this sort of 'myst'-like
logic-of-unfolding as just click-like-mad ness. but i disagree. it's no
fun if one just clicks like mad all over the place on whatever is
clickable; the fun is in trying to discern what one is trying to do to


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t.whid (twhid AT added:

you need to fix the ski lift.

turn the key, press the button.

i found this interactive narrative to be very engrossing and very

i enjoyed this piece tremendously.

it has qualities similar to alice in wonderland or spirited away, total
lyricism. every screen holds a new small, but original, experience which
you need to figure out to help the story move along. the last engine
room screen was really the only dud in the whole thing.


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Jim Andrews replied:

Yes, the engine room is a bit off, although the graphics are, typically,
very well done.

Though the 'narrative' and line of action of the piece, as a whole, is
well-constructed, the ending was anti-climactic. As opposed to the
ending of, say, 'myst', which is in a sense the 'paradigm' of this

It is enjoyable, I agree, because the world created and the
interactivity is engaging, and the overall 'objective' is clear and the
objectives along the way are well-suggested. One might wish for a deeper
story, but maybe that's criticizing it for what it isn't rather than
what it is. A project like Myst took a team of people a couple of years
to build. The Czech project is more humble and may even be a student
project, not sure (excellent for a student project, if so). It would
probably take one person at least a year to do this project.

No comment from anyone on the more ambitious but somewhat related Danny
Kodicek and friends Time Hunt project at --related
only in that it's also a proceed-by-interactive-puzzle sort of piece and
the graphics are, again, pretty deluxe. Too involved? I found the
puzzles tedious actually, rather than intriguing, so I didn't get very
far. But I admire the scope of it and much of the execution. The
narrative and depth and scope and subject of the narrative is worthy.


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Jim Andrews added:

oops, sorry, the link needs the www.


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Rhizome Digest is supported by grants from The Charles Engelhard
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Rhizome Digest is filtered by Rachel Greene (rachel AT ISSN:
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