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: 8.22.03 From: digest@rhizome.org (RHIZOME) Date: Fri, 22 Aug 2003 21:38:52 -0400 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: August 22, 2003 Content: +note from the director of technology+ 1. Francis Hwang: a few updates +announcement+ 2. Marije Stijkel: seminar Digital Work 3. Kate Armstrong: The Upgrade 2.0//Vancouver +opportunity+ 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 7. Tom Holley: TAIWAN-UK ARTISTS FELLOWSHIPS 2003 +comment+ 8. abe: how to be a net.artist: lesson one: the name game +feature+ 9. Claire Barliant: Stationary Flow: Process and Politics in Audio Art On the Air and Online + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 8.22.03 From: Francis Hwang (francis AT rhizome.org) 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 http://rhizome.org/preferences/icon.rhiz . + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 8.18.03 From: Marije Stijkel (marije AT v2.nl) 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 v2.nl 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 innovation? 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 makes? Speakers are: Maurizio Lazzarato (F), Steve Baldwin (USA), Laurence Rassel (B), Brian Holmes (GB, moderator). More info on: www.v2.nl/2003 The seminar will be broadcast live via the websites http://www.v2.nl/live and http://pzwart.wdka.hro.nl/ ?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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 8.18.03 From: Kate Armstrong (kate AT katearmstrong.com) Subject: The Upgrade 2.0//Vancouver Wednesday, September 3rd, 2003 7:30pm 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 < http://www.treasurecrumbs.com/theupgrade/> 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 http://specialairplane.org or contact Kate Armstrong : kate AT katearmstrong.com LINKS: http://www.firstfloor.org/ARL/ http://specialairplane.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 8.18.03 From: Melanie Crean (melanie AT eyebeam.org) 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 www.eyebeam.org. 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 8.19.2003 From: Brooke Singer (brooke AT bsing.net) 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 http://www.cmu.edu/studio, email studio-info AT andrew.cmu.edu or call 412-268-3454. Funded by the National Endowment for the Arts, PA Council on the Arts and The Heinz Endowments. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 8.20.03 From: Beryl Graham (beryl AT stare.com) 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 (http://www.newmedia.sunderland.ac.uk/crumb/) 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 RESEARCH STUDENTSHIP IN NEW MEDIA ART/CURATION Fixed-term 3 years 37 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 (http://www.newmedia.sunderland.ac.uk/jobs/). 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 sunderland.ac.uk + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 8.21.03 From: Tom Holley (tomholley AT the-media-centre.co.uk) Subject: TAIWAN-UK ARTISTS FELLOWSHIPS 2003 ================================================= DRU {11} / 21.08.03 / ================================================= Digital Research Unit / DRU Residency / ================================================= TAIWAN-UK ARTISTS FELLOWSHIPS 2003 ================================================= http://www.druh.co.uk ================================================= apologies for cross posting DRU WILL HOST ONE TAIWANESE ARTIST WORKING IN THE AREA OF DIGITAL MEDIA. 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: http://www.druh.co.uk To view the project visit: http://www.druh.co.uk For announcements relating to this project, join the DRU email list: http://emaillists.druh.co.uk/dru/email_signup.asp ================================================= http://www.druh.co.uk/medialounge http://www.druh.co.uk http://www.ultrasound.ws ================================================= 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 druh.co.uk ================================================= subscribe/unsubscribe: http://emaillists.druh.co.uk/dru/email_signup.asp ================================================= + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 8.19.03 From: abe (abelinkoln AT hotmail.com) 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 amazing! 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 www.jodi.org or long like http:// www.111111111111111111111111111111111111111111111111111111111111.com? *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 www.engli5h.com or www.englizh.com or get clever with something like www.englitch.com . 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; www.markmark.com sounds better than www.markmark.net which sounds better than www.markmark.org . (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 (www.rhizome.org/rsg). but try and use a new media site like rhizome, turbulence or thing.net, 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 net.art 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 net.art; have you ever written anything or taken a picture or something?? see images for lesson one here: http://www.linkoln.net/lessononeimages brought to you by http://www.linkoln.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 8.19.03 From: Claire (cbarliant AT yahoo.com) 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501(c)(3) nonprofit organization. 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 34. 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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DIGEST: 03.27.04 -RHIZOME DIGEST: 03.19.04 -RHIZOME DIGEST: 03.13.04 -RHIZOME DIGEST: 03.05.04 -RHIZOME DIGEST: 02.27.04 -RHIZOME DIGEST: 02.20.04 -RHIZOME DIGEST: 02.13.04 -RHIZOME DIGEST: 02.06.04 -RHIZOME DIGEST: 01.31.04 -RHIZOME DIGEST: 01.23.04 -RHIZOME DIGEST: 01.16.04 -RHIZOME DIGEST: 01.10.04 -RHIZOME DIGEST: 01.05.04 -RHIZOME DIGEST: 12.21.03 -RHIZOME DIGEST: 12.13.03 -RHIZOME DIGEST: 12.05.03 -RHIZOME DIGEST: 11.28.03 -RHIZOME DIGEST: 11.21.03 -RHIZOME DIGEST: 11.14.03 -RHIZOME DIGEST: 11.07.03 -RHIZOME DIGEST: 10.31.03 -RHIZOME DIGEST: 10.25.03 -RHIZOME DIGEST: 10.18.03 -RHIZOME DIGEST: 10.10.03 -RHIZOME DIGEST: 10.03.03 -RHIZOME DIGEST: 9.27.03 -RHIZOME DIGEST: 9.19.03 -RHIZOME DIGEST: 9.13.03 -RHIZOME DIGEST: 9.05.03 -RHIZOME DIGEST: 8.29.03 -RHIZOME DIGEST: 8.22.03 -RHIZOME DIGEST: 8.17.03 -RHIZOME DIGEST: 8.09.03 -RHIZOME DIGEST: 1.17.03 -RHIZOME DIGEST: 1.10.03 -RHIZOME DIGEST: 1.03.03 -RHIZOME DIGEST: 12.20.02 -RHIZOME DIGEST: 12.13.02 -RHIZOME DIGEST: 12.06.02 -RHIZOME DIGEST: 11.29.02 -RHIZOME DIGEST: 11.22.02 -RHIZOME DIGEST: 11.15.02 -RHIZOME DIGEST: 11.01.02 -RHIZOME DIGEST: 10.25.02 -RHIZOME DIGEST: 10.18.02 -RHIZOME DIGEST: 10.11.02 -RHIZOME DIGEST: 10.04.02 -RHIZOME DIGEST: 9.27.02 -RHIZOME DIGEST: 9.20.02 -RHIZOME DIGEST: 9.13.02 -RHIZOME DIGEST: 9.6.02 -RHIZOME DIGEST: 8.30.02 -RHIZOME DIGEST: 8.23.02 -RHIZOME DIGEST: 8.16.02 -RHIZOME DIGEST:8.9.02 -RHIZOME DIGEST: 8.02.02 -RHIZOME DIGEST: 7.26.02 -RHIZOME DIGEST: 7.19.02 -RHIZOME DIGEST: 7.12.02 -RHIZOME DIGEST: 7.5.02 -RHIZOME DIGEST: 6.28.02 -RHIZOME DIGEST: 6.21.02 -RHIZOME DIGEST: 6.14.02 -RHIZOME DIGEST: 6.7.02 -RHIZOME DIGEST: 6.2.02 -RHIZOME DIGEST: 5.26.02 -RHIZOME DIGEST: 5.19.02 -RHIZOME DIGEST: 5.12.02 -RHIZOME DIGEST: 5.5.02 -RHIZOME DIGEST: 4.28.02 -RHIZOME DIGEST: 4.21.02 -RHIZOME DIGEST: 4.14.02 -RHIZOME DIGEST: 4.7.02 -RHIZOME DIGEST: 3.31.02 -RHIZOME DIGEST: 3.23.02 -RHIZOME DIGEST: 3.15.02 -RHIZOME DIGEST: 3.8.02 -RHIZOME DIGEST: 3.3.02 -RHIZOME DIGEST: 2.24.02 -RHIZOME DIGEST: 2.17.02 -RHIZOME DIGEST: 2.10.02 -RHIZOME DIGEST: 2.1.02 -RHIZOME DIGEST: 1.27.02 -RHIZOME DIGEST: 1.18.02 -RHIZOME DIGEST: 1.12.02 -RHIZOME DIGEST: 1.6.02 -RHIZOME DIGEST: 12.30.01 -RHIZOME DIGEST: 12.23.01 -RHIZOME DIGEST: 06.29.01 -RHIZOME DIGEST: 12.2.00 |