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: 9.24.04
Date: Mon, 27 Sep 2004 21:09:05 -0700

RHIZOME DIGEST: September 24, 2004


1. Francis Hwang: (RSS) Feed me, Seymour

2. Rachel Greene: Fwd: [2-13] society for cutting up mpgz
3. ryan griffis: FWD: Autonomedia/Ocularis film event
4. ryan griffis: FWD: inSite_05 website launch
5. Kevin McGarry: FW: [] Opening of new exhibition
6. Kevin McGarry: Hot Enough? Art, Activism and Wireless Technology During
the Republican National Convention
7. ryan griffis: Colloquium on Art & Biotech (Montreal)

8. Nanette Wylde: cfp exhibition
9. Kanarinka: CALL FOR ARTISTS: 100(11) Instruction Works
10. Ivan Pope: First BETA showcase: Call for Submissions

11. Just added to the Rhizome ArtBase: Looptracks by Conor

+scene report+
12. Jonah Brucker-Cohen: Report from Ars Electronica 2004

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Date: 9.23.04
From: Francis Hwang <francis AT>
Subject: (RSS) Feed me, Seymour

Hey all,

I'm happy to announce a few more RSS channels for y'all to slurp down.
The Net Art News RSS feed has been running for some time now, and is
now joined by an artwork.rss feed, which announces new artworks as
they're made live in the ArtBase, and a rare.rss feed, which mirrors
the Rhizome Rare email list. You can read more about this here:

Feel free to do with these feeds whatever you'd do with any other
feeds: aggregate 'em, blog 'em, etc. And if you have any other ideas
for feeds you'd like to see please let me know.

Francis Hwang
Director of Technology
phone: 212-219-1288x202
AIM: francisrhizome

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Date: 9.19.04
From: Rachel Greene <rachel AT>
Subject: Fwd: [2-13] society for cutting up mpgz

Begin forwarded message:

From: rheingold <gold AT>
Date: September 19, 2004 6:20:08 PM EDT
To: thuja AT
Subject: [2-13] society for cutting up mpgz

even though the use of mobile phones for still photography is gaining more
widespread acceptance, more and more cell phones, pda's and handheld devices
are being equipped with video capabilities. what then, are the potentials of
the handheld device as a cinematic tool for expression & activism? to
paraphrase aim, what are the distinctive qualities of cell phone video, and
how do the stories and images from this technological set differ from its
predecessors? does the intimacy and mobility of the video-enabled cell phone
create a change in perspective? does it represent a culture of universal
surveillance where there is a universal intimacy but a complete lack of
private space? how does the mobile perspective shift our perception in the
way the mediated image of the cellular/network individual is represented?
does its low-resolution somehow challenge the aesthetics, 'truthfulness', or
technofetishism of the increasingly filmic nature of video? these are some
of the questions that normative bebilderung hopes to address. we, artists,
performers, tribes from the normative bebilderung, we have been undergoing
police repressions, abusive laws, the pressures of cultural industries and
capitalist economy for a long time. to denounce these intolerable pressures,
we declare the internet television will be, so that everybody will
demonstrate his know-how and creativity in the dark, an international
underground! let 10.000 clips joyfully illuminate and fertilize the cultural
aridity! the idea of internet television is metaphoric: even if celebrate,
create, have amateur cultural practices, emerge among indifference, market,
and daily repression are a fight, we demand a pacific action! internet
television is a pacific action, but it remains a fight! internet
televisionists are working towards another end. this other end is militant:
it is a question of producing an utopia. u-topia = lack of proper place. for
us in a prospect of action, it means being everywhere at the same time. it
also means: being numerous but no masses! Iit further means cultural
diversity! meeting the others! refusing identity withdraws of all kinds, as
people can have lots of piercings and be really set in their ways, egoist,
monomaniac or limited. here is the fight: not a fight for sound, free, punk,
classic or else! but for all that in once and to keep the possibility of
doing that. for the emergence of diversity! for diversity against compact
masses! for the right to create, to meet freely each others, to imagine our
future off the pre-formatted frames proposed by the market, the security
ideologies and the ready-to-think of some activists. to prove that we are
organized, thoughtful, responsible and that we are fully aware of our acts
as well during our cultural events as every day. to demonstrate that we
represent an important part of the population, that we can be your
neighbours, your friends, your family.

which way to go?

[2-13] beta 13.09.2004, 2m14s

archiv fuer kontemplative bewegtbilddokumentation
frankfurt am main

programm vom 14.09.2004

alle filme duerfen kopiert und verwendet werden
zum betrachten benoetigen sie quicktime

[buchmesse] wayneflaschner 03.09.2004, 0m35s
[langer mopsfilm] 02.09.2004, 3m00s
[startbahn west] 02.09.2004, 1m33s
[totenschiff] 02.09.2004, 1m44s
[6peg] draschan/friedrichs 02.09.2004, 2m07s
[schafhausen] 24.08.2004, 0m37s
[the resurrection of e. ehlers] 15.08.2004, 1m00s
[trudi.sozial] 14.08.2004, 0m52s
[the ominous k.b. movie] 13.08.2004, 5m04s
[italian art fair] 08.08.2004, 1m00s
[gummi] 04.08.2004, 0m32s
[elche] 23.02.2004, 1m46s
[dingo] 04.08.2004, 1m39s
[macht] 25.07.2004, 1m38s
[beton] 25.07.2004, 1m50s
[kunst] 25.07.2004, 1m03s
[minutenspiel] 22.07.2004, 1m12s
[lerchesberg] 14.07.2004, 0m49s
[subjektivation] 11.07.2004, 1m02s
[brsmas zeh] 11.07.2004, 0m09s
[helium] 11.07.2004, 0m24s
[phall] 11.07.2004, 0m35s
[dws] 11.07.2004, 0m50s
[playtime] 27.06.2004, 0m37s
[goethehaus] 27.06.2004, 0m52s
[sexpfeife] 27.06.2004, 0m29s
[der ominoese kb] 27.06.2004, 0m20s
[es kommt zum kampf] 20.06.2004, 2m15s
[das grosse foto] 19.06.2004, 2m15s
[goto lang] 19.06.2004, 3m31s
[brand und investigation] 19.06.2004, 0m28s
[haschdemo] 19.06.2004, 0m31s
[stefan beck] 17.06.2004, 0m05s
[viewpoint] 08.06.2004, 0m01s
[the show must go on] 06.05.2004, 2m58s
[hier kommt die maus] 02.05.2004, 0m38s
[no ufos] 02.05.2004, 1m50s
[nordendfenster] 02.05.2004, 0m29s
[neuer klub] 29.04.2004, 0m36s
[brauweiler] 22.04.2004, 0m18s
[koenigswinter] 22.04.2004, 1m23s
[loevenich] 22.04.2004, 0m08s
[gelbfuss 2] 22.04.2004, 0m21s
[the green house revisited] 18.04.2004, 6m19s
[konsumverhalten] 18.04.2004, 1m20s
[the sequel starts here] 17.04.2004, 0m32s
[shopping] 17.04.2004, 0m40s
[gelbfuss] 14.04.2004, 0m23s
[kopfgewimmel] 14.04.2004, 0m19s

:: Serverfestival2004 ::

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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: 9.20.04
From: ryan griffis <grifray AT>
Subject: FWD: Autonomedia/Ocularis film event

greetings -- Autonomedia is helping produce a fundraising event at
the Ocularis film night at Galapagos, an art-bar in Williamsburg,
Brooklyn. Nato Thompson and Greg Sholette are both scheduled to speak
(along with Keith Sanborn and one of the Insitute for Applied
Autonomy people), and films shown will include a late-70s Manuel
DeLanda documentary piece on his graffiti practice from that period!

I'm attaching our press release below, so please feel free to pass
this information around to friends or colleagues in NYC who would
come out to support this. Also, I emailed some of this info to
<<organize AT>>, but didn't hear back or see any
changes on the site calendar, so if there's a way to update that
information, please let me know.

Ben Meyers


organized by Autonomedia and Marianne Shaneen

Sunday October 3, 2004 at 7pm
Price: $6
Ocularis at: Galapagos Art & Performance Space
70 North 6th Street (between Wythe and Kent)
Williamsburg Brooklyn, NY 11211
nearest subway: Bedford Ave L Train
venue tel/fax: 718-388-8713
Press contact: Ben Meyers, ben AT, tel 646-496-2353

* * * * *
FILMS BY: Manual DeLanda, the Critical Art Ensemble, Keith Sanborn,
Peggy Ahwesh, Eli Elliott, Dara Greenwald, Eric Henry, Rachel Mayeri,
and the United States Dept of Defense

WITH COMMENTARY BY: Nato Thompson, Greg Sholette, Keith Sanborn, and
John Henry
* * * * *

For nearly 20 years, the Critical Art Ensemble has produced art,
performance, and texts critically examining the relationships between
science, politics, social life and the State. Since May 2004, some of
this work has triggered a Federal investigation and criminal lawsuit,
with a founding member facing numerous indictments, possible prison
time and excessive fines (details below). In the face of huge legal
defense bills in this case, many fundraising events are being
organized internationally and online.

On October 3rd, 2004, Ocularis will present an evening of film and
video work with a focus on science and political critique, with
commentary by some primary figures in the Critical Art Ensemble's
case. Filmworks range from animations about bioengineered
"Frankencorn" and documentary work around the Human Genome Project to
a video "cut-up" of a Department of Defense training video and an
archival DoD propaganda film on how to deal with biological warfare.
Speakers include the curator of the MASS MoCA show on interventionist
art where subpoenas were delivered to the CAE, and a member of the
Institute for Applied Autonomy, developers of the "TXTMOB"
phone-messaging technology widely used during the Republican
Convention protests. Books by the Critical Art Ensemble will be
available, and all proceeds will go to the Steve Kurtz Defense Fund.

* * * * * FILMS INCLUDE * * * * *
Critical Art Ensemble: Four short films
From 1986-1993 Critical Art Ensemble made numerous low-tech films and
videos. In 1993, the launch of the visual digital revolution through
the use of graphic user interfaces and the WWW signaled an end, for
CAE, of the cause for legitimating low-tech production in mass media,
and CAE abandoned video production at this time to explore on-line
and digital graphic possibilities.

Manuel DeLanda: Ism-Ism.
This rarely-seen film documents Manuel DeLanda's graffiti activities
between 1977 and 1979. Instead of tags and other more familiar forms
of art interventions on the street, DeLanda attacked commercial
billboards, morphing the faces of people in ads into bizarre looking

Keith Sanborn: "Operation Double Trouble", a detourned US government
propaganda film.

Peggy Ahwesh: She-Puppet
Re-editing footage collected from months of playing Tomb Raider,
Ahwesh transforms the video game into a reflection on identity and
mortality, acknowledging the intimate relationship between Lara Croft
and her player. Moving beyond her implicit feminist critique of the
problematic female identity, she enlarges the dilemma of Croft's
entrapment to that of the individual in an increasingly artificial

Eli Elliott:"ASSCroft"
A hilarious 4 min. PixelVision piece touching on the Patriot Act.

Dara Greenwald: "Strategic Cyber Defense"
4 mins. of jaw-dropping paranoid pathology from the Dept of Defense,
a warped 'in-house' training video chopped up into the perfect mix of
shredded clueless hysteria.

Eric Henry: Bear Witness III and Pirates & Emperors (or, Size Does
Bear Witness III, a music video for Dan the Automator, is a four-part
study in hubris. Each section explores a different ego trip-military,
cosmetic, scientific, and engineering/industrial-and takes it to its
logical conclusion. Pirates & Emperors (or, Size Does Matter) is a
wry political cartoon about bullies big and small. It is set to
original music and animated in a style reminiscent of the popular
"Schoolhouse Rock" educational video series. It illustrates the
notion that if you are a successful enough bully, you can pretty much
write your own ticket and go by the name "emperor" or "president"

Rachel Mayeri: Stories from the Genome
Part cloning experiment, part documentary, Stories from the Genome
follows an unnamed CEO-geneticist whose company sequenced the Human
Genome in 2003-a genome that secretly was his own. Not satisfied with
this feat, the scientist self-replicates, producing a colony of
clone-scientists to save himself from Alzheimer's. Mayeri's video
comments on the dangers of short-sighted, self-interest in
contemporary biotechnology and its appropriation for profit of human
genetic information.

The US Federal Civil Defense Administration: What You Should Know
About Biological Warfare (1952)
How can we protect ourselves against the threats of germs and toxins?
This Cold War-era government film teaches viewers how to fend off
threats from unconventional bioweapons.

Speakers for this event will include:
-Nato Thompson, MASS MoCA curator of May 2004 show "The
Interventionists: Art in the Social Sphere - a brief survey of
interventionist political art practices of the 90s" which was to
include work by the CAE, but instead saw the issuing of subpoenas to
those CAE members present at the opening.
-Greg Sholette, artist, writer and activist. He was a founding member
of the REPOhistory artist's collective and of Political Art
Documentation and Distribution, and has collaborated with the
Critical Art Ensemble.
-Keith Sanborn, artist, theorist and curator, has been working in
film, photography, digital media and video since the late 1970s. He
has also translated several of the films of Guy Debord into English.
-John Henry of the Institute for Applied Autonomy, an art and
engineering collective that develops technologies for political
dissent. Projects include the development of robots that can leaflet
or draw graffiti, and the text messaging "TXTmob" tool used by
protestors at the Republican National Convention.

Background on the case:
Since May 2004, Steve Kurtz, founding member of the acclaimed
Critical Art Ensemble and professor in the Art Department at SUNY
Buffalo, has been under Federal investigation on Grand Jury charges
relating to bio-terrorism under the PATRIOT Act. The investigation
stems from Steve's possession of biological equipment and bacteria
seized by the FBI from Kurtz's home, materials which can be found in
any high school science lab, but was used to create art critical of
the unrestrained use of biotechnology and the history of US
involvement in germ warfare experiments (including the Bush
administration's earmarking of hundreds of millions of dollars to
erect high-security laboratories around the country). In July, Steve
and his collaborator, Robert Ferrell, Professor of Genetics at the
University of Pittsburgh, were formally charged with four counts of
mail and wire fraud, each carrying a maximum sentence of 20 years in
prison and a $250,000 fine. The Federal charges have been met with a
huge outcry from artists, scientists, researchers, and professors.
Clearly the absurd and disturbing charges are an attempt to use the
Patriot Act to target and intimidate artists and researchers who are
critical or controversial, and to curtail artistic and intellectual

For more info on Steve's case, please visit

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Date: 9.21.04
From: ryan griffis <grifray AT>
Subject: FWD: inSite_05 website launch

inSite announces the launch of its website, and outlines its program
for 2005. Structured as a matrix based on the four components of
inSite_05­Interventions, Scenarios, Conversations, and Museum
Exhibition ­ was conceived with the aim of
making evident the processual nature of inSite_05. Created by fdt
design, will incorporate additional web-based
projects, including Tijuana Calling, a commissioned program of online
work, and Insight_Transborder Archive, an open archive linking
individuals and institutions across the San Diego-Tijuana border.

inSite anuncia el lanzamiento de la página web de inSite_05 y presenta
su programa para la edición del 2005. Con una estructura basada en los
cuatro componentes del proyecto: Intervenciones, Escenarios,
Conversaciones y Exposición, este website ha sido concebido para
develar la naturaleza procesual e interconectiva de inSite_05. Creado
por fdt design, se expande hacia otros
proyectos en red que son parte de inSite_05, como Tijuana Calling, ­un
proyecto comisionado para trabajos en línea­ e Insight_Archivo
transfronterizo, un archivo abierto interconectando individuos e
instituciones en el área de Tijuana-San Diego.

Projects and exhibitions open to the public: August 26, through
November 13, 2005.
Proyectos y exposiciones abiertos al público: 26 de agosto y hasta el
13 de noviembre del 2005.

inSite is a network of contemporary art programs and commissioned
projects that maps the dynamics of permeability and blockage that
characterize the liminal border zone of San Diego-Tijuana. Over the
course of twelve years, since its inception in 1992, inSite has focused
on the specificity of this urban corridor as a mutant context of
unexpected political and cultural rearticulations.

inSite es una red de programas de arte contemporáneo y de proyectos
comisionados que mapean las dinámicas de permeabilidad y bloqueo en la
zona fronteriza de Tijuana-San Diego. A lo largo de 12 años, desde sus
inicios en 1992, inSite se ha enfocado en la especificidad de este
corredor urbano, como un contexto mutante de rearticulaciones políticas
y culturales sorpresivas.

Executive Directors> Directores ejecutivos: Michael Krichman ? Carmen

Artistic Director> Director artístico: Osvaldo Sánchez
Curators> Curadores: Ute Meta Bauer ? Hans Fjellestad ? Adriano Pedrosa
? Osvaldo Sánchez ? Mark Tribe ? Sally Yard
Associate Curators> Curadores asociados: Donna Conwell ? Marcela Quiroz
Luna ? Tania Ragasol

For more information> Para más información:
Public Relations> Relaciones Públicas: Papus von Saenger
Tel. 619.230.0005
Email: papus AT

710 13th Street, Suite #305, San Diego, CA 92101
T 619.230.0005 F 619.230.0035 E info AT

Collaborating Institutions> Instituciones colaboradoras: Atheneaum
Music and Arts Library ? Centro Cultural de la Raza ? Centro Cultural
Tijuana (CECUT) ? Colegio de la Frontera Norte (COLEF) ? Consejo
Nacional para la Cultura y las Artes (CONACULTA) ? Fondo Nacional para
la Cultura y las Artes (FONCA) ? Goethe Institut Inter Nationes, Mexico
City ? Instituto de Cultura de Baja California ? Instituto Nacional de
Bellas Artes (INBA) ? Universidad Nacional Autónoma de México (UNAM) ?
San Diego Museum of Art ? University of California, San Diego, The
Stuart Collection ? University of California, San Diego, Department of
Visual Arts

Major Sponsors> Principales patrocinadores: The Andy Warhol Foundation
for the Visual Arts ? The Burnham Foundation ? Centro Cultural Tijuana
? City of San Diego Commission for Arts and Culture ? Consejo Nacional
para la Cultura y las Artes ? Fondo Nacional para la Cultura y las
Artes ? Fundación BBVA Bancomer ? Fundación Cuervo ? Eloisa and Chris
Haudenschild ? Hotel Habita ? Instituto Nacional de Bellas Artes ? The
James Irvine Foundation ? Fundación Jumex ? The Lucille and Ronald
Neeley Foundation ? National Endowment for the Arts ? Panta Rhea
Foundation ? Fundación Televisa ? Universidad Nacional Autónoma de
México ? Tides Canada Foundation

inSITE2000-01 Catalogue> Catálogo/ ISBN: 0-9642554-4-8/ Available for>
Disponible por: $29.95/ info AT

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Date: 9.23.04
From: Kevin McGarry <Kevin AT>
Subject: FW: [] Opening of new exhibition

[1] Opening of data/reference/art exhibition
[2] CAll for entries for the next project

[1] data/reference/art - The third net-art exhibition of, is
launched, you are welcome to visit it:

Participant artists: Tamar Schori, Myron Turner, Simon Biggs, Doron Golan,
Reynald Druhin, Jerome Rigaud,
Don Sinclair, Joy Garnett, Brad Brace.
Curators: sala-manca group & vagrearg.

>From the curatorial text:
Databases, encyclopedias, indexes, dictionaries, and directories are not
merely devices of data organizing, but also mediums for building
hierarchical systems. Not only they convey topic specific information but
also propagate political and aesthetic ideologies, reflecting background and
interests of their producers. "The correct", "the necessary", "the
important" or "the secondary" for a user to know, to study, to invest - all
those messages embedded into systems of knowledge and sorted according to
hierarchy established by their editors. Methods of distribution, managing of
contents, the structure, lay a distinct track to control and design of
common knowledge, shaping thinking patterns.

The global network, providing a new space for distribution of traditional
data-collections, also grants a possibility of their deconstruction,
challenging their authority by making use of inherent practices of the Net:
decentralization and release of information, casting doubt upon hierarchies
through the new form of data-organization, popularizing of canonical and
non-canonical materials, formalizing, aestheticizing and so on.

Current exhibition compiled of nine art projects, each presenting an
original approach to the theme, placing in doubt, rethinking the
signification, the function and the objectives of data collections on the


Current exhibition raised the self-reflecting question of our
authority as curators and distributors/producers of knowledge. In attempt to
answer this question we chose to give up our ultimate right to show/hide the
artworks submitted to the projects exhibited on our website. Therefore, we
decided to present all the works we have received in response to our calls
for all the previous as well as for the current project.

It is important to note, that by doing so we are not canceling our
curatorial role, nor devaluating our responsibility for the choices made.
Indeed, we run the curated show that unite projects located closer to the
concept at hand and achieved higher artistic values (in our opinion). It
seems to us that opening the archives may allow for new interpretations of
the chosen for the exhibitions topics, and for observation of the relative
value of curatorial choices.

We believe that this step may open a deeper debate about the process of
exhibition of art on the Net, at least in relation to our activities. The
opening of our archives <> would allow
for examination of this process and relation to it, creating new channels of
dialog between the artists, critics, the visitors and us*.

[2] Art Keywords - Collaborative dictionary of the 21st century art.
Call for entries <>

The aim of the project is to start a self-growing, collaborative
encyclopedic dictionary that would approach central concepts, keywords,
terms, and definitions related to 21st century art.

The project attempts to create a place for the data and definition exchange
where the combination of theoretical, mediative and artistic (poetic)
definitions comes from the need to establish different approaches to art

We ask for artists, curators, critics and cultural mediators to send us
terms and concepts relevant to their own approach to art, defined textually
(definitions, articles, references, etc.) or through a media item (image,
video, sound etc.)

The project will operate on ongoing basis, with an initial version launched
by January 2005.

------------------------------------------------------------------------ <>

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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: 9.24.04
From: Kevin McGarry <Kevin AT>
Subject: Hot Enough? Art, Activism and Wireless Technology During the
Republican National Convention

Hot Enough? Art, Activism and Wireless Technology During the Republican
National Convention
Mon., Sept. 27, 7:00 p.m. $8
The Republican National Convention in late August will give rise to a wave
of artistic projects employing wireless technology to make specific
political statements. Unexpectedly, the RNC thus provides a common focus and
purpose to diverse and divergent initiatives and, in hindsight, enables us
to assess their efficiency. Wireless technology is one of the most exciting
new developments for political activism. Relatively inexpensive, accessible,
and packing tremendous punch with at times just one individual at its
origin, it can be used as a tool of protest or opinion-making--the flip side
of the near-pervasive electronic surveillance under which we now live. This
panel examines how artists employ wireless technology to reach unprecedented
masses, to recast the concept of "collaboration," to redefine and politicize
the urban environment, and to achieve unparalleled levels of immediacy.
Participants include: Yury Gitman (The Magic Bike ); Natalie Jeremijenko,
The Bureau of Inverse Technology, and ( clean air?, antiterror
line, sparrow line ); Joshua Kinberg (Bikes Against Bush ); neuroTransmitter
and others to be announced. Organized by the Vera List Center for Art and
Politics, on occasion of Spectropolis: Mobile Media, Art, and the City, a
wireless event organized by NYCwireless, Downtown Alliance, and the Lower
Manhattan Cultural Council. Co-sponsored by the Design and Technology
Department, Parsons School of Design, and the Department of Communication,
The New School.

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Date: 9.24.04
From: ryan griffis <grifray AT>
Subject: Colloquium on Art & Biotech (Montreal)

Biotechnologies announce the emergence of major breakthroughs and fresh
insights into various fields of knowledge in the near future: new
medical treatments, improvements in agriculture, the mapping of the
genomes of various species, the customized reconfiguration of bodies.
Such potent promises are both fascinating and disquieting, raising many
uncertainties and posing questions difficult to resolve. During this
colloquium, international theorists and artists will explore these
issues by presenting research and artworks situated at the intersection
of art, science and artificial systems.

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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:

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Date: 9.19.04
From: Nanette Wylde <nanl AT>
Subject: cfp exhibition
Annual Exhibition of Net.Art
call for participation

The electronic arts program at California State University Chico will
hold its annual virtual exhibition of in December 2004.

We are looking for recent interesting and excellent time-based and
interactive art projects created for the Internet arena.

Submission Deadline: October 19, 2004.
Email project URL, artist statement, browser/technical requirements to:
chicoartnet AT

Launch date: December 1, 2004

Selected projects will be expected to maintain their accessibility &
location through March 1, 2005

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Date: 9.20.04
From: Kanarinka <kanarinka AT>
Subject: CALL FOR ARTISTS: 100(11) Instruction Works

iKatun is temporarily moving to Toronto and we need your help!

We have been invited by the 7a*11d International Performance Art
Festival [ ] to collect instruction works from
artists around the world and perform one instruction piece a day in
Toronto during the festival -- October 20th - 31st.

Please contribute an instruction work to our database at:

During 7a*11d, the performances will be videotaped and then streamed
online in collaboration with the Interaccess electronic media Arts
Center [ ] in Toronto.

Merci beaucoup!


+ THE INSTITUTE AT FORT POINT: October 16/17, Fort Point, Boston, MA: The
Institute for Infinitely Small Things will be temporarily installed at
Fort Point Open Studios. Thanks to funding from the Fort Point Cultural
Coalition, iKatun will be able to conduct interviews, create guidebooks
and run expeditions that explore the Fort Point neighborhood as a site
for creative action and community for the next 100 years.

+ CALL FOR FORT POINT ARTISTS: We would like to interview you for the
above project. Please email us at info AT

+ NEW JOB: kanarinka has left software engineering to become the
Associate Director of Art Interactive in Cambridge, MA. Art
Interactive's mission is to provide a public forum that fosters
self-expression and human interaction through the development and
exhibition of art that is contemporary, experimental, and participatory.
Check out the current show - "Sonalumina-13" by Jeff Talman, a
site-specific sound and light installation. For more info visit or email catherine AT

+ NEW PROJECT: Sifting the Inner Belt:
is a year-long social research and performance project conceived by
Hiroko Kikuchi in collaboration with artists, activists and community
residents: Jeremy Chu, Catherine D'gnazio, William Ho, Jeremy Liu,
Natalie Loveless, and Kim Szeto. The final presentation is scheduled
for the summer 2005 at BCA.

During the South End Open Studios last weekend, we set up a
participatory booth at the Boston Center for the Arts. This was one of
the series of performance interventions and projects which will observe
the culture of the South End neighborhood with an emphasis on creating a
bridge between the Boston Center for the Arts and the Berkeley Street
Community Garden.

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Date: 9.22.04
From: Ivan Pope <ivan AT>
Subject: First BETA showcase: Call for Submissions

First BETA showcase: Call for Submissions
(Please forward this call Far & Wide)

Technology as a Slave to Art
30th & 31st October 2004
Brighton, East Sussex, UK

The first BETA open showcase, bringing a diversity of technology based
artworks to the public in a new and unique manner.

BETA calls for the submission of work for a two day exhibition at Brighton
Fringe Gallery. Our aim is to show self-selected art with technology work
for a day and a night of interaction, demonstration, networking, gaming,
sonic art, projection, music and beer.

We are looking for work that can fit within the space and be installed for
two days only.

We are attempting to expand ways of showing work and the audience that sees

We would welcome submissions of anything that can fit within a gallery space
and has a self-defined technology component.

We are hoping for a range of standalone screen based, network, interactive,
installed, sound, light, experimental works where the creators bring along
their own kit and install the piece on site.

We will also be scheduling projected work and sound and performance works
for the evening.

We are now calling for work in the following categories.

* Screen and pc based work (artists to bring their own machine along and
install for event)

* Floor based work (could be anything from a pc on a stand to a standalone
sculpture, artist to bring work and install)

* Works for projection (work can be submitted in specified formats, work
will be projected during event)

* Small installations (there are several specific spaces within the space
that would take small site specific installations, artists to bring and
install work, see website for more details of spaces)

* Sound and performance works for evening live event

Note that this is a BYO (Bring Your Own) event and all participants will
have to be present to set up their own work. There will be a setup day on
the Friday.

Please send submissions of max 500 words by email with a max of 1mb
attachments or a link to web information.

Deadline for submissions midnight Friday Oct 8th

submissions AT <>

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Date: 9.21.04
From: <artbase AT>
Subject: Just added to the Rhizome ArtBase: Looptracks by Conor O'Boyle

Just added to the Rhizome ArtBase ...

+ Looptracks +
+ Conor O'Boyle +

Looptracks is an exploration of digital media which makes use of the
computer's ability to layer, trigger and interrupt sound and animation in
real time. Playing with Looptracks is in some ways reminiscent of playing a
musical instrument, or using a DJ's turntables. However, the experience is
as much about visuals as it is about sound. Fast moving visuals slide across
the screen with a feeling speed and flow. A sense is created of being able
to reach into this flow and control it, interrupt it or change its

The more the user plays with the media available the more sound and
animation is unlocked. In this way the process of editing is combined with
the process of navigation. The purpose is to blur the boundary between the
performance and passive reception of digital media. The user must perform
the piece in order to navigate through it, a process which is designed to be

+ + +


I am a graphic designer who is also works with sound, music, animation and
video. I live and work in Dublin Ireland. I first developed an interest in
computer technology as a student at the National College of Art and Design
in Dublin. During this time I became particularly interested in the creative
possiblities of the Internet. After completing my degree Visual
Communications in 1994 I worked for a while as a print designer but
gradually became more and more interested in digital media.

In 1997 I completed a Masters of Science degree in Multimedia Systems at
Trinity College Dublin. Since then I have worked as an interactive designer
and have created designs for a variety of media including, video, print,
CD-Rom, websites and interactive museum installations.

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Date: 9.24.04
From: Jonah Brucker-Cohen <jonah AT>
Subject: Report from Ars Electronica 2004

Report from Ars Electronica 2004
Linz, Austria
Sept 2-7, 2004

By Jonah Brucker-Cohen (jonah (at)

This year¹s Ars Electronica festival was a reflection on the history and
progression of media arts throughout the last 25 years of the festival¹s
existence. The theme was ³TIMESHIFT: The World in 25 Years², a homage to the
importance and prominence that digital art practice has had not only within
the creative spectrum but also its dissemination through multiple
disciplines and cultures. Over six days, the festival attempted to provide a
structural coherence to the performances, exhibitions, conferences, and
special events that comprised its program. This was evident in the diverse
range of speakers and exhibitors including a large show of student work from
Japan¹s IAMAS and Ravensbourne College in the UK, and a diverse mixture of
symposium speakers.

The festival began with the ³Language of Networks² exhibition and conference
examining the proliferation of networks, maps, and social software. Brian
Holmes spoke about his research on the geography of information flow and
urban cartography. Josh On extrapolated on this by placing the importance on
the people enveloped in a network as an approach of studying networks. A
pivotal moment was when he exclaimed, ³Saying we live in a networked society
is meaningless, it¹s like saying we live in a social society.²

The TIMESHIFT symposium was curated by Michael Naimark and based around the
four themes of Progress, Disruption, Spirit, and Topia. Each topic featured
a younger revisitor of the Ars archive and four ³senior² experts in the
field who give larger thematic talks and predictions about what might
transpire over the next 25 years. Beginning with ³Progress², Roger Molina,
editor of Leonardo, spoke on knowledge and how future directions in science
are based on socially derived imperatives. He presented an ³ontological
challenge² that attempts to make us question how our universe is constructed
and interpreted. Peter Weibel, director of the ZKM, asked how we can predict
progress in the arts as the industrial revolution provided an impetus for
creative expression by allowing people to see the world differently, such as
viewing flowers as flowing dots out the window of speeding trains. However,
he believes that humans have the final say and that computers cannot improve
our own inherent intelligence. Ester Dyson¹s talk compounded the belief that
we might be entering information overload. She said that progress rests on
finding, managing, and disseminating information we already have access to
on a global scale. Looking like a Technicolor enigma on a broken video
conference was Ismail Serageldin of the Library of Alexandria who reminded
the audience that progress occurs locally.

I moderated the ³Disruption² section, and attempted to give an overview of
projects from the Ars archive that illustrated this theme through topics
ranging from collective action to critical geographies. Celebrity blogger,
Joi Ito spoke on how media is disseminated through the blog-o-sphere as
information that is somewhat relevant to a mass audience but then gets
pushed to the forefront of the public eye. He showed some humorous anti-bush
and file sharing advertisements as examples of how people are taking media
into their own hands through humorous remixes. Artist Krzysztof Wodiczko
then spoke on his installations that function as armaments to immigrants
while David Turnbull injected a debate on how indigenous communities map
their histories. Science fiction writer Bruce Sterling provided the comedy
and rants on the panel speaking on the wastefulness of ³blobjects²
(consumer goods designed on workstations) and ³spimes² (gadgets with
infinite functions). He pointed to his Palm TREO, calling it a gizmo or the
defining artifact of our time that has ³crazy² amounts of functionality, but
little inherent value.

The other two groups of speakers in the ³Spirit² and ³Topia² panels
attempted to challenge traditional notions of how communities use technology
and future predictions of how sustainable technological developments might
have an impact on our survival.
Geetha Narayanan of Srishti School of Art, Design, and Technology in
Bangalore, India gave an impressive presentation on how lived experience has
to be an integral part of any discussion on human well being by giving
examples of communities in rural India that exemplified this ethic in
practice. Sherry Turkle of MIT, followed this by rejecting the notion that
technology is merely a tool, positioning it as objects that make us reflect
ourselves. Her focus on projecting ³self² onto ³technology² (other) was
illustrated in ³the power of the transitional object² which pits objects,
devices, and code as extensions and integral parts of the human body and
experience. These debates asked the question of how culture and experience
are integrated into what it means to be an individual and act autonomously.

Between the hectic schedules of talks and events, I managed to sneak in some
fast food, and wander over to the various venues. Some highlights included
the retro-fitted O.K. center¹s installation of Ben Rubin and Mark Hansen¹s,
³Listening Post², which consisted of hundreds of LCD panels displaying live
chat room text. Also of note was Feng Meng Bo¹s ³Q4U² which features the
artist inside a Quake mod and allows members of the public to ³play² him.
Across town, the Time¹s Up ³Sensory Circus² was a metal-clad amusement park
of physical gaming meets gothic theme park. My favorite ride was ³Sonic
Pong² a projected pong game you played by leaning your body left and right
on hydraulic panels. The signature performance of the event, ³Apparition²
featured a disappointing interactive graphics performance with dancers and
real-time projections mapped onto their bodies. Despite the promise of live
performance and interplay between sensing movements and producing on-screen
feedback, the performance seemed to get lost in the awe of technology and
forget why it was being used. This was upstaged by Julien Maire¹s
³DEMI-PAS², a brilliant mechanized slide show that uses low-tech gears.
motors, and water drops to create vivid projected animations.

As this year¹s festival came to a close, it seemed less self-congratulatory
than it has in the past. Since many of the invited speakers had never met
before or were first-timers to the festival, the discussions and
interactions seemed to avoid their previous cliquish nature. It seemed as if
the themes this year brought out the need to experiment with
re-appropriation of existing methods and technology to redefine their
intended use. This was excellently illustrated when interactive video
pioneer Myrun Kreuger explained how he created the world¹s first computer
projection in the 1970s by aiming a camera at the computer screen. From
hacking Google News with Marcus Weskamp¹s ³NewsMap² to reinventing copyright
with Creative Commons, TIMESHIFT presented a clear need to experiment with
the now to discover how the next 25 years might evolve. In the end, it
seemed obvious that Ars itself might lose relevance in the next century if
it fails to continually question its own existence.

By Jonah Brucker-Cohen (jonah (at)

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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.

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Rhizome Digest is filtered by Kevin McGarry (kevin AT ISSN:
1525-9110. Volume 9, number 39. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

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