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: 11.07.03
Date: Fri, 7 Nov 2003 19:39:04 -0500

RHIZOME DIGEST: November 7, 2003


1. Marc Garrett: DMZ Media Arts Festival
2. Andrea Blum: Women, Art, and Technology published by MIT Press and

3. Dean Terry: Faculty Positions at The University of Texas at Dallas
4. Mark Tribe: Computing Culture Group AT MIT Media Lab now accepting
5. Rachel Greene: Moderator - Eyebeam Distributed Creativity Forum

6. Nilo Casares: [info] barcelona meeting point

7. Abe, Jim Andrews, Curt Cloninger, M. River: education and
its contents

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Date: 11.03.03
From: Marc Garrett (marc.garrett AT
Subject: DMZ Media Arts Festival

DMZ Media Arts Festival AT Limehouse Town Hall on 14th and 15th November
2003 (see

You are invited to join the firewall-free mapping of media arts in
London. DMZ is a two-day open festival celebrating the diversity of
screen based and network based cultural practice in London with an
exhibition, screenings, talks, installations, wireless networks, net
art, live performances, workshops, stalls and a tea lounge as chill out

'DMZ' - the demilitarised zone - articulates the space where
communication, exchange and experiment are seeded, grown and harvested
in public. The progress of inspirational ideologies, diverse influences
and convergant energies map themselves to the city terrain, reshaping
the environment, rejuvenating hope and breeding optimism.' James
Stevens, ORG.

DMZ participants:, a.b.a.k.e, Bureau of Inverse
Technology, Amy Cunningham, Corby and Bailey, Digital Guild,
Furtherfield, Simon Faithful, Pete Gomes, Hi8us, Mervin Jarman, The
London Particular, Low-Fi, The Light Surgeons, MAP, Mute Magazine,
onedotzero, Pirate TV, Proboscis, SPC, Talkaoke, Thomson and Craighead
and many more

DMZ information:

14. / 15. November, from 11 am to 6pm

Limehouse Townhall 646 Commercial Road London E14 7HA Nearest Tube:
Limehouse DLR Bus Routes: 15, 115, D6, D3

Parking: Pay and display area behind town hall.
Access: Please email to make special arrangements. There is no ramp or
lift at Limehouse Town Hall; Email Sandra Ross or Simon Gould on
dmz AT

DMZ Media Arts festival is supported by Arts Council England and Film
London. For updates and more detailed program, go to

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Date: 11.05.03
From: Andrea Blum (isast AT
Subject: Women, Art, and Technology published by MIT Press and Leonardo

*apologies for cross posting*

MIT Press and Leonardo/ISAST announce publication of
Women, Art, and Technology
Edited by Judy Malloy

Although women have been at the forefront of art and technology
creation, no source has adequately documented their core contributions
to the field. Women, Art, and Technology, which originated in a Leonardo
project of the same name, is a compendium of the work of women artists
who have played a central role in the development of new media practice.

The book features overviews of the history and foundations of the field
by critic/curator Patric Prince; critic Margaret Morse; artist/educator
Sheila Pinkel; artist/networker Anna Couey; and Kathy Brew, artist and
former director of the new media initiative ThunderGulch. The foreword
was written by Patricia Bentson, managing editor of the Leonardo Music

Artist contributors include computer graphics artists Rebecca Allen,
Donna Cox, and Diane Fenster; video artists Dara Birnbaum, Joan Jonas,
Valerie Soe, and Steina Vasulka; composers Cécile Le Prado, Pauline
Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth
Hazen, Agnes Hegedüs, Lynn Hershman, Nancy Paterson, and Sonya Rapoport;
virtual reality artists Char Davies and Brenda Laurel; net artists
Monika Fleischmann and Wolfgang Strauss, and Sandy Stone; and
choreographer Dawn Stoppiello. Critics include Jaishree Odin, Simone
Osthoff, and Zoë Sofia.

Editor Judy Malloy is an electronic fiction and Internet pioneer and
editor of the electronic publication NYFA Current (formerly Arts Wire

Follow this link to order Women, Art, and Technology from Amazon:

The complete table of contents, articles not included in the book and
links to new works in the field are available on the book¹s website at

Leonardo/The International Society for the Arts, Sciences, and
Technology (ISAST) serves the international arts community by promoting
and documenting work at the intersection of the arts, sciences, and
technology, and by encouraging and stimulating collaboration between
artists, scientists, and technologists. For further information, go to .

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Date: 10.31.03
From: Dean Terry (dean AT
Subject: Faculty Positions at The University of Texas at Dallas

The University of Texas at Dallas
Tenure-track, Open Rank Faculty Positions in Arts and Technology

The School of Arts and Humanities at The University of Texas at Dallas
invites applications for three tenure-track positions (rank open) in a
new interdisciplinary program in Arts & Technology that focuses on the
productive interaction of technology and the creative arts and the
humanities. Currently offering the B.A., M.A., and M.F.A. (with plans to
add a Ph.D.), the program focuses on the creation, application, and
cultural implications of interactive digital content. Successful
candidates will have an appropriate terminal degree, evidence of
scholarly and/or artistic excellence, commitment to interdisciplinary
education, and willingness to help build an innovative academic program
that complements the current degrees (B.A., M.A., Ph.D.) of an
interdisciplinary school built on three interrelated areas: Literary
Studies, Historical Studies, and Aesthetic Studies.

Appointment effective September 1, 2004. Applications in the following
areas are sought:

Media Studies (Search 1019):
Expertise in the history, esthetics, ethical implications, and/or
philosophy of technological innovation in general and specifically of
the new media that have emerged from the convergence of computing and
media technologies.

Game Studies and Interactive Narrative (Search 1018):
Expertise in research and production in digital games, interactive
narrative or drama, interactive television, virtual or augmented
reality, time-based interactive installations, and/or media theory.
Preference to candidates who have created original work in interactive
genres and who are prepared to teach core digital courses at both
undergraduate and graduate levels.

Computer Animation (Search 1017):
Expertise in computer animation research as well as experience in the
design and development of animations for various applications, including
games and entertainment, training, immersive research, special effects
and/or interactive publications. Experience with MAYA and other
professional animation software is required.

Send letter of application, curriculum vitae, three letters of
recommendation, and a sample of work (pointer to an online portfolio
preferred) to: Academic Search # (see above), The University of Texas at
Dallas, P.O. Box 830688, MS AD 23, Richardson, TX 75083-0688. Review of
applications will begin December 15, 2003.

Indication of sex and ethnicity for affirmation action statistical
purposes is requested but not required. The University is an EO/AA
employer and strongly encourages applications from candidates who would
enhance the diversity of its faculty.

For information about UTD, see
About A&H, see
About Arts & Technology, see

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Date: 11.02.03
From: Mark Tribe (mt AT
Subject: Computing Culture Group AT MIT Media Lab now accepting

From: Christopher P. Csikszentmihályi (csik AT

The Computing Culture research Group is now accepting applications for
admission in the Fall of 2004. CCG is an art/technology/activism
research group within the MIT Media Lab. Recent projects have included
the DJ I Robot Sound System, Government Information Awareness, Critical
Cartographies, Doom Monitor, Haptic Opposition, and the Afghan Explorer.
Researchers in the group have shown and presented work from Soho to
Singapore. The group is accepting several students for the two-year,
funded Master of Science program. Applicants from any nation may apply.

Computing Culture is based on the premise that artists can and should
invent technologies. We are less interested in using existing
technologies for expression than in authoring new ones, ones that might
be overlooked by the market or the interests of science and engineering
practice. Our research results in specific works of art, but also helps
further an understanding of the relationships between art, technology,
and cultural production. Some of the strategies that we practice
include interventions in contemporary consumer electronics, creating
special events for public situations, and applying technical development
to cultural agendas that wouldn't normally receive it.

Our emphasis is on physically and spatially embodied (rather than
screen-based) projects, and work that engenders technology with
significant social agency. Prospective applicants may be trained in
either art, humanities, science, or engineering, but should show
crossover. For instance, an art or humanities student should ideally be
an accomplished programmer, have machining skills, and be able to design
and fabricate electronics. An engineering student should have done
several art projects, worked with a professional artist, or shown their
ability to author radical or unexpected technologies. Those without a
combination of technical and critical skills need not apply.

Applications are due December 15th. A portfolio of previous works is
required. Information on how to apply may be found at More information about the
group may be found at our somewhat pathetic web site,

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Date: 11.05.03
From: Rachel Greene (rachel AT
Subject: Moderator - Eyebeam Distributed Creativity Forum

Hi --

Some of you may recall that Eyebeam invited Rhizomers to participate in
an online forum on Distributed Creativity (see below for more
information). There is a week duration in late November/early December
in which the Distributed Creativity discussions will take place on
Rhizome Raw (along side regular Raw happenings).

According to Eyebeam, the moderator's responsibilities are to:

* stir the conversation for that week
* point people to look at art works for examples on Eyebeam's forum
* ask questions, engage participants
* perhaps do one post a day during the seven day tenure

I am looking for Moderators for the Rhizome Raw week -- November 28-
December 4. There is a stipend ($200) for moderators so if you're
interested in this project please email me with DC Moderator in the
Subject Line and let me know why you would be willing to take on this
responsibility. If you want to detail moderation experience that is
welcome also. There is additional information on Distributed Creativity

Best, Rachel

Begin forwarded message:

) From: "Beth R." (bethr AT
) Date: Tue Nov 4, 2003 3:25:04 PM US/Eastern
) To: Rachel Greene (rachel AT
) d i s t r i b u t e d c r e a t i v i t y
) An Online Forum
) Presented by Eyebeam and Still Water AT the University of Maine
) Nov 12-Dec 19, 2003
) Artists are organizing impromptu street actions by mobile phone,
) musicians
) are repurposing peer-to-peer applications for artistic ends, and
) programmers
) are distributing electronic toolkits to help artists leap from code to
) creation.
) Distributed Creativity, Eyebeam's sixth annual online forum,
) investigates
) new paradigms for artmaking that take advantage of mobile and
) distributed
) technologies such as WiFi, Weblogs, Wikis rich Internet applications,
) voice
) over IP and social software.
) Forum co-hosts, panelists and public participants from around the
) world,
) including Creative Commons, DATA, Fibreculture and Rhizome will
) discuss the
) artistic, legal, technical and social dynamics of creative networks
) small
) and large.
) All topics focussed on this question: What kinds of innovations are
) required
) to sustain or support Distributed Creativity?
) Topic 1 Nov 12-19
) Copyleft, Right & Center: Innovations in Law w/ Creative Commons
) Topic 2 Nov 20-27
) Mobile Creativity: Innovations in Technology w/ DATA
) Topic 3 Nov 28-Dec 4
) Digital Karma: Innovations in Ethics w/ Rhizome
) Topic 4 Dec 5-11
) Whose Version?: Innovations in Authorship w/ Fibreculture
) Topic 5 Dec 12-17
) Mod the Market: Innovations in Commerce
) Wrap Up Dec. 17-19

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Date: 11.03.03
From: Nilo Casares (nilo.casares AT
Subject: Nilo Casares: [info] barcelona meeting point

//////////////english bellow//////////

asunto: _barcelona meeting point_ [en el contexto de _fotonoviembre

presenta ( (

tres net.artistas de distinta procedencia coinciden en la misma
ciudad, y en un parecido interés por despiezar el medio.

comisario: nilo casares

inauguración: 20h30m/07.11.03

fechas: 08.11.03-10.12.03

en: círculo de bellas artes de santa cruz de tenerife
calle castillo, 45. t: +34 922246496

horario: lunes a viernes, de 11h00m a 13h00m y de 18h00m a 21h00m
sábados, de 11h00m a 13h00m y de 18h00m a 20h00m


primero aparece el dúo flamenco (belga-holandés) reconocidos en
el por unas composiciones que lo confunden todo al dejar el
código tiritando después de darle unas buenas hostias y a ti como un
papanatas que mira por primera vez una pantalla tan llena de cosas que
sólo te queda el recurso a la navegación ciega. son tan conocidos en la
escena del que muchos artistas componen a la jodi, moviéndose
entre el ruido del spam y el software de autor para aplicaciones

con posterioridad,, éste sí catalán, sin dejar sus
responsabilidades en ovni (observatorio de vídeo no identificado), llega
al para desarmar los videojuegos (como niño que rompe sus
juguetes) en un intento por debelar lo que oculta la programación y
transformar el original en algo muy distinto, después de hacerlo añicos
y enfrentarnos a toda la maraña de rutinas que constituye la
arquitectura interna de los sueños y que no es otra que una ristra
lingüística interminable de la que nos falta la clave.

más tarde aparca en la ciudad el dúo italiano,
representando el plagiarismo, el copyleft, el hacktivismo, el anonimato
transparente, la filiación nominal múltiple (del luther blissett
project), las atribuciones erróneas y otras bromas con las que
contribuyen a mostrarnos cómo la inet es el lugar menos adecuado para el
anonimato, una transparencia en la que insisten al abrirnos su ordenador
personal para que no entremos por las malas o mostrarnos el rastro que
van dejando por el gps y demostrar que estamos conectados, vaya

estos tres artistas (para la ocasión tanto como deben ser considerados como sujetos) coinciden en
barcelona y, desde esta ciudad desarrollan unas obras corrosivas que se
alejan del de guante blanco o de un que, fascinado con
los éxitos de interfaz, olvida que nos tienen cogidos por el código.

/////////arriba español//////////

subject: _barcelona meeting point_ [as a part of _fotonoviembre 2003_

presents ( (

three net.artists of varying origin meet up in the same city, each
sharing a similar interest in slicing up fear.

curator: nilo casares

opening: 20h30m/07.Nov.03

dates: 08.Nov.03-10.Dec.03

in: círculo de bellas artes de santa cruz de tenerife
calle castillo, 45. t: +34 922246496

open: monday through friday, from 11h00m to 13h00m and 18h00m to 21h00m
saturdays, from 11h00m to 13h00m and from 18h00m to 20h00m


first on the scene is the flemish (belgian-dutch) duo, known in for a series of compositions that turn everything upside down
and set the code in a spin, giving it such a bollocking that it leaves
you standing like a half-wit staring for the first time ever at a screen
so packed full of stuff that the only thing left to do is to carry on
blindly surfing. they are so well known on the scene that many
artists create á la jodi, moving somewhere between the commotion
provoked by spam and author software designed for a whole range of
useless applications.

some time later,, who this time really are of catalonian
origin, despite remaining true to their responsibilities to uvo (the
unidentified video observatory), come to determined to pull the
plug on video games (like the child intent on pulling his toys to
pieces), in an attempt to smash apart all that is concealed under a
layer of programming and transform the original into something
different, once it has been smashed into smithereens and we have dealt
with the entangled routines involved in the architecture of dreams,
really nothing more than an endless linguistic chain with the vital link

later on the italian duo would arrive in the city,
representing plagiarism, copyleft, hacktivism, transparent anonymity,
multiple nominal affiliation (from the luther blissett project),
erroneous attributions and other jokes they use to show us that the inet
is a most unsuitable site for those desperate for anonymity, as they
insist on using its see-through quality to open up their pc, effectively
stopping us from logging in on the sly or showing us the trail they
leave behind on the gps, proving that we are indeed connected, or to put
it another way, well and truly taped.

these three artists (and on this occasion both and must be seen as subjects) have come together in
barcelona, a city from which they are creating a series of corrosive
works that are gradually distancing themselves from kid glove or that is so mesmerised by the success of the interface that it
has forgotten that they have us well and truly by the binary code.

copyleft (todos os direitos ao reves) by nilo casares

beijos em espiral:: besos en espiral:: besades en espiral:: baisers
en spirale:: baci a spirale:: spiral kisses :: spiral kyssar::
spiraalzoenen:: pocalunki spiralowe

/////////////////////////// olho=atencao \\\\\\\\\\\\\

para mensagens com adjuntos >1mb nilo.casares AT (sem espacos)
aviso previo do envio ao nilo AT (sem espacos)

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Date: 10.21.03-11.06.03
From: Abe (abelinkoln AT, Jim Andrews (jim AT, Curt
Cloninger (curt AT, M. River (mriver102 AT
Subject: education and its contents

Abe (abelinkoln AT posted:

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Jim Andrews (jim AT replied:

a different set of courses:

and in france they would be different, in germany, all over the world
they'd be different, Abe. just around the corner they'd be different.
down the hall. no centre.


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Curt Cloninger (curt AT added:

two more showed up in my referrer logs today:

one at bard:

one taught by olia lialina:

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M. River (mriver102 AT added:

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Curt Cloninger replied:

the linkrotted rant that used to be in the top frame of:

still resides here:

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M. River replied:

Thanks Curt,

I was wondering what had happened to that link. Which brings me to the
age old net art question: To update or not to update?

BTW: Good to see that MTAA is still in your class notes. ; )

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the New Museum of Contemporary Art.

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 Feisal Ahmad (feisal AT ISSN:
1525-9110. Volume 8, number 45. Article submissions to list AT
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