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: 10.01.04
Date: Mon, 4 Oct 2004 23:18:43 -0700

RHIZOME DIGEST: October 1, 2004


1. jillian mcdonald: Pace Digital Gallery hosts new Media Artists\' Talks -
Fall 2004
2. eduardo AT P[2]Piece closing
3. feminist trespass: Pilot TV: experimental media for feminist trespass

4. jon.lovebytes: Digital Space Commissions 2005 > Call for Entries
5. David Stout: Technical Director position at College of Santa Fe
6. Jordan Crandall: PUBLIC CULTURE faculty search
7. Kevin McGarry: FW: Pervasive and Locative Arts Network | cfp

8. Just added to the Rhizome ArtBase: #1 by joao Simoes
9. Regina Celia Pinto: MILKY WAY
10. Just added to the Rhizome ArtBase: Evidencia #001 by John
Paul Bichard

11. ryan griffis: Experiments in the Garden of Good and Evil: a review of
the gardenLAb experiment

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Date: 9.24.04
From: jillian mcdonald <jillianmcdonald AT>
Subject: Pace Digital Gallery hosts new Media Artists\' Talks - Fall 2004

Date/time: 7pm Tuesdays Oct 5, Oct 12; Nov 2, Nov 30

Location: 1 Pace Plaza, Pace University, NYC (map on website)

Admission: free!

Pace Digital Gallery is proud to present a series of Tuesday evening talks
with leading new media artists. Featured artists are Jose Carlos Casado,
Michael Mandiberg, Cory Arcangel, Yucef Merhi, John Gerrard, Andrea Polli,
and Annette Weintraub.

Also on view - Peter Horvath, 4 Works for the Internet (at 163 Williams
Street, map on website).

Contact info:
co-directors Jillian Mcdonald and Francis T Marchese
info and printable pdf at
digitalgallery AT

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Date: 9.30.04
From: Eduardo Navas <eduardo AT>
Subject: P[2]Piece closing


The p[2]Piece project ended in May 2004.
The archived version is now online.
More information below:


Online Collaboration
Consisting of artists inviting
other artists to participate
in an online exhibition.

Collaboration period:
November 2003-May 2004
Archived at
Direct link:

List of contributors:

Antoni Abad,
Annie Abrahams
Amy Alexander
Julian Alvarez
Soo Yeun Ahn
Lew Baldwin
Samuel Bianchini
John Cabral
Gregory Chantonsky
Arcangel Constantini
Andy Deck
Reynald Drouhin
Joachim Désarménien
Josh Larios
Patrick Lichty
Peter Luining
Elout de Kok
Brian Mackern
Eduardo Navas
Randall Packer
Rock Parés
Emile Pitoiset
Consuelo Rozo
Eugenio Tisselli
Who In Lee

Organized by Eduardo Navas

Sponsored and hosted by
Director: Lora McPhail
Long Beach/Los Angeles, CA

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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: 10.01.04
From: feminist trespass <outreach AT>
Subject: Pilot TV: experimental media for feminist trespass

Calling all trespassers!
Pilot is a 4-day autonomous television studio, happening October 8 -11 2004
in Chicago. This event will involve the staging and production of over 50
television shows, performances, lectures, and direct actions, made possible
by a diverse body of contributors from all over the country. This resulting
video series, of so-called TV "pilots," will be edited and horizontally
distributed to all participants, and will be disseminated through public
access worldwide. Pilot is brought to you by an open group of about 20
artists, activists, and family members. This event is free and open to the
public, for all to come and collaborate and get involved in the

Some Projects / TV Shows / Performances Include:
- FeelTank presents: a talk show on political depression (with special guest
- "Beautifull Radiating Energy," a performance by NYC-artist K8 Hardy
- JUNK: a program of queer cinema curated by Devon Devine (San Francisco,
- Collaborative â??live on the sceneâ?? segment covering public intervention
projects by Paige Gratland (Toronto)
- Public Addresses, performative lectures by Faith Wilding, Salem
Collo-Julin (Temporary Services), Gregg Bordowitz, and many others
- Tara Mateik (Paper Tiger) and the Society for Biological Insurgents report
on bioterrorism and homophobia.
- NYC-based artist Jack Waters, engineering A 2 way web transmission via
ivisit, connecting a performance in NYC to Chicago

more info:

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Date: 9.27.04
From: jon.lovebytes <jon AT>
Subject: Digital Space Commissions 2005 > Call for Entries

Digital Space Commissions 2005 > Call for Entries

Lovebytes is offering a number of commissions for innovative new digital
work as part of its ongoing Digital Space Programme.

Digital Space explores new environments for art, design and entertainment.
The commissions are open to individuals, professionals or companies who wish
to develop and exhibit innovative, challenging and experimental ideas. The
work may be for standalone exhibition, site specific installation or in
entirely digital form. Applications are invited for work that is yet to be
made, in-progress or existing but it must not have been previously exhibited
in public in the UK.

For a full list of previous Digital Space commissions click here >

The commissions will be exhibited at the Lovebytes International Festival of
Digital Art in April 2005.

Funding of up to £5,000 is available for any single project.
The deadline for applications to be received is Monday 1st November 2004.

For an application form please email > mailto:dspace2005 AT

Lovebytes / Digital Space is funded by the European Regional Development
Fund and the Arts Council of England, Yorkshire.

Lovebytes is a non-profit organisation which explores the creative and
cultural potential of digital technology, working in partnership with the
Sheffield Media and Exhibition Centre to support digital media production
and exhibition in South Yorkshire.

More information about Lovebytes and archives at

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Date: 9.28.04
From: David Stout <io AT>
Subject: Technical Director position at College of Santa Fe

Technical Director
College of Santa Fe
Moving Image Arts

College of Santa Fe, a four-year liberal arts college with an emphasis on
arts, is accepting resumes for the position of Technical Director in the
Moving Image Arts Department, one of the finest undergraduate film schools
in the country. This position is a full-time, exempt position to serve the
academic needs of the department as they relate to all equipment and
facility needs for film and digital production and postproduction.

Responsibilities: The Technical Director oversees maintenance, repair and
access to all video, audio, digital, and film production equipment, studios,
control rooms, edit suites, and technical office in the Garson
Communications Center. The director also supervises the check-in check-out
procedures of the equipment cage; provides technical support for production
courses and special projects; assures that all systems are consistently
operational; acts as part of the Production Committee and as technical staff
liaison; creates an efficient, workable organizational structure for the
equipment cage, supervises and trains equipment cage student employees in
the operation of existing production, studio, digital and editing equipment
so they can be effective while on duty; conducts workshops for students in
the area of safety, electricity, lighting, grip, camera and other equipment;
provides written instructions and/or support material for all field
equipment, editing suites and studio space; serves as department liaison
with the college's Health and Safety Committee.

Qualifications: Bachelor's degree required in Film/Video plus three years
experience in film and digital technology, preferably in an academic
setting, or five years professional experience in film and digital equipment
technology. Technical experience in the use and maintenance of video and
film production equipment: Macintosh based multimedia/graphics programs,
digital audio programs/formats, AVID media composer, Final Cut Pro and Pro
Tools Audio Systems. This position requires a high level of technical
expertise combined with well-developed organizational, supervisory,
communication and interpersonal skills. Lifting requirement of 30 pounds.

College of Santa Fe, rooted in the Lasallian tradition of the de La Salle
Christian Brothers, a Roman Catholic teaching order, emphasizes excellence
in teaching and advising, collegiality, ecumenical sensitivity, individual
potential and sense of service, is New Mexico's oldest institution of higher
education. The college offers a broad range of undergraduate and some
graduate level courses in both a traditional day program and an evening and
weekend program. The Santa Fe campus enrolls approximately 1000 students
and College of Santa Fe at Albuquerque approximately 900 students. College
of Santa Fe offers an attractive package of benefits including a tuition
remission program.

College of Santa Fe is an Equal Opportunity Employer committed to diversity
in its community. We invite individuals who contribute to this diversity to

Review of applicants will begin immediately and will continue until position
is filled. Resumes with cover letter and the names and telephone numbers of
three professional references may be faxed or submitted to: Human Resources
Department, College of Santa Fe, 1600 St. Michael's Drive, Santa Fe, New
Mexico 87505-7634. FAX (505) 473-6251

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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

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Date: 9.30.04
From: Jordan Crandall <crandall AT>
Subject: PUBLIC CULTURE faculty search

Artist in Public Culture/Urban Space

Associate Professor, tenured, beginning July 1, 2005. Rank and salary
commensurate with qualifications and experience and based upon UC pay

We are seeking an artist who comes from a visual art, architectural, or
urban studies background, and preferably works across these disciplines as
both a practitioner and a theorist. The candidate should work with the city
as a site of investigation and develop ways of intervening in urban space.
This could be someone who works in the mode of public art or tactical
intervention into public debate but more generally, they should work with a
problematic of ?the public? and the politics of the public sphere.
UCSD is a research university that actively promotes and supports creative
work within a broadly interdisciplinary arts department that includes
studio, computing, art and media history, theory and criticism. Teaching
will include both graduate seminars and undergraduate courses, large and
small. The candidate will actively participate in the ongoing development of
curriculum and facilities. MFA or equivalency and teaching experience

Send letter of application, curriculum vitae, names and addresses of
three references
(do not send letters of recommendation and/or placement files) and
evidence of work
in the field. This evidence may be in the form of slides, tapes,
discs, publications
and/or public lectures and should be accompanied by return mailer
and postage.

Steve Fagin, Chair (Position #PC05)
University of California, San Diego
Visual Arts Department (0327)
9500 Gilman Drive
La Jolla, California 92093-0327

All applications received by January 10, 2005, or thereafter until position
is filled, will receive thorough consideration. Please reference position
#PC05 on all correspondence. UCSD is an Equal Opportunity/Affirmative
Action Employer with a strong institutional commitment to the achievement of
diversity among its faculty and staff. Proof of U.S. citizenship or
eligibility for U.S. employment will be required prior to employment
(Immigration Reform and Control Act of 1986).

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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: 9.30.04
From: Kevin McGarry <Kevin AT>
Subject: FW: Pervasive and Locative Arts Network | cfp

------ Forwarded Message
From: drew hemment <dh AT>
Date: Thu, 30 Sep 2004 03:08:47 +0100
To: digest AT, Net Art News <netartnews AT>
Subject: Pervasive and Locative Arts Network | cfp

Announcement and Call For Proposals

A new international and interdisciplinary research network in pervasive
media and locative media has been funded as part of the Engineering and
Physical Sciences Research Council (EPSRC) Culture & Creativity programme.
The network will bring together practicing artists, technology developers
and ethnographers with the aim of advancing interdisciplinary understanding
and building consortia for future collaborative projects.

The network will stage three major gatherings. Each gathering will have a
distinct form and focus: an initial workshop to launch the network and
assess the state of the art; a technology summer camp for artists and
technologists, including hands-on prototyping sessions using the facilities
at Nottingham?s Mixed reality Laboratory; and a major public conference and
participatory exhibition as a central component of the Futuresonic 2006
festival in Manchester; as well as a supporting web site and other


Submissions are invited to the first of these events, a two day public
workshop with papers, demos and discussion sessions. The aim of the event is
to launch the network, review the state of the art, bring key players in the
field together, and make initial contacts. The event will also aim to
identify a range of specific interests that can lead to the formation of
sub-groups within the network. Position papers and a summary report will
subsequently be published on the network web site.

The workshop will take place in London over two days in the week beginning
24th January 2005. Venue and final dates announced soon.

Please send submissions to ben AT by Monday 8th November.

We request that participants seek support for travel and subsistence from
their institutions. For participants without institutional affiliation the
network shall support applications to funding councils and foundations,
please contact us for further details.


Pervasive and Locative Arts Network (PLAN) - Enhancing Mobile and Wireless
Technologies for Culture and Creativity

This network will draw together computer scientists and engineers who are
leading the field in developing pervasive and locative technologies; artists
who are using these technologies to create and publicly deploy innovative
and provocative experiences; social scientists with a proven track record of
studying interactive installations and performances; industrial partners
from the creative industries, spanning the arts, television, games,
education, heritage, mobile computing and telecommunications sectors; and
international partners who are coordinating parallel networks around the


The network aims to support the formation of a new interdisciplinary
research community to investigate how the convergent fields of pervasive
media and locative media need to evolve in order to support future cultural
and creative activities. Specific network objectives are:
-To review the scope of the research that is currently being carried out in
these fields through a focused workshop, leading to an integrated ?state of
the art? survey paper.
-To identify the key research issues that need to be addressed in order to
further develop pervasive and locative media to support culture and
creativity, leading to a series of discussion ?white papers?.
-To seed future projects by bringing artists, scientists and industry
together in a creative environment so that they can generate and practically
explore new ideas, and also to provide a forum for publicly demonstrating
some of these.
-To produce online and offline resources to support researchers, artists,
industry and to promote public understanding of this emerging field,
including a public website, an online document repository for members and a
newsletter and DVD.


The network will organise and support a range of activities aimed at growing
a research community and generating new collaborative projects between
artists and technologists. These will include staging three major research
gatherings, producing online and offline resources for fellow researchers
and PhD students, and outreach activities targeted at industry.

We will stage three major gatherings. Each gathering will have a distinct
form and focus: an initial workshop to launch the network and assess the
state of the art; a technology summer camp for artists and technologist,
especially PhD students, including hands-on prototyping sessions using the
facilities at Nottingham?s Mixed reality Laboratory; and a major public
conference and participatory exhibition as a central component of the
Futuresonic 2006 festival in Manchester. These major gatherings will be
interspersed with more ad-hoc steering and reflection meetings as required
by the network participants.

Producing resources
We will produce resources to publicise the network, encourage the exchange
of perspectives and discussion, and to provide tutorial support for PhD
students, artists and other researchers who wish to break into this area.
These will include:
-Online resources: a public website providing access to network information
including project deliverables as well as news of forthcoming calls for
proposals and conferences, supported by a online document repository where
members can upload documents and take part in discussion. The latter will be
realised using BSCW or Project Place software.
-Offline resources: a six monthly printed newsletter and a DVD of video

The network will reach out to other researchers beyond the initial partners
and also to the creative industries. This will include distribution of the
newsletter and also staging a series of industry seminars, for example as
part of the DTI/EPSRC Outreach programme. The network research associate
will also carry out a series of site visits to different partners and
potential partners in order to learn more about and report on ongoing


A new generation of pervasive technologies is enabling people to break away
from traditional desktop PCs and games consoles and experience interactive
media that are directly embedded into the world around them. And locative
media, the combination of mobile devices with locative technologies,
supports experiences and social interaction that respond to a participant?s
physical location and context. Together these convergent fields raise
possibilities for new cultural experiences in areas as diverse as
performance, installations, games, tourism, heritage, marketing and

A community of researchers working in pervasive media, also known as
ubiquitous computing, are exploring location awareness as a requirement for
the delivery of accurate contextual information. Another community,
primarily consisting of informal networks of technical innovators and
cultural producers, which identifies its field as Locative Media, is
exploring developments in and applications of locative technologies within
social and creative contexts. One of the aims of this network is to bring
these two communities together, linking academic research initiatives and
agendas to key figures and ground breaking developments that are currently
taking place outside mainstream academia.

The creative industries are also beginning to take up these opportunities,
led by artists who are actively charting out the potentials and boundaries
of the new pervasive and locative media. Other cultural sectors have also
been exploring the potential of pervasive and locative media including the
games industry through commercial examples of locative games played on
mobile phones such as Bot Fighters and Battle Machine and also research
projects such as ARQuake, Mindwarping, Pirates! and Border Guards.
Researchers have also demonstrated applications in heritage and tourism, for
example personal tourist guides and outdoors augmented reality displays and
as well as in mobile learning experiences and participatory local history
mapping projects.

A key characteristic of this research is its interdisciplinary nature, with
many of these projects combining practicing artists, technology developers
and also ethnographers, whose studies of early experiences that are actually
delivered as public artworks have yielded new insights into the ways in
which participants experience pervasive media, for example how they (and
performers and technical crew) deal with uncertainty of location and
connection, and, conversely, new metaphors for engaging in locative media.

However, realising the full potential of pervasive and locative media
requires several further developments. First, it is necessary to expand the
research community, drawing in new academic partners and also a greater
range of partners from the creative industries. Second, it is important to
deepen the interdisciplinary relationships between artists, technology
developers and social scientists working within and between these two
convergent fields. This is not only a matter of reflecting on this
relationship, it is also necessary to pursue it in practice, which means
forming new collaborations leading to practical projects. Third, we need to
clarify and deepen the research agenda for this area, by opening up a
variety of research questions, including:
-To what extent does the convergence of pervasive media and locative media
signify a commonality of views, definitions and issues in each field?
-What new kinds of cultural applications will become possible through
pervasive and locative media? Can we envisage new installations,
performances, games and other public experiences?
-Can common design frameworks and tactics help create powerful user
experiences? Can we identify and share design guidelines and generate useful
abstractions, for example building on recent proposals for deliberately
exploiting uncertainty and ambiguity
-What tools are required by creative users, for example that enable them to
easily (re)configure an experience to work in different locations or to
orchestrate it from behind the scenes. What new research challenges do these
embody, for example, how do we visualise the state of the technical
infrastructure ? networks and sensors ? or intervene in participants?
-What methods do researchers use to design and evaluate their experiences?
We already see the use of ethnographic studies, audience discussions and
even analysis of system logs; how should these be extended and can we share
approaches, tools and even datasets to enhance our understanding of
experience and design?

These questions, combined with the need to build a broader
inter-disciplinary research community, provide the underlying motivations
for this network.


Project investigators:
Steve Benford, Nottingham (Principle Investigator)
Drew Hemment, Salford
Henk Muller, Bristol
Matthew Chalmers, Glasgow
Michael Sharples, Birmingham
Geraldine Fitzpatrick, Sussex
Christian Heath, Kings College
Jon Hindmarsh, Kings College

Network co-ordinator:
Ben Russell, Headmap/Locative Media Lab

Initial partners:
Marc Tuters, Locative Media Lab
Dennis Del Favero, NSW iCinema
Steve Sayers, NESTA
Toby Barnes, EM Media
Richard Hull, HP Labs
Denny Plowman, City of Nottingham Council
Sara Diamond, Banff Centre
Andrew Caleya Chetty, Metapod
Amanda Oldroyd, BT Exact
Matt Adams, Blast Theory
Nick Southgate, Ricochet TV
Annika Waern, iPerG
Giles Lane, Proboscis
Minna Tarkka, m-cult
Carsten Sorensen, LSE
Angharad Thomas, Salford
Chris Byrne, New Media Scotland
Paul Sermon, Salford
Nina Wakeford, INCITE, Surrey

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Date: 9.27.04
From: <artbase AT>
Subject: Just added to the Rhizome ArtBase: #1 by joao Simoes

Just added to the Rhizome ArtBase ...

+ #1 +
+ joao Simoes +

Nº1 are souvenir-screen shots from 5 online surfing days where I was the
first visit in a 'apparently active' web page.
Souvenir-screen shots as if I was travelling with my Nikon. My powerbook is
my camera.
online work in progress

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Architect (Lisboa, Mantova, Milano and Paris)
Art/Architecture Master Degree (Barcelona)
in 2005 Art Grant, Artist in Residence in New York (Calouste Gulbenkian and
Luso American Foundations)

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Date: 9.28.04
From: Regina Celia Pinto <reginapinto AT>
Subject: MILKY WAY


I would like to invite you to visit my last work, the first of a new series,
which I finished last week:

5070 X 1453

Everything started with considerations on pain, on beauty and on a picture
which personified Beslan Tragedy.

The pixel painting "MILKY WAY" ( ) also

Gender: a big size painting on computer screen (5070 pixels X 1453 pixels or
179, 0 cm X 52, 0 cm), you may use the two scrollbars to see it

Keywords: women, beauty, pain, marginality, resistance, body, pixel
painting, video

To see "Milky Way" in a best way, you will need:

Internet Explorer 6.0
Screen Resolution: 800 X 600 or 1024 X 768
Sound Enabled
Popup windows available
Flash Player 7.0
Fast connection is better
(Also better visualized in PC than in MAC.)

HINT: To illuminate the "Milky Way" you have to discover the small oval
buttons hidden in the "painting".

Regina Célia Pinto

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Date: 9.29.04
From: <artbase AT>
Subject: Just added to the Rhizome ArtBase: Evidencia #001 by John Paul

Just added to the Rhizome ArtBase ...

+ Evidencia #001 +
+ John Paul Bichard +

Evidencia takes as its starting point, an ending; a forensic space, a place
in which remains and material take on new significance. From the objects and
images, there are no definite conclusions, no clear narratives, just the
threads of something that could have happened. The viewer is invited in, but
in doing so enters the scene to witness part: of a crime, a conflict, a

Evidencia #001 is an installation work at the Quadrum Gallery in Lisbon. The
work is a (re)construction of a forensic space, a small plot of land which
is at once the scene of a crime and a fragment of a first person shooter
videogame made "real". As a forensic space, it becomes a clipping, a piece
of evidence removed from its original surroundings, as a games space, it is
a trope, a snapshot of a brief violent action that would be lost as the
player moves on to the next encounter.

+ + +


John Paul Bichard is an artist who has worked with digital media, games,
photography and installation since the early nineties. He curated and
produced On a Clear Day in 1996, a ground breaking digital game art project
that took place around the UK. As Mute magazine's games editor
( from 1995 to 2001, Bichard explored and wrote on
the cultural significance of the then emerging video game scene and was
invited to show work at the Virtual Architecture exhibition at the ICA in
1998. For the past two years he has been head of interaction with the public
authoring digital research project Urban Tapestries
( a joint venture with France Telecom, HP,
Orange and the DTI.

Bichard has shown work in Europe, NY and London. Recent shows include an
installation at the International Digital Games Research Symposium 'Level
Up' in Utrecht, an online residency with Variablemedia
( and a first person video game on the ISEA
2004 ferry in the Baltic Sea as part of the ICOLS arms fair
( Bichard currently has a one-person show at Quadrum
Gallery in Lisbon ( The exhibition, Evidencia
is the second show in a series that explores the relationship between
environment, narrative and [game]play through digital games, installation
and photography.

Bichard's work picks at the boundary between the "protected real place" such
as the police evidence space or the 'safe European home' and the "digital
made real", where the games space is [re]constructed as a "real"
environment. Through the use of online digital games, their tropes and
assets, these works, subvert the player/viewers expectations and assumptions
of the space they are engaging with inviting the viewer to re-construct the
narrative and re-interpret the place. His photo works and multiples include
collaged photo narratives, artist's books and multiple artworks that further
explore relationships between physical and fabricated space, narrative and
notions of authenticity.

Bichard has produced three online digital games: Lone Wolf (2002) an 80s
cold war thriller demo, Staying in to Play (2003) a de-game and Condition
Red(2004) a suicide speed boat game for ISEA 2004. He has also published
eight artists books and multiples and has work in several publications
including "It's Wrong to Wish on Space Hardware" a 2002 Gordon
Macdonald/Photoworks publication.

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Date: 9.29.04
From: ryan griffis <grifray AT>
Subject: Experiments in the Garden of Good and Evil: a review of the
gardenLAb experiment

Experiments in the Garden of Good and Evil: a review of the gardenLAb

"The ambitious time traveler doesn't need to know anything about Lorentz
transformations or black holes - a good road map of Los Angeles County will
Mike Davis, _The Ecology of Fear_ , 1998

"I like the spaces in between."
Neil Hopper, quoted in Lelyveld Nita, "He Has His Walking
Points," LA Times, 9.16.04
( )

Los Angeles is infamous for its mediated representations. The expanse of
utopic/dystopic literary depictions of cyborg assassins, cataclysmic
volcanoes and bikini clad romps in the surf mix seamlessly with the nightly
news stories of gang violence, deadly air quality and the excitement of
Oscar night. These make up the visible points of LA county's terrain, as
much as the surrounding mountains and Disney's blindingly reflective music
hall. ( )Of
course, being the example of sprawl that it is, there is lots of space
between its "points of interest," both geographic and metaphoric. It is this
space BETWEEN the highly visible markers of LA's identity that is
investigated by a new exhibition at Art Center College of Design's Wind
Tunnel exhibition space in Pasadena. ( )

The exhibition, entitled "the gardenLAb experiment," is part of a series
of gardenLAb programs initiated by curator Fritz Haeg to explore various
"ecology-based initiatives." It is also part of a larger network of events
occurring in small, sporadic niches of the arts community that are
performing what Matthew Fuller calls "not-just-art" - seen in exhibitions
like MASSMoCA's "The Interventionists." ( ) A good portion
of the fifty-five works in gardenLAb certainly are art, mostly created by
artists, and meant to be looked at as art, but there is also a substantial
presence made by the work of architects, urban planners, ecologists and
others. There are also quite a few collaboratives represented, ranging from
community organizations like the Friends of the LA River to the conceptual
architects of AUDC and the performative interventionists of the LA Urban
Rangers. The "inbetweenness" of the subject matter is complimented by
"inbetweenness" in terms of disciplines, desires, and approaches. This is
intra-, as opposed to inter-, disciplinarity.

One issue that comes up for a lot of LA artists and activists concerned
with ecology and space is the notion of "open space." Those who have been to
LA are most likely familiar with the expanses of under utilized space that
exists between neighborhoods, under freeways and along the LA River. ( ) The paradox is that there is less open space per
capita in this sprawling metropolis than any other major US city, with less
than one acre per one thousand residents. And the unevenness of development
and allocation of what is there forms what Mike Davis has aptly called the
"third border" along race and class lines. How is it possible that as many
as half of the children living in a coastal city have never seen the ocean?
( ) As Jenny Price
and David Kipen's "Malibu Project" shows, what these children might
encounter on their first trip to the beach may tell them that they're not
wanted anyway. They have produced humorous variations on the signs lining 20
miles of Malibu Beach warning that long stretches of sand there are private
property. ( )
This may spark the desire in some to take matters into their own hands.
Visitors could take Lize Mogel's "Public Park: Personal Planning Kit" to
their neighborhoods and make any of those under utilized spaces a park for
everyone. We could also join urban planner James Rojas in playfully
"Rebuilding Eden" as a model city constructed of recycled and found objects.
Or for those more pragmatically inclined, join the "Path to Freedom"
homesteaders in their efforts to live the only "truly radical lifestyle" by
growing as much of their own food as possible. And if we can't be trusted to
liberate the planet, much less ourselves, perhaps we can radicalize our
agricultural subjects as David Burns and Matias Viegener's "Corn Study"
suggests. Their tongue-in-cheek solution: teach corn to revolt from the
growing biotech regime by exposing it to the ideas of Thoreau and its own
natural history.

The horizontal movement of LA is an entropic force, as communities
expand and contract along the clogged arteries of the freeway system. And
its shaping of space can be found in the gaps of urban structure. The
conceptual architectural collaborative AUDC investigates this "culture of
horizontality" in their research on the symbiotic relationship formed
between architecture, design and social control through the development and
implementation of Muzak and dispersed telecommunications. As in their other
projects, a relationship is uncovered between the management of our interior
and exterior spaces that is creepy to consider in conjunction with the
militarized histories of much of our technological "advances."

Walking through the gardenLAb experiment, it's easy to get caught up in
the moment, thinking about all of the city's problems and potential
solutions. I imagine that that is indeed the intention of the curators. How
else can we ask, "What is to be done?" The gardenLAb is a response to such a
question on very localized and thoughtful terms. But it is also a response
that is contained, formed within a particular set of terms and through a
specific vocabulary. Walking through the designed gallery furniture,
specifically designed for the exhibit from raw plywood, cardboard and
brightly colored, translucent screens, I wondered what the framing
aesthetics had to do with the goals of the exhibit (
g ). Certainly, much of it accommodated the weekly Saturday gatherings of
guided hikes and discussions. There could be arguments made both for and
against its success in facilitating the radicality of the projects it
frames. Many probably think it doesn't matter either way.

But I wondered what the two radicals in Nils Norman and Lincoln Tobier's
video "Green Love" would think. These two fictional women, who met during
the great Southern California supermarket strike that took place earlier
this year, became guerrilla urban planners, reshaping the spaces of the city
to be more livable while no one was looking. (
) How would they have redesigned the wind tunnel into a radical eco-vision?
Would they blow it up, as they did tens of SUVs, as a symbol of
over-consumption? But, such a question can never be answered, not because
these characters are fictional, but because they are already, and
prematurely, dead - the result of a Thelma and Louise style stand off with
reality, the LAPD.

- Ryan Griffis

The gardenLAb can be found online at

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

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Rhizome Digest is filtered by 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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