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: 8.22.03
Date: Fri, 22 Aug 2003 21:38:52 -0400

RHIZOME DIGEST: August 22, 2003


+note from the director of technology+
1. Francis Hwang: a few updates

2. Marije Stijkel: seminar Digital Work
3. Kate Armstrong: The Upgrade 2.0//Vancouver

4. Melanie Crean: Eyebeam call for Fall '03 Residencies
5. Brooke Singer: Artist Residency at Carnegie Mellon
6. Beryl Graham: Curating New Media Art - 3 jobs with CRUMB

8. abe: how to be a net.artist: lesson one: the name game

9. Claire Barliant: Stationary Flow: Process and Politics in Audio Art
On the Air and Online

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Date: 8.22.03
From: Francis Hwang (francis AT
Subject: a few updates

+ You may notice funny little icons showing up when you're surfing
through discussions ... those are user icons, which now show up by your
name every time you post a text. To upload your user icon go to .

+ The member page also shows recently posted texts, so if you're
interested in what somebody has recently posted, you can just click on
her name to find out.

+ For a long time there was a flaw with the site -- you couldn't post
to any of the lists, even through the website, without being subscribed
to receive one of the lists via email. This was an anti-spam measure,
but it got in the way if you wanted to participate in the discussion
solely through the website. This should now be fixed; any member in
good standing should be able to post without receiving any of the lists
via email.

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Date: 8.18.03
From: Marije Stijkel (marije AT
Subject: seminar Digital Work

V2_/PZI: seminar ?Digital Work?
Date: Saturday 11 October 2003
Time: 13:00 ? 17:00 hours
Admission: 5 euro, students 3 euro
Location: V2_, Eendrachtstraat 10, Rotterdam, The Netherlands
Registration: please mail to workshop AT

How do we work now with digital media? Have we shifted from a work
culture based on the ambience of clubs to one locked inside cubicles?
Has media design become rationalised to the point of complete
predictability or is there still room for creativity and fundamental

With thousands of graduates being skilled-up in digital media across the
Netherlands and Europe every year and with the internet becoming
massified and maybe even normal, it is time to look at the daily reality
of digital work.

Digital work includes the complete cycle: the non-glamorous work of
call-centres and warehousing that provides its back-end, the more deadly
globalised work of the manufacture and dumping of computers, as well as
the 'non-work' of leisure and consumption. How do the 'hacker ethics' of
free, networked, deregulated co-operation mesh with other forms of
worker organisation? What are the new models emerging amongst the mix of
roles, skills, ideas, talents, activities and technologies? How does
digital work effect and provide new perspectives on media design: how is
design itself shaped and driven by the sites and software which it

Speakers are: Maurizio Lazzarato (F), Steve Baldwin (USA), Laurence
Rassel (B), Brian Holmes (GB, moderator).

More info on:

The seminar will be broadcast live via the websites and

?Digital Work? is part of a series of seminars organized by the Media
Design Research Programme of the Piet Zwart Instituut, Willem de Kooning
Academie, Hogeschool Rotterdam in collaboration with V2_, Institute for
the Unstable Media.

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Date: 8.18.03
From: Kate Armstrong (kate AT
Subject: The Upgrade 2.0//Vancouver

Wednesday, September 3rd, 2003
Western Front
303 East 8th Avenue
Vancouver, Canada

The Upgrade 2.0// Vancouver is an informal monthly meeting of new media
artists and curators held at the Western Front at 303 East 8th Avenue in
Vancouver, Canada. The Upgrade! series is a forum for the presentation
of new work and is meant to foster dialogue and create opportunities for
collaboration within the media art community. At each meeting one or two
artists present work in progress and participate in a discussion.
Upgrade 2.0//Vancouver is affiliated with the Upgrade in New York <>

Join us September 3, 2003 for Matt Smith and Artist Run Limousine.

Artist Run Limousine is a 24ft 1981 Cadillac Fleetwood that provides
comfortable accomodation to 4 adults and a variety of software, media
and motion based artworks. Matt Smith will appear at Upgrade to talk
about the Artist Run Limousine and to present work-in-progress from
AUDIOMOBILE, an urban interactive installation that inhabits the Artist
Run Limousine. AUDIOMOBILE invites exploration of "sonic maps":
individual audio elements are triggered by matching the output
coordinates of the onboard GPS with the geographical location of the
limousine as it glides through various urban scenarios. An array of
audio samples, sound clips collaged with looping ambiences and complete
narratives, generate an ever changing audio "city scape" projected into
the limousine. The position of the ARL determines which sounds are being
played and from which direction they originate. This allows sounds to be
perceived as emanating from a certain area, becoming softer or louder
depending on the distance of the limousine from the mapped areas. The
city of Vancouver can be understood to be the platform for AUDIOMOBILE.

For more information, go to or contact Kate
Armstrong : kate AT


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Date: 8.18.03
From: Melanie Crean (melanie AT
Subject: guest lecturers program

Eyebeam is pleased to announce an open call for the Fall 2003 round of
its Artist in Residence program. Applications, instructions and a
description of available equipment can be found on line at Eyebeam's web
site Proposals are due at Eyebeam's Brooklyn office on
September 15th at noon. Submissions are reviewed by a panel of peers
and experts. Artists will be notified about chosen projects in late
September for an early October start. The fall '03 residency will
conclude in late January '04.

Participants in Eyebeam's Artist in Residence (AIR) program develop
multidisciplinary works in a variety of formats that range from moving
image, sound and physical computing works, to on line projects,
publications, technical prototypes, performances, workshops, and public
interventions. Residents may take advantage of Eyebeam's education and
R&D facilities in Chelsea (540 W. 21st St.), as well as the moving image
post-production facilities in Dumbo, Brooklyn.

Residents receive 24/7 studio access, an honorarium, access to
cutting-edge tools, expert technical support from Eyebeam staff,
production help from apprentices and the option to show work at Eyebeam.

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Date: 8.19.2003
From: Brooke Singer (brooke AT
Subject: Artist Residency at Carnegie Mellon

Announcement/Opportunity for artists

One year residency at the STUDIO for Creative Inquiry, Carnegie Mellon
University in Pittsburgh, PA, with an emphasis on artist collectives and
collaboration with scientists. $30K salary plus benefits, $5K project
fund. Application deadline October 1, 2003. For information and
guidelines, go to, email
studio-info AT or call 412-268-3454.

Funded by the National Endowment for the Arts, PA Council on the Arts
and The Heinz Endowments.

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Date: 8.20.03
From: Beryl Graham (beryl AT
Subject: Curating New Media Art - 3 jobs with CRUMB

University of Sunderland. School of Arts, Design, Media & Culture

Curating New Media Art

Since 1993 the School has had a special interest in issues for
exhibiting new media art (including Internet art, and interactive
digital media). The CRUMB web resource for curators
( is now an internationally
acclaimed site, which complements the postgraduate work in Fine Art,
Curating and Informatics at the University. A recent AHRB Research Grant
enables the continued expansion of this research, in collaboration with
BALTIC, The Centre for Contemporary Art:

NEW MEDIA ART CURATOR/RESEARCHER Fixed-term 2 years 37 hours per week
£21,125 per annum A post-doctoral-level opportunity to curate and
research new media art to public output (exhibition, publication or
events). Ref No: ADMR16/01 Closing date: 20th November 2003

hours per week £9,000 per annum PhD proposals including practice-led
artist/curator research are invited. Applicants should meet AHRB UK/EU
residency regulations. Ref No: RS001 Closing date: 20th October 2003.

WEB SITE PROGRAMMER Fixed-term 3 years 18.5 hours per week £10,155 per
annum Web Designer and Programmer to take the CRUMB web resource into
database-driven form. Ref No: ADMR17/01 Closing date: 20th October 2003.

Further details and application materials can be found on

To apply, please submit your CV along with a letter of application and
details of current salary, quoting vacancy title and reference number,
to the Human Resources Department, University of Sunderland, Langham
Tower, Ryhope Road, Sunderland, SR2 7EE or e-mail
employee.recruitment AT

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Date: 8.21.03
From: Tom Holley (tomholley AT

DRU {11} / 21.08.03 /
Digital Research Unit / DRU Residency /
apologies for cross posting


Open to artists in Taiwan and the UK working in the digital arts, music
and dance.

A joint initiative between Visiting Arts, Arts Council England, The
National Endowment for Culture and the Arts in Taiwan and the British
Council, Taipei.

If you are interested in making an application, please visit:

To view the project visit:

For announcements relating to this project, join the DRU email list:
The Media Centre 7
Northumberland Street Huddersfield West Yorkshire HD1 1RL
The Digital Research Unit {DRU} is a research and production facility
based at The Media Centre, Huddersfield. DRU is a partnership between
The Media Centre and the University of Huddersfield.

contact: info AT

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Date: 8.19.03
From: abe (abelinkoln AT
Subject: how to be a net.artist: lesson one: the name game

how to be a net.artist: lesson one: the name game

is your name mark? if so you are 10 times more likely to become a
net.artist than someone named vuk or netochka. look at all these
net.artists named mark:

mark amerika, mark tribe, mark napier, mark voge, marc garrett, mark
dagget, mark river and marc lafia, just to name a sampling. that's

if your name isn't mark consider including ?mark? in your alias or your
domain name somehow, like rtmark does.

speaking of domain names. next you will want to choose a domain name for
your website (where you will put up your art later) since futurefarmers
took the coolest name available, don?t try too hard with this part?try
to focus more on length of your domain name; should you go short like or long like

*tips for picking a domain name in the english language: since every
word in the english dictionary is already a domain name you?ll want to
either modify a single english word with funky spelling; like putting a
?5? or a ?z? where the ?s? is like or or
get clever with something like . or, the easiest way is
to combine two words, like red and smoke or potato and land. don?t worry
if the two words you are combining sound funny or awkward at first, like
any new band or brand name the more you say them together the more the
two will sound natural next to one another.

if you really can?t decide on a alias you can always use your real first
and last name (if your first name is mark, you should definitely use
your name as your domain name).

your next big decision will be to choose a .net, .com, .org. don't worry
about what each means, but do worry about which one sounds better with
the name you've chosen. for example; sounds better than which sounds better than . (note that
using mark twice in your domain name will double your chances of
becoming a net.artist!)

you can always piggyback onto another site like the radical software
group does ( but try and use a new media site like
rhizome, turbulence or, or even a university site. for cred
purposes try and avoid a geocities, tripod, or an angelfire address.

hopefully by now you have some name ideas for your new site. as
you lay awake in bed tonight visualize yourself walking around the ars
electronica festival in linz wearing a nintendo powerglove.

congratulations! You?ve completed lesson one. stay tuned for ?lesson 2:
turning stuff into; have you ever written anything or taken a
picture or something??

see images for lesson one here:

brought to you by

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Date: 8.19.03
From: Claire (cbarliant AT
Subject: Stationary Flow: Process and Politics in Audio Art On the Air
and Online

Stationary Flow: Process and Politics in Audio Art On the Air and Online
Claire Barliant

Experimental sound art pieces commissioned by New American Radio, a
weekly radio program distributed to public radio stations from
1987-1998, became available online this past spring. At some point, New
Radio and Performing Art, Inc., the organization responsible for this
great resource, hopes to make over 300 works by artists such as Pauline
Oliveros, Christian Marclay, and Terry Allen available through its site.

The expansion of the NAR website provides a good opportunity to examine
reasons why radio has held such fascination as a medium for many
artists, and how relocating to the Internet affects work designed
specifically for radio. Part of the appeal of art made for radio is in
the tension created when an experimental artist tries to subvert the
medium's mainstream status while simultaneously leveraging its capacity
to reach a wide audience.

Radio, like all "new" media, is charged with meaning, i.e., unlike
canvas, it is not neutral material, nor does it easily shed its
association with mass culture. When it first appeared, it was originally
heralded as a tool to aid democracy. This vision quickly changed when a
dramatic increase of radio sales in Germany in the early 1930s signaled
an opportunity to the fascist regime for a new method of distributing
propaganda. With the careful administration of the daily programming the
scene was set for authoritarian control, Bruce Barber wrote of radio's
history in 1990. The emancipatory potential of the new communications
medium had been denied in favour of its limitless capacity to order
information in such a manner as to ensure the unilateral demonstration
of power.

The trick for artists is in learning how to embrace the medium's tics
while downplaying the message. John Cage was one of the first artists to
whom traditional radio programming appealed on a purely aural level. In
1956, he composed a piece titled Radio Music that included up to 8
radios playing simultaneously. It is interesting to note how deeply
Cage, from the perspective of a composer, appreciated the radio. There's
one station now on the radio, in New York, that reminds me of Satie and
that is WINS, he said in an interview in the early 80s. It's a
continuous news station, and the program, if you listen long enough as
you are driving along the highway, more or less repeats itself in the
same way that the Vexations of Satie would be repeated, because you come
back to the weather at regular intervals and, in fact, to the same
headline news. Anyone living in the New York area will be familiar with
the importance of repeating elements to the identity of 1010 WINS as a
radio station: there is the constant grumbling static running underneath
everything, the insistent, falsely energetic force of the announcer's
speech, the relentless iterations of the station's slogan (give us 10
minutes and we will give you the world), the weather and traffic
details. Cage heard the potential for art in the sounds made by the
station as well as those it couldn't control. The intermediary sounds of
radio broadcasting famously also drew the attention of the Futurists,
who demanded that La Radia should utilize interference between stations.

Other artists have capitalized on radio's political possibilities. In
the late 1960s, artist John Giorno created the Radio Free Poetry'
project, in which he set up guerilla radio stations at St. Mark's Church
and the Jewish Museum in New York City. Activist sentiment fueled the
operation. Giorno hoped to inspire others to do the same, and circumvent
FCC regulations in order to broadcast alternative points of view as well
as literature that was not easily embraced by mainstream media. Giorno's
work foreshadows today's telecommunications systems, and prefigures a
possibly Utopian view of the Internet as presenting an opportunity for
anyone to become a cultural producer. Tetsuo Kogawa, the Japanese radio
artist who pioneered the idea of micro radio, transmitting radio within
a limited area of signal, wrote that increasing FCC constraints
preventing pirate radio are best circumvented through the Net; in fact,
he believes that even big radio will soon be obsolete. Sooner or later,
large and global communication technologies will be integrated into the
Internet, he writes. Radio, television and telephone will become local
nodes to it.

Putting the NAR archives online raises many questions that are
impossible to answer now. The sounds of static and station interference
may one day disappear with the advent of digital FM radio. Will a work
of sound art that features these standard radio tics sustain its power
as these sounds fade into ancient history? Listening to radio art online
implies that interest in the process of radio recording is waning, and
artists are turning to new technologies. As it continues to make its
archives available, perhaps the New American Radio website will provide
answers to these questions and others that pertain to radio art. It is
interesting to reflect on the history of radio art, while sound art on
the Net continues to turn up new complications that echo issues raised
in the past, and still grapples with challenges raised by the Futurists
long ago. Honor Harger is one artist actively exploring the complexity
of sound art on the Net. Of r a d i o q u a l i a's use of Real Audio,
in 1998 Harger wrote that, We celebrate the hidden spaces where the
alchemic transference of intent and error happens. Now that New American
Radio has been put out to pasture, so to speak, emerging artists coming
into contact with its constructions may be further inspired to stake out
territory for sound art on the Net as the artists on NAR did with radio.

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Rhizome Digest is supported by grants from The Charles Engelhard
Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for
the Visual Arts, and with public funds from the New York State Council
on the Arts, a state agency.

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Rhizome Digest is filtered by Rachel Greene (rachel AT ISSN:
1525-9110. Volume 8, number 34. Article submissions to list AT
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

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