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: 8.13.04
Date: Tue, 17 Aug 2004 01:03:25 -0700

RHIZOME DIGEST: August 13, 2004


1. Kevin McGarry: New ArtBase Announcments to Rhizome RAW

2. US Department of Art & Technology: Experimental Party DisInformation
Center Comes to NYC
3. Rachel Greene: Fwd: read_me 2004 program out!
5. Christiane Paul: agent.netart presents
6. ryan griffis: FWD: Gigantic Art Space hosting Indy Media InfoShop

7. Wand 5 e.V.: Call for Entries: 18th Stuttgart Filmwinter - Festival for
8. Rachel Greene: Fwd: [oldboys] call for participation
9. Indi McCarthy: Job opening AT the Beall Center // Technical Director
10. Raquel Herrera: Metanarrative(s) CALL FOR P & W

11. Pau Waelder: Ars Electronica t+25 timeline
12. ryan griffis: ExxonSecrets

13. Nathaniel Stern: Dense and Urban - the Cybermohalla in Delhi

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.09.04
From: Kevin McGarry <Kevin AT>
Subject: New ArtBase Announcments to Rhizome RAW

Today is implementing a system that will post an up to the
minute announcement to Rhizome RAW for every new work added to the ArtBase.
It's straightforward: if you are subscribed to RAW, you'll now begin
receiving emails from the ArtBase with a link, description, and artist's bio
for each artwork added to the ArtBase as it is added. Some of these may
appear in RARE (on the frontpage of and in DIGEST - Superusers,
feel free to publish exciting projects. And as always, if you're interested
in becoming a Superuser (volunteer editors of Rhizome RAW), go ahead and
email me for more information.

All the Best,

Kevin McGarry

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.09.04
From: US Department of Art & Technology <press AT>
Subject: Experimental Party DisInformation Center Comes to NYC

Experimental Party DisInformation Center
Anarchic Entertainment for the Nation!
Presented by the US Department of Art & Technology (full press release
Works by: Mark Amerika, Jonah Brucker-Cohen, Andy Deck, Jeff Gates,
Jon Henry, Lynn Hershman, Gregory T. Kuhn, Paul Miller aka DJ Spooky
and '47,' Andrew Nagy, Randall Packer, Trace Reddell, Rick Silva, and
Wesley Smith. Convention coverage by Alexander Provan.

Opening reception: "Propaganda Hospitality Suite," Sat., August 21st, 6-8pm
(Bring Your Own Propaganda BYOP)
Installation continues through Sept. 4, Tues. - Sat. 11am - 6pm
Closing reception: "Post-Mortem Lounge," Sat., Sept. 4, 6-8pm

LUXE gallery
24 W. 57th St., 5th Floor, #503
New York City



Media Release
For Immediate Release: July 23, 2004
Contact: Press Secretary, Megan Morrow
morrow AT


WASHINGTON, DC - The Experimental Party DisInformation Center rolls
into New York City on Saturday, August 21st just ahead of the
Republican National Convention with its opening reception, entitled
"Propaganda Hospitality Suite," at LUXE Gallery, 24 West 57th Street,
NYC, 6 - 8 PM.

Politicos, press, protestors, Republicans, performance artists, and
the public will gather for a first look at the Experimental Party
DisInformation Center, a state-of-the-art media installation
presented by the US Department of Art & Technology. The exhibition
runs through Saturday, September 4th, when it will close with a
Post-Mortem Lounge from 6 - 8 PM. Regular hours for the installation
are Tuesday through Saturday from 11 AM to 6 PM. On-line works and
additional information can be found at:

The opening of the Experimental Party DisInformation Center will
bring together diverse elements of the politically-charged artists
and activists converging on New York for an evening of pre-convention
revelry, featuring special appearances by Axis of Eve, Billionaires
for Bush, Armed Artists of America (AAA), USA Exquisite Corpse, The
Secretary, and the Virtual Voice of America singing "God Bless
America." All artists and citizens are encouraged to "bring your own
propaganda" (BYOP).

Regarding the Experimental Party DisInformation Center, US DAT
Secretary Randall M. Packer stated, "We selected New York City to
stage a 'convention intervention' in order to subvert the ensuing
propaganda of the Republicans with our own techniques of media and
illusion. Our decision will show that if you want to carry out
anarchic entertainment for the nation, there's no place better in the
world to do it than New York City during the Republican National

Secretary Packer has collaborated with US DAT staff artists
including: Mark Amerika, Jonah Brucker-Cohen, Jeff Gates, Jon Henry,
Lynn Hershman, Gregory T. Kuhn, Andrew Nagy, and Wesley Smith.
Additional works by Andy Deck, Paul Miller aka DJ Spooky and '47,'
Trace Reddell, and Rick Silva are also included. Convention coverage
by Alexander Provan and the Experimental News team.

Featured projects at the Experimental Party DisInformation Center include:

Media Deconstruction Kit (MDK): Live altering of broadcast news and
Convention coverage.
Society of the Spectacle (A Digital Remix): Ten-minute DVD art-loop by
DJRABBI. Virtual community for media artists and cultural critics.
Homeland Insecurity Advisory System: Broadcasting the daily
governmental threat.
Awaken: A dark portrayal of the Spirit of America.
Abe Golam for President 2004 (A PolyVocal Remix): Politically reborn

For on-line projects, information and photos visit and
LUXE Gallery: 24 W. 57th St., NYC, Tues - Sat. 11AM - 6PM, 212.404.7455


About the US Department of Art & Technology

The US Department of Art and Technology is the United States
principal conduit for facilitating the artist's need to extend
aesthetic inquiry into the broader culture where ideas become real
action. It also serves the psychological and spiritual well-being of
all Americans by supporting cultural efforts that provide immunity
from the extension of new media technologies into the social sphere.

About the Experimental Party

The Experimental Party - the "party of experimentation" - is an
initiative that has been formed to activate citizens across the
country in an effort to bring the artists' message to center stage of
the political process. This is a political awakening, "representation
through virtualization" is the major political thrust - it is the
driving force.


This event is part of the Imagine Festival of Arts, Issues & Ideas, a
citywide cultural festival, Aug 28 - Sept 2, designed to inspire,
instigate and support civic engagement through the arts.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome is now offering organizational subscriptions, memberships
purchased at the institutional level. These subscriptions allow
participants of an institution to access Rhizome's services without
having to purchase individual memberships. (Rhizome is also offering
subsidized memberships to qualifying institutions in poor or excluded
communities.) Please visit for more
information or contact Rachel Greene at Rachel AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.10.04
From: Rachel Greene <rachel AT>
Subject: Fwd: read_me 2004 program out!

READ_ME 2004
software art festival
Aarhus, Denmark
/ \
/ \
Software Art and Cultures Runme-Dorkbot
conference citycamp
August, 23-24 August, 25-27

The conference aims at providing a discussion platform for specialists from
various disciplines, including non-academics, art theorists, and others
thinkers and learners interested in deep effects produced on art, culture,
and society by ubiquitous software and influential software cultures, and
the ways to analyze them and challenge existing patterns.

Software Art and Cultures Conference program available at: - short - full

Speakers: Amy Alexander, Inke Arns, Brad Borevitz, Christophe Bruno, Nick
Collins, Geoff Cox, Andreas Leo Findeisen, Matthew Fuller, Pau David Alsina
Gonzalez, Dave Griffiths, Troels Degn Johansson, Fátima Lasay, Jacob
Lillemose, Alessandro Ludovico, Alex McLean, Douwe Osinga, Fredrik Olofsson,
Casey Reas, Julian Rohrhuber, Mirko Schaefer, Ewan Steel, Adrian Ward, Ernst
Wit, Simon Yuill.


'people doing strange things with software'

Runme Dorkbot citycamp will be a gathering of people interested in software
and art where citycampers will be free to do some research, develop code and
ideas, talk to interesting people and enjoy dorkbot-style presentations
(5-20 minute presentations with feedback sessions), performances, workshops
and parties.

Runme Dorkbot citycamp program available at: - short - full

Casey Reas, Fredrik Olofsson, Salsaman, Rene Beekman, Victor Laskin, Ivan
Bachev, Fredrik Sandberg, Douwe Osinga, Georg Tremmel, Shiho Fukuhara,
Jean-Baptiste Bayle & Beatrice Rettig, Christophe Bruno, Eugenio Tisselli,
Peter Luining, ap (Martin Howse, Jonathan Kemp), Rachel Beth Egenhoefer,
Brad Borevitz, Anne Laforet, Patrice Riemens and Lisa Haskel, Anne Dyhr [
plus ], Eva Sjuve, James Nevin, Paul Camacho, Alexander Gurko, Benjamin
Delarre, Simon Yuill, Paul Slocum, Lauren Gray, Aristarkh Chernyshev, Danja
Vasiliev, Sergey Teterin, Yves Degoyon, Lluis Gomez i Bigorda, Tatiana
Bazzichelli, Julian Priest, Joan Leandre, Douglas Repetto, Nathalie Magnan,
Criticalartware, Marco Di Carlo, Petra Lange, Lars Roth, Arnold von
Wedemeyer, Buro21 (Nicolas Hansson, Aron Falk, Lukas Nystrand), Kristjan
Varnik, James Nevin, VJ Ubergeek, Trevor Batten, Steffen Leve Poulsen, Tom
Betts, Joe Gilmore, a+r (Roc Jimenez de Cisneros Banegas, Anna Ramos
Garcia), Thomas Petersen, Kristine Ploug.

Exhibition Human-Machine Interface:
Paul Slocum. dot_matrix_synth; Roger Wigger and Doma Smoljo. Hardware
Orchestra; Aristarkh Chernyshev. Shining TV.

Read_Me Code Poetry Slam (with Florian Cramer); Outdoor computing session
(with Annina Ruest); LiVES workshop on video editing / Vjing with LiVES and
Linux/BSD (with Salsaman); 'medialog and recuerdos de luchas': Pure Data
workshop focused on network communications and video processing with
d.R.e.G.S. / r1.

Lounges: Oriental Slackers Salon by Patrice Riemens and Lisa Haskel;
OUTPUT_lounge by Anne Dyhr [ plus ]

Peformances: Eva Sjuve. 13 Volts and 1 Carrot; James Nevin. The Realto
Artware Machine.

Evening program:
pez orchestra. Anne Laforet; Eugenio Tisselli. MIDIPoet; Rasmus Lunding;
klipp av; Paul Slocum, Lauren Gray. Tree Wave music performance; Everybody
VJ; Popautomate songs + anti copyright megaphone. Jean-Baptiste Bayle &
Beatrice Rettig; ap [martin howse, jonathan kemp]; d.R.e.G.S. / r1. "The
Aesthetics Of Our Anger"; Live coding / command-line performing; Goodiepal;
VJ Salsaman (LiVES) and VJ WIMP + DJ LJUD.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.11.04
From: Pete Otis <virtualart AT>


September 28 - October 2, 2005 at Banff New Media Institute, Canada

"The technology of the modern media has produced new possibilities of
What is needed is a wider view encompassing the coming rewards in the
of the treasures left us by the past experiences, possessions, and
(Rudolf Arnheim, Summer 2000)

Recognizing the increasing significance of media art for our culture, this
Conference on the Histories of Media Art will discuss for the first time
the history of media art within the interdisciplinary and intercultural
contexts of the histories of art. Leonardo/ISAST, the Database for Virtual
Art, Banff New Media Institute, and UNESCO DigiArts are collaborating to
produce the first international art history conference covering art and new
media, art and technology, art-science interaction, and the history of
media as pertinent to contemporary art.


After photography, film, video, and the little known media art history of
the 1960s-80s, today media artists are active in a wide range of digital
areas (including interactive, genetic, and telematic art). Even in robotics
and nanotechnology, artists design and conduct experiments. This dynamic
process has triggered intense discussion about images in the disciplines of
art history, media studies, and neighboring cultural disciplines. The Media
Art History Project offers a basis for attempting an evolutionary history
of the audiovisual media, from the laterna magica to the panorama,
phantasmagoria, film, and the virtual art of recent decades. It is an
evolution with breaks and detours; however, all its stages are
distinguished by a close relationship between art, science, and technology.

Refresh! will discuss questions of historiography, methodology and the role
of institutions of media art. The Conference will contain key debates about
the function of inventions, artistic practice in collaborative networks,
the prominent role of sound during the last decades and will emphasize the
importance of intercultural and pop culture themes in the Histories of
Media Art. Readings of new media art histories vary richly depending on
cultural contexts. This event calls upon scholarship from a strongly
international perspective.

Therefore Refresh! will represent and address the wide array of disciplines
involved in the emerging field of Media Art. Beside Art History these
include the Histories of Sciences and Technologies , Film-, Sound-, Media-,
Visual and Theatre Studies, Architecture, Visual Psychology, just to name a


Although the popularity of media art exhibited at exhibitions and art
festivals is growing among the public and increasingly influences theory
debates, with few exceptions museums and galleries have neglected to
systematically collect this present-day art, to preserve it and to demand
appropriate conservatory measures. Thus, several decades of international
media art is in danger of being lost to the history of collecting and to
academic disciplines such as art history. This gap will have far-reaching
consequences; therefore, the conference will also discuss the
documentation, collection, archiving and preservation of media art. What
kind of international networks must be created to advance appropriate
policies for collection and conservation? What kind of new technologies do
we need to optimize research efforts and information exchange?

LEONARDO, journal of the International Society for the Arts, Sciences, and
Technology, has documented for the past thirty-seven years the pioneering
work of artists who work in and with new media. Together with Leonardo Book
Series and LEA Electronic Journal, the journal is published by the MIT
Press. For further information about the forthcoming conference and the
long-term LEONARDO Media Art History Project, please email to join:
banffleoarthistconfinfo-subscribe AT
<mailto:banffleoarthistconfinfo-subscribe AT>

Held at The Banff Centre, featuring lectures by invited speakers as well as
others selected by a jury from a call for papers, the main event will be
followed by a two-day summit meeting (October 1-2, 2005) for in-depth
dialogues and international project initiation.
The first call for papers will be in late Summer 2004. In particular, young
postgraduates in the research areas of: art history and new media, art and
technology, the interaction of art and science, and media history, are
encouraged to submit for the following panels:

Times and Landscapes
Collaborative Practice
Pop Mass Society
Cross-Culture, Global Art

Film, Sound, Media Art & Performance
History of Sciences & Media Art
Media & Visual Studies

New Scientific Tools
History of Institutions


Hans BELTING, Karlsruhe; Andreas BROECKMANN, Berlin; Karin BRUNS, Linz;
Annick BUREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do
Sul; Felice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING,
Chicago; Linda D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los
Angeles; Ángel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko
KUSAHARA, Tokyo; W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore;
Eduard SHANKEN, Durham; Barbara STAFFORD, Chicago; Christiane PAUL, New
York; Louise POISSANT, Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER,
Paris; Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco

Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local
Susan KENNARD, Executive Producer of BNMI (Organisation) <>

Annick BUREAUD, Director Leonardo Pioneers and
Pathbreakers Art History Project, Leonardo/OLATS <>

Chair: Roger F MALINA, Chair Leonardo/ISAST <>


Oliver GRAU, Director Immersive Art & Database of Virtual Art
Humboldt University Berlin <>


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.13.04
From: Christiane Paul <Christiane_Paul AT WHITNEY.ORG>
Subject: agent.netart presents

agent.netart presents

The Passage of Mirage -- Illusory Virtual Objects
featuring works by Jim Campbell, Vuk Cosic, John Gerrard, W. Bradford Paley,
Eric Paulos, Wolfgang Staehle, Thomson & Craighaid, and Carlo Zanni

September 14 - October 16
Chelsea Art Museum
556 West 22nd Street, AT 11th avenue
New York, NY 10011 USA

+Opening reception: Tues, September 14, 6-8 PM
+Artist Talk: Thurs., September 30, 7 - 9 PM
+Symposium: "Negotiating Realities: New Media Art and the Post-Object"
Sun, Oct. 10, 11-5 PM, Tishman Auditorium, New School University, 66 W 12th

Exhibition and symposium organized by agent.netart
(joint public programs by Intelligent Agent and the Netart Initiative of the
Parsons School of Design)

Curators and symposium co-ordinators:
Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media
Arts, Whitney Museum)
Zhang Ga (Director, Netart Initiative; Professor, MFA Design and Technology
program, Parsons School of Design)

The exhibition and symposium are made possible by funding from

The exhibition "The Passage of Mirage" explores concepts surrounding the
"virtual object" and the issues of representation that have been raised by
it. While the coalition of virtual and object seems contradictory at first
glance, it dialectically illuminates the complex relationships between the
virtual and the real that unfold in new media art. In classical optical
theories of the 18th century, the word "virtual" was used to describe the
reflected image of an object. Today's digital image does not require a
physical object to represent a physical reality; rather than reproducing
reality, it encodes data and therefore alludes to an expanded concept of

New media art both connects to and expands the dematerialization of the art
object that occurred in earlier art movements. The new media object is a
process in flux that is potentially interactive, dynamic, participatory and
customizable and often oscillates between its inherent ephemeral nature and
its material components or peopleâ??s desire to objectify it.

"The Passage of Mirage" features nine projects that address these issues by
portraying the virtual object as a process, a data structure (or carrier
thereof), or as an encoded reality. The artworks expand notions of the
traditional art object, sometimes quite specifically with regard to more
established art forms such as photography, film, or painting.

The works of Jim Campbell and Thomson & Craighead, for example, offer
different approaches to processing the medium of film. Campbell's
"Accumulating Psycho" continuously collapses and accumulates the images of
the entire 1 hour, 50 minutes Hitchcock film; by contrast, the artist's
"Night Light" visualizes Psycho's sound level and the brightness of the
image throughout the film. Thomson & Craighead's "Short Films about Flying"
is an edition of unique cinematic works that were generated in real-from
existing data found on the World Wide Web: each "movie" (replete with
opening titles and end credits) combines a video feed from Logan Airport in
Boston with randomly loaded net radio sourced from elsewhere in the world.

John Gerrard's "Watchful" and Carlo Zanni's "Oriana" both transform a
portrait into a "living" process that is networked or responds to haptic
sensation; and Wolfgang Staehle's and Vuk Cosic's works present a "live"
version of a photograph or painting. In very different ways, the idea of the
object as data carrier unfolds both in W. Bradford Paley's "Code Profiles"
and Eric Paulos' "Limelight," a sculptural object that doubles as automated
threat detection and indication system.

While still informed by the aesthetics of more traditional media, the
artworks in the exhibition are media objects that are process-oriented,
reactive, or open to (real-time) data processing an

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome is now offering organizational subscriptions, memberships
purchased at the institutional level. These subscriptions allow
participants of an institution to access Rhizome's services without
having to purchase individual memberships. (Rhizome is also offering
subsidized memberships to qualifying institutions in poor or excluded
communities.) Please visit for more
information or contact Rachel Greene at Rachel AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.13.04
From: ryan griffis <grifray AT>
Subject: FWD: Gigantic Art Space hosting Indy Media InfoShop

Independent Media InfoShop Opening Night
& Silent Auction Fundraiser

August 19th, 2004 8-12 p.m.

Gigantic ArtSpace, NYC
59 Franklin Street, between Lafayette and Broadway

From August 19 to September 6 Gigantic ArtSpace, in downtown New York,
will serve as an Independent Media Infoshop for a public hungry for

During the Republican National Convention, the GOP spin machine will
make every effort to airbrush the hundreds of thousands of expected
protesters out of the happy GOP Convention picture, or worse, paint
them as dangerous ³Un-American² thugs. To facilitate this, they have
outfitted the Farleigh Post Office building as the corporate media¹s
newsroom, and built a bridge from there to Madison Square Garden, so
that the corporate press never has to touch the streets.

But the NYC Grassroots Media Coalition and the Indymedia Network have a
different mission. We will build our own newsroom with the support and
resources of our communities and use it to produce a daily newspaper, a
daily television show, a 24-hour radio webstream and a website with
up-to-the-minute reports and photographs. If you want to know what the
people have to say, this is where you need to look.

To help showcase this work, the Gigantic ArtSpace has generously
offered independent journalists their space.

On August 19, we invite you to join us for the opening of Gigantic
ArtSpace as an Infoshop and to celebrate the quality and tradition of
independent journalism. Indymedia photographers will showcase their
work on gallery walls; videographers will screen their footage on the
five gallery monitors, you can tune into the I-pod installations to
hear historic radio coverage of conventions past. This will also be a
great opportunity to find out how we plan to cover the voices of people
on the street during the upcoming Republican National Convention, and
how you can plug in.

Cocktails will be served.

Special presentation: Rick Rowley of Big Noise Films, just returned
from Sadr City, Baghdad, will present his footage and talk about what
we don¹t hear about the Iraq war.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.08.04
From: Wand 5 e.V. <mailbox AT>
Subject: Call for Entries: 18th Stuttgart Filmwinter - Festival for Expanded

Call for Entries: 18th Stuttgart Filmwinter - Festival for Expanded Media
Deadline for submissions: September 1, 2004
German Version see below...


18th Stuttgart Filmwinter - Festival for Expanded Media
Film | Video | New Media | Installation | Performance | Theory

Festival, January 13-16, 2005
Warm Up, January 6-12, 2005


Eventually 18! Filmwinter is of age. The 18th edition of the Stuttgart
Filmwinter is still looking for innovative, critical, and unknown
posititions in media art and film culture. After the record of 1700
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 (offline), internet (online),
installation, and performance are very welcome.

Internet projects and websites 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 (offline), installation, and
performance can be downloaded as PDF-file.
Deadline for submission: September 1, 2004

In the sections film/video and new media prizes amounting more than 14.500
Euro will be awarded by the audience and various jury commissions.

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

Norman 2005
Award of the Jury for film and video of Euro 4.000 - donated by the city of
IBM Awards for New Media
These awards of Euro 4.000 go to an independently produced work on
CD-ROM/DVD-ROM (offline) or to a project published on the internet

Milla and Partner Award
Award for media in space (installations) of Euro 2.500

DASDING-Audience Award
Audience award for film/video and internet of respectively Euro 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: +49-711-99 33 98-0
Fax: +49-711-99 33 98-10
Mail: wanda AT


18. Stuttgarter Filmwinter - Festival for Expanded Media
Film | Video | Neue Medien | Installation | Performance | Theorie

Festival 13.-16. Januar 2005 Warm Up 6.-12. Januar 2005


Endlich 18! Der Stuttgarter Filmwinter wird volljaehrig. Stets und eifrig
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 1700 Einreichungen beim letzten
Festival sind alle Film-, Medien- und Kunstschaffende herzlich eingeladen,
ihre Arbeiten in den Bereichen Film, Video, Online/Offline Internet,
Installation und Performance fuer den kommenden Filmwinter einzusenden.

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

Deadline fuer Einreichungen: 1. September 2004

In den Sektionen Film/Video und Neue Medien werden Preise in Hoehe von
ueber 14.500 Euro vom Publikum und unterschiedlichen Jurykommissionen

Die Marli-Hoppe-Ritter-Kunststiftung stiftet Euro 2.000,- fuer eine Film-
oder Videoproduktion, die von einem Team realisiert wurde.

Norman 2005
Preis der Jury fuer Film und Video in Hoehe von Euro 4.000,- - gestiftet
von der Landeshauptstadt Stuttgart

IBM Preis fuer Neue Medien
Zwei Preise in Hoehe von insg. Euro 4.000,- gehen an Arbeiten aus den
Bereichen Online und Offline. Ermoeglicht durch die IBM Deutschland GmbH.

Milla und Partner Preis
Preis fuer Medien im Raum (Installationen) in Hoehe von Euro 2.500,-

Publikumspreise in den Bereichen Film/Video und Internet in Hoehe von
jeweils Euro 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 Germany

Tel: +49-711-99 33 98-0
Fax: +49-711-99 33 98-10
Mail: wanda AT


Benjamin Fischer |

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

For $65 annually, Rhizome members can put their sites on a Linux
server, with a whopping 350MB disk storage space, 1GB data transfer per
month, catch-all email forwarding, daily web traffic stats, 1 FTP
account, and the capability to host your own domain name (or use Details at:

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.10.04
From: Rachel Greene <rachel AT>
Subject: Fwd: [oldboys] call for participation

Begin forwarded message:

From: Cornelia Sollfrank <cornelia AT>
Date: August 5, 2004 1:29:09 PM EDT
To: oldboys AT
Subject: [oldboys] call for participation
Reply-To: oldboys AT

Women artists and writers are invited to participate in an online event
addressing issues of gender, racial and economic biases resulting in
systemic violence against women and minorities.

This project arises from the unseemly juxtaposition of a "war on terror"
with the every day realities faced by women living in cultures that
enforce female circumcision, do not give equal value for to equal work
based on cultural bias, tacitly accept violent domestic situations, use
sexual intimidation as a military tactic and fear of reprisal as a
cultural control.

The name, gender[f], designates a programmatic function. The function ó
gender ó holds an unlimited, presently undefined array ó [f] ó the issues
and/or representations of women in society.

This call is addressed to women of different geographical, disciplinary
and theoretical backgrounds, who are invited to make a statement on the
subject by creating an object of art, creative writing or critical essay
or to submit already existing projects related to the subject. (urls are
acceptable, space for net-projects is available.)

Submission deadline is September 10, 2004. Work should be in digital
format, web-ready preferred, but not necessary. An accompanying event in
Detroit is in the planning stages.

gender[f] is dedicated to the the over 400 murdered and disappeared women
of Juarez who worked in the maquiladoras of Juarez.

Please direct responses to dking AT
____ ____ ____ ____ ____ ___ ___ ___
||a |||r |||t |||w |||a |||r |||e |||z || .org

take it and run!

To unsubscribe, e-mail: oldboys-unsubscribe AT
For additional commands, e-mail: oldboys-help AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.11.04
From: Indi McCarthy <indi AT>
Subject: Job opening AT the Beall Center // Technical Director

The Technical Director for the Beall Center for Art and Technology is a
contract position, in the Claire Trevor School of the Arts, UC Irvine. The
Beall Center is a 2500 square foot "black box" venue for visual and
performing arts, featuring new works by artists and collaborative teams
using emerging technologies. The Technical Director position serves as
technical consultant and installer for productions, exhibitions, special
events and research residencies, which can include A/V, sound art, networked
configurations, web streaming, robotics, haptic devices, etc. As project
manager for the technical components of all installations and productions,
the Technical Director coordinates installation time lines with the
Assistant Director, artists, vendors and engineers, and is responsible for
the technical functioning of the productions as well as the Beall Center
facility and equipment. In addition, the position trains Beall Center
docents/guards on maintaining exhibitions and is responsible for archiving
installations and updating the web site.

This position will require a flexible schedule including evening and weekend

Salary: Annual DOE (~37,100/51,000/64,900)
***This is a 11 month contract position***

To apply, please see the UC Irvine Human Resources web site
and refer to job number: #2004-0687

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.13.04
From: Raquel Herrera <rahefe AT>
Subject: Raquel Herrera <rahefe AT>

5th Symposium on Art and Multimedia
Mediateca CaixaForum (Fundació "la Caixa")

:: international meeting on the artistic direction of
audiovisual and multimedia narratives and syntax ::

Barcelona, Spain, January 28-29 2005

dead-line for proposals (both papers and works): 1 November 2004


The Fifth Symposium on Art and Multimedia is dedicated to 'digital
metanarrative' from any focus, from all points of view. The organizers'
intention is none other than to create and help flourish possibilities of
acquiring greater knowledge in this experimental domain, in which we feel
that guidance of the art form (in the sense of providing proper direction to
it), is crucial.

We have opened two calls aimed at gathering texts and works related to
research and experimentation in narrative or non-narrative forms that set
out to go beyond the limits established today, and that have been developed
in the field of art and audiovisual and multimedia communication, coming to
be known as 'metanarratives' ('meta' in the sense of 'after').

We have started up this website to collect the proposals, and a weblog that
will encourage communicative participation. We will also facilitate the live
presentation of selected papers and works during the course of the Symposium
to be held next January 2005.
1. Call for papers
All authors of theoretical research related to digital metanarrative are
invited to take part in the 5th Symposium on Art and Multimedia with any
papers on new forms of narratives in the Internet Age. Issues like the
modification and questioning of the traditional (Aristotelian) concept of
storytelling (account of effective causality, temporal and spatial cohesion
etc...), will be central themes at the conference. We seek:

* theoretical reflections on digital narrative(s)
* online documentation on multimedial art

We are looking for papers that respond to the following questions:

What do we mean by digital narrative(s)?
What kind of changes has the new technological concept brought about in
narrative approaches?
To what syntactic particularities has this lead?
Can we speak of post-narrative or metanarrative models?....

- BA or similar in Art History, Music History, Fine Arts, Philology,
Philosophy and Humanities, Documentation Science, Audiovisual Communication,
Design studies or similar.
- Students enrolled on a recognised Master course
- Students enrolled on a Doctorate course

We need the following documents before 1 November 2004 at
metanarrative AT
- Abstract of the paper, min 500 max 1000 words, sent by e-mail in Word,
Openoffice or ASCII format
- Brief list of the used sources
- Author's current CV and contact details (email, telephone, address, fax
- An additional written document with the author's motivation and future

A jury of three representatives of 'Mediateca' and 'Grup Recerca VALL' of
the University of Barcelona will select six papers and notify the authors
prior to 1 December 2004.

The selection criteria are the following:
1. Relevance to the call and its objectives
2. Relevance to the current research panorama in this field
3. Originality
4. The author's motivation and prospects for the future

The authors of the selected papers will be invited to Barcelona to present
them personally at the 5th Symposium on Art and Multimedia at 'CaixaForum'
of "la Caixa" Foundation, 28 and 29 January 2005. On the day of their
presentation, invited authors will receive 600 euros (residents in Spain 400
euros and residents in Catalonia 200 euros) to cover travel and
accommodation expenses.
The dead-line for the complete version of the selected papers is 15 December
2004. The final format will be of the author's choosing: text, hypertext or
hypermedia. Papers will be accessible to users of the Mediateca website for
an indefinite period of time.

2. Call for works or experiments on digital metanarrative

We seek artistic research works in which the challenges and benefits of
narrative or metanarrative renewal are presented, and also those
non-narrative creations which may contribute to fostering the debate on
digital narrative.
* Artistic works based on the notions of digital narrative.
Key words: digital narrative, media narrative, electronic textuality,
electronic books, art on CD-ROM or DVD, on-line narratives, weblogging,
web-based stories, community creation, digital environments, video games,
narratology, ludology.
* Artistic creations approached from a non-narrative position that
question the narrative structures in advanced (expanded) communication.
Key words: web art, net art, mail art, software art, communication
aesthetics, information aesthetics, digital architecture


Documentation to be sent to metanarrative AT
- The work and/or exact references of where and how it may be consulted.
- An additional text by the author

1 November 2004

The selection criteria will include:
- Pertinence to the call.
- Relevance in the current panorama of artistic practices.
- Originality in the twofold sense of the word:
- that it is an original work by the author,
- that it stands out for its form and/or content.
- Motivation and future prospects expressed in the documentation

A jury of three representatives of the Mediateca and of the VALL Research
Group of the University of Barcelona will select six works. The decision
will be notified to the authors prior to 1 December 2004.

The authors of the selected papers will be invited to CaixaForum to present
them personally. Works will be presented publicly at "la Caixa" Foundation's
CaixaForum in Barcelona during the 5th Symposium on Art and Multimedia on 28
and 29 January 2005. On the day of their presentation, invited authors will
receive 600 euros (residents in Spain 400 euros and residents in Catalonia
200 euros) to cover travel and accommodation expenses.

The selected works or their URL will be accessible to users of the Mediateca
website for an indefinite period of time. If the author so desires, the
Mediateca will host the work on its server.

Mediateca CaixaForum de la Fundació "la Caixa"
Av. Marquès de Comilles, 6-8
Catalonia, Spain
<M> Espanya

Information and address to send papers and works:
VALL Research Group
Attn. Cilia Willem
metanarrative AT

University of Barcelona
Pg. Vall d'Hebron, 171
Edifici Llevant, despatx 005
08035 Barcelona
Catalonia, Spain

tel. +34 934 035 065 / +34 934 034 413

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.09.04
From: Pau Waelder <pau AT>
Subject: Ars Electronica t+25 timeline

Los Angeles, 8 August 2004

Ars Electronica <>, the oldest, largest, and most prominent
art and technology festival in the world, today launched a web site inviting
participants to make predictions about the next 25 years, year by year, and
to vote on predictions already posted. The project, called the "t+25
timeline" <>, is part of the Festival's 25th
anniversary celebration, to be held in September, in Linz, Austria. The
theme of this year's festival is "TIMESHIFT - the World in Twenty-Five

The t+25 timeline was announced at Siggraph 2004 in Los Angeles, an
international conference on computer graphics and interactive techniques
expected to attract over 25,000 attendees. The announcement, during the
Siggraph Artist Round Tables, marks the launching of a beta version intended
to "seed" the timeline with entries.

During the Ars Electronica Festival, 2-7 September, t+25 will exhibit as a
public installation, where attendees can participate. It will remain
accessible online during this time. When the Festival ends on 7 September
2004, t+25 freezes and will be available online as an archive.

t+25 is open to anyone on the Web. Registration is not required. Voting is
based on a simple one vote per entry per day per computer basis.

"The t+25 timeline is a cultural experiment," says guest curator Michael
Naimark, "intended to encourage imaginative articulation of future
scenarios. It is also intended to be iterative and emergent, with entries
and votes affecting more entries and votes. Our goal is to enable creative

"Ars Electronica has a long history of engaging the artistic community in
social and cultural issues," continues Artistic Director Gerfried Stocker.
"With t+25, we have opened up the creative process to anyone willing to
speak about or vote on future ideas."
Though the Web is laden with predictions, prophesies, and scenarios, very
few sites exist for open posting and voting. The most prominent of these
sites is by the Long Bets Foundation <>, where
participants can post predictions as public wagers, or "accountable

"t+25" is a faster, looser version of Long Bets" says Naimark. "Theirs is
situated in life. Ours is situated in art. We fully expect ours to
complement theirs."

Ars Electronica 2004
TIMESHIFT - The World in Twenty-Five Years
Linz, Thu 2 - Tue 7 September

"TIMESHIFT - The World in Twenty-Five Years" is the title of the 2004
festival for art, technology and society; transformation, upheaval and the
future are its programmatic concepts. The point of departure is reflection
upon the past 25 years; the aim is to identify the developments that promise
to be the driving forces in art, technology and society over the next
quarter century.

Will key technologies like nanotechnology lead to another technological
revolution that will change our lives as fundamentally as digital media have
done? What areas of social confrontation can we anticipate? Does the way we
deal with new technologies change in light of our ever-increasing experience
or do we still lapse into the same automatic reaction mechanisms of
enthusiasm for or hostility towards innovation?

What conclusions can be drawn from the past and utilized in addressing these
emerging issues? Ars Electronica has 25 years of development and experience
behind it, and has amassed an enormous archive documenting its unique
breadth as a discussion forum. On the basis of the experience thus gained
and in keeping with its mission as an instrument of social analysis, Ars
Electronica 2004 will also be dedicated to the question of whether ongoing
social development-in the sense of a learning curve derived from the past
and applied to the future-is possible.


Mag. Wolfgang A. Bednarzek MAS
Pressesprecher / Press Officer

Ars Electronica Center
HauptstraÃ?e 2-4, 4040 Linz, Austria
tel: +43.732.7272-38
fax: +43.732.7272-638
mailto:wolfgang.bednarzek AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.09.04
From: ryan griffis <grifray AT>
Subject: ExxonSecrets
website by Amy Balkin/Josh On
"Exxonsecrets is the first chapter of a larger Greenpeace project
provide a research database of information on the corporate funded
anti-environmental movement. The database compiles Exxon Foundation
funding to a series of institutions who have worked to undermine
solutions to global warming  and climate change in recent years.
 Individuals working with these organizations and their global warming
quotes and deeds are detailed.  There are downloadable source documents
or links to sources are provided  throughout."
(from )

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


Date: 8.13.04
From: Nathaniel Stern <nathaniel AT>
Subject: Dense and Urban - the Cybermohalla in Delhi

Dense and Urban - the Cybermohalla in Delhi
by Nathaniel Stern

"In its broadest imagination, one can see Cybermohalla as a desire for a
wide and horizontal network (both real and virtual) of voices, texts, sounds
and images in dialogue and debate" (from

Sarai: the New Media Initiative is a non-profit space that fosters new/old
media practice and research towards critical cultural intervention. This
project, the digital mohalla (or, 'dense urban neighborhood'), is a
collaboration with Ankur, an NGO working on experimental education. It
consists of working class youths, aged 15-25, creating work in various parts
of Delhi - a resettlement colony in South Delhi (Dakshinpuri), an illegal
working class settlement in Central Delhi, LNJP, and the Sarai Media Lab in
North Delhi.

Cybermohalla's young arts practitioners work on free software and low-cost
media equipment to produce experimental / playful multimedia works, ranging
from texts, collages, posters and print publications, to videos, and
large-scale installations. Together and apart, each person, project, space
and marked-up page in the online archive is an individual voice, and a node
in the networked dialogue between the disquiet doubt of Delhi, and its
growing arts and media scene.

As a practitioner and teacher in the third world myself, projects like this
one do indeed speak volumes back to the uninclusive, supposedly utopian,
networks of the first world, which are always already shot through with
inaccessible desire. I've been caught myself, saying things like, "if we
can't imagine it, it won't happen," but, all sentimentality aside, it's nice
to see new media speaking back to sociopolitical questions other than those
that arise only from new media itself.

The not-paradoxical thing, ever-present in the Cybermohalla network, is an
acute sense of place. I've never been to any of the nodes, or to Delhi for
that matter; I've only surfed their artworks and archives. Still, where I am
when I surf is completely apparent.

The first poster linked from their 'text-screens' page - - asks us, "Before
coming here, had you thought of a place like this?" This question is a
recurring theme in their archived projects, including wall-art, stickers,
booklets, as animated gifs, performances, and is even the title of a
traveling installation. Whether we had 'thought of this place' or not -
perhaps we imagined it into existence, or are doing so now - it lives and
breathes with us in the present tense.

So I guess that romanticism is alive and well in Delhi.

On further investigation, I found that for the creators, this
question-as-title signifies the fact (possibility?) that contemporary Indian
artists worldwide, regardless of their vastly differing use of media, and
potential displacement, are striving to engage in the issues of local
situations, as well as those related to translocal phenomena and global
conditions. They believe that, in sharp contrast to the generation before
them, they are not using Western rhetoric to take part in this discourse.

This is actually something I noticed right away; the works shown are not
attempting to provide answers from a distance. Rather, they ask difficult
questions, pose provocational scenarios and movement, in order to engage in
something bigger than themselves. The Cybermoholla is not a non-curated exhibition; it really is a community of independent thinkers asking
to be heard, asking the world what it believes is worth listening to.

'by lanes', for example, glimpses into the diaries of twelve of Sarai's
young artists, and shares the narrations, reflections, commentaries, word
play and observations they were engaged with over the course of one year at
the LNJP basti (neighborhood). The small PDF files act as proposals of what
was, and what can be. "Streets make for great conversations," begins an
introductory line of text in the first file, which goes on to ask why and
when we do or do not walk the streets. Providing counsel, it tells us that
the "dangerous, unpredictable street" may not be a legitimate reason to stay
at home. This, as a resident of Johannesburg, South Africa, I understand.

The compelling language of the Cybermoholla is, quite simply, struggle-,
rather than goal-, orientated. There's a certain level of maturity in the
articulation of reflection; we are invited into a mediated space, but one
whose biases are both subtle and transparent.

I want to know more; I want to do more; I want to belong.

There is, of course, playfulness and naiveté in the space, too. After all,
it is mostly made up of teens and young adults. After I had already begun
researching and writing on their work, Jeebesh Baghchi - a facilitator at
Sarai - sent me links to their new blog pages.

These range from open source blogs completely in Hindi (which they are all
apparently, and rightfully, very proud of) and friendly, poetic (English)
narratives about how we can phrase, and re-phrase, and ask again, to little
text excerpts about the 'incidentally quite hot' new girl from Argentina
[sic!]. I especially liked envisioning a described scene where our hero,
Karim the blogger, had to go to babelfish to translate her Spanish to
English. He then translated the English to Hindi, himself, for Chintu -
another Compughar (Abode of Computers) resident. After all, one must know
what the hot new girl is saying, yes?

Recent public performances and exhibitions by Cybermoholla participants
include an International Theatre Festival in Hamburg (Feb - Mar 2004),
followed by a run of the same performance throughout areas of Delhi, a
complete CD of the Cybermoholla works ( temporarily online at ), a 'Wall Magazine'
called 'Hadsa' (Incident) whose subject is given away by the title, and the
aforementioned installation - "Before coming here, had you thought of a
place like this" - at the Culturgest Museum in Portugal (closed June 2004).

I can't help but wonder if this is not what pervasive technology can mean to
a world outside of the US and Europe. We carry on 'being' the same, but are
louder, better, more accurate in our inaccuracies and odd juxtapositions.
We are not mirrors to the first world, or even to ourselves, but we are
storytellers, continuing on our journeys with slightly nicer pens, pads and
PowerPoint presentations.

Nathaniel Stern

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + is a 501(c)(3) nonprofit organization and an affiliate of
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.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome Digest is filtered by Kevin McGarry (kevin AT ISSN:
1525-9110. Volume 9, number 33. 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

To unsubscribe from this list, visit
Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at

Please invite your friends to visit on Fridays, when the
site is open to members and non-members alike.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +