The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.
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Subject: RHIZOME DIGEST: 10.29.04 From: digest@rhizome.org (RHIZOME) Date: Mon, 1 Nov 2004 17:01:05 -0800 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: October 29, 2004 Content: +announcement+ 1. Rachel Greene: Fwd: POSTSCRIPT [part one] Portuguese live art in the age of scripted reality 2. matthew fuller: Open source 3D (Blender) and audio (Ardour) workshop at DEAF?04 +opportunity+ 3. Kevin McGarry: FW: Call for Submissions for the 7th La Superette 4. Pete Otis: REFRESH! Conf. on the Histories of Media Art 5. Rachel Greene: Rhizome Wants to Hire a Database Developer 6. Miki FUKUDA: IAMAS: Artist-in-Residence program 7. Julie Harrison: part-time teaching, Stevens Institute of Technology +work+ 8. Rhizome.org: Just added to the Rhizome ArtBase: metatelephony by Lewis LaCook 9. Rhizome.org: Just added to the Rhizome ArtBase: Life Support by Annette Weintraub 10. Annie Abrahams: SolitudeS 11. Rhizome.org: Just added to the Rhizome ArtBase: Book of Rage and Longing by michael wilson +book review+ 12. Lauren Cornell: A Review of Future Cinema + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 10.25.04 From: Rachel Greene <rachel AT rhizome.org> Subject: Fwd: POSTSCRIPT [part one] Portuguese live art in the age of scripted reality Begin forwarded message: From: "Melanie Stidolph" <melanie AT spacestudios.org.uk> Date: October 25, 2004 12:46:04 PM EDT To: <melanie AT spacestudios.org.uk> Subject: POSTSCRIPT [part one] Portuguese live art in the age of scripted reality apologies for cross posting msdm + resto & SPACE introduce: POSTSCRIPT [part one] PORTUGUESE LIVE ART IN THE AGE OF SCRIPTED REALITY 2 - 7 NOVEMBER 2004| one week of performative theatre with a focus on 4 artists groups now living and working in Lisbon: teatro praga | cao solteiro | beatriz cantinho + valerio romao | rogerio nuno costa VENUE and BOOKING: SPACE, The Triangle, 129-131 Mare Street, E8 www.spacestudios.org.uk BOOKING: Tel 020 8525 4330 / Email mary AT spacestudios.org.uk / Online: http://www.msdm.org.uk/postscript/booking.html LIMITED NUMBER OF TICKETS AVAILABLE Further info: http://www.msdm.org.uk/postscript Postscript (Part One) presents an installation and three live performances, which focus on the role that randomness and chance play in everyday life. Created by Paula Roush and Tiago Neves in association with SPACE the programme brings together over 20 acclaimed Lisbon based artists. The programme includes the piece ?I¹m going to your home¹ - the opportunity to book a private performance for your own home. Taken literally postscript means ?addition¹ or ?adjunct¹. Like a postscript, the four works selected for this programme deal with a basic story, but engage with chance to create multiple possibilities from a single scenario. Using different catalysts for change the performers layer narration, audience participation, and diverse performance stagings to reveal possibilities for action and reflection in both the performed and real world. Teatro Praga, Cao Solteiro, Beatriz Canthinho and Valerio Romao, Rogerio Nuno Costa are four artists¹ groups living and working in Lisbon. Presenting work that has aroused heated critical debate these artists address the issues of gender, sexuality, domestic labour, private space and political status, reflecting on the relationship between national cultural strategies and the global stage for live art where media and technology are reshaping the boundaries of being, citizenship and memory. 2 - 7 November | Exhibition | Triangle Annex | Free Tues-Sun | 1:00 - 5.30 pm Moments of Being- Beatriz Cantinho & Valério Romão with Herwig Turk http://www.msdm.org.uk/postscript/beatrizvalerio.html ; Inspired by Virginia Woolf¹s Sketch of the Artist, ?Moments of being¹ asks the audience to participate in the installation to give a visible and audible form to the viewer¹s own moment of being. ?The assistant gives you a questionnaire based on several authors¹ ideas of ?a moment of being¹. Then you enter and speak to the chairman. You fill in the form. The chairman enters your results into a program. The computer will sort out images and / or sound, which suggest your own moment of being. 2, 3, 4 November | Performance Tues-Weds-Thurs | 8.00 pm | duration: approx 1 Hour Triangle Gallery | Admission from £2 to £12 depending on the roll of the dice Private Lives - Teatro Praga http://www.msdm.org.uk/postscript/teatropraga.html Widely regard as one of Noel Coward¹s best plays, Private Lives tells us the story of two recent divorcees, Elyot and Amanda Chase, who by a twist of fate are spending their second honeymoons in adjacent hotel rooms in the French Riviera. The piece emphasises the fleeting and random aspects of theatrical performance, highlighting to the audience the arbitrary distribution of characters between the actors. From the initial rolling of the dice to determine the admission fee, to the final vodka toast, the audience is actively encouraged to participate in this multi-perspective performance. 5, 6, 7 November | Performance Fri-Sat-Sun | 8.00 pm | duration: approx 1 hour Triangle Gallery | £8/£5 Obscuridade -Cão Solteiro http://www.msdm.org.uk/postscript/caosolteiro.html ?Inside a house, a studio where images are made and multiplied, the black and white cinema of the bodies is projected. Two actors organize a fragmentary voyage inside the mirrors. The set is arranged with mirrors throughout the space reflecting different possible points of view for the public, mimicking the act of choice made by photographers representing a scene.¹ 2 - 7 November | private Performance Tues-Sun |bookings taken for between 12- 7pm / duration: 1 hr per home Private Homes | Fee £8/£5 per performance Limited to 12 performances Going to your place - Rogério Nuno Costa http://www.msdm.org.uk/postscript/rogeriocosta.html Book your own performance. The performer is ready to present himself to you, but you must initiate the exchange. ?Its more of an artistic adventure, that constantly escapes from space and time, than an assumed abolishment of the classical relation between artists and public.¹ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ To get to SPACE: Bus: 254 or 106 from Bethnal Green/ 26 & 48 from Liverpool Street/ 55 from Old Street. Tube: Bethnal Green. Train: Hackney Central Silverlink service. For images and further information please contact Melanie Stidolph at SPACE: melanie AT spacestudios.org.uk Tel: 020 8525 4337 Fax: 020 8525 4342 Paula Roush at msdm: msdm AT msdm.org.uk Tel: 0796 1918769 http://www.msdm.org.uk/postscript For high res images: http://www.msdm.org.uk/press Postscript is supported by the Calouste Gulbenkian Foundation, with additional funding from Instituto Camoes and the Portuguese Embassy in the UK + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 10.28.04 From: matthew fuller <fuller AT xs4all.nl> Subject: Open source 3D (Blender) and audio (Ardour) workshop at DEAF?04 FLOSS BOOTcamp Workshop with presentations, demonstrations and a hands-on afternoon. Focused on the Free/Libre/Open Source Software projects Blender and Ardour. http://www.deaf04.nl/flossbootcamp Date: Friday 12 November 2004 Time: 10:00-19.00 hours Location: Van Nelle Ontwerpfabriek, Van Nelleweg 1, Rotterdam Admission: 8 Euro, lunch included Language: English Registration: Advance application for the workshop is necessary. Please send an email stating your preference for either Blender or Ardour/Linux-audio to flossbootcamp AT v2.nl. More information and payment details will be sent on confirmation. Applications should be sent as soon as possible. There are limited places. Many open source and free software projects are developed via collaborative processes, through the active feedback of developers and users. The goal of this workshop is to bring together people from a variety of backgrounds in an informal setting to make contact, have discussions, exchange ideas, give feedback or suggestions for the software and interfaces, to learn new things and to have fun! Experienced users and/or developers will be present to help. The BOOTcamp will be a workshop with presentations, demonstrations, discussions and a hands-on afternoon. The focus will be on two open source projects: Blender and Ardour. In the morning there will be presentations and demonstrations of both software projects for all participants. In the afternoon there will be parallel hands-on workshops each focusing on one of the projects. At the end there will be drinks and a chance to evaluate and have further discussions. More info about Blender and Ardour and the presenters/workshop-leaders: Blender ( http://www.blender3d.org ) is the first and only fully integrated 3D graphics creation suite allowing modeling, animation, rendering, post-production, realtime interactive 3D and game creation and playback with cross-platform compatibility - all in one tidy, easily and free downloadable package. Blender is quickly being transformed from an impressive 3D creativity tool to a full-blown games and new media design application. Different aspects of Blender will be presented, such as the origin of Blender and how it became open source by Rob Haarsma, who worked at the company that started Blender. OOPz is a professional graphic artist who uses Blender as the primary application for his professional and hobby work. He helps with documenting new features as well as running the #gameblender IRC help channel. OOPz will demonstrate new features such as Blender real time and the game-engine together with Jasper op de Coul from V2_Lab and Void7. Jasper will also show the possibilities for realtime interoperability with other software such as PD. Ardour ( http://www.ardour.org) is a digital audio workstation. You can use it to record, edit and mix multi-track audio. Produce your own CD's. Mix video soundtracks. Experiment with new ideas about music and sound. Generate sound installations for 12 speaker gallery shows. Linux Journal has selected Ardour as Project Of The Year for its 2004 Editors' Choice Awards. Paul Davis, the main developer and project leader of Ardour also won at the Open Source Awards 2004 for his work and efforts for JACK ( http://jackit.sf.net ). He and Gerard van Dongen will demonstrate Ardour and Linux audio and will assist at the workshop. Gerard van Dongen works as composer/musician/computer programmer in Rotterdam. He also performs and composes music and sound with his own software for force-feedback joystick and webcam as controllers. This workshop is jointly held by: Media Design Research, Piet Zwart Institute http://pzwart.wdka.hro.nl V2_, Institute for the Unstable Media http://www.v2.nl For application or questions mail to: flossbootcamp AT v2.nl + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.org/info/org.php for more information or contact Rachel Greene at Rachel AT Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.25.04 From: Kevin McGarry <Kevin AT rhizome.org> Subject: FW: [Lasuperette] Call for Submissions for the 7th La Superette From: tali AT ignivomous.org Reply-To: tali AT ignivomous.org Date: Thu, 21 Oct 2004 16:28:14 -0400 (EDT) To: lasuperette AT ignivomous.org Subject: [Lasuperette] Call for Submissions for the 7th La Superette please reply to tali AT ignivomous.org Call for Submissions for the 7th La Superette The 7th La Superette will be held Saturday December 4 in a midtown (Manhattan) storefront space. Submissions must be Functional, Original, Inexpensive, and preferably made in multiples. You receive 80% of sale price for your items. La Superette is not responsible for loss of damage to your stuff. Work must be received (Mail or Hand Delivery) by Nov. 27 (address TBA). Return stamp (not metered) required for mail return of unsold items, or pick up in person available day after the event. Nothing else will be held after this date. Submission Deadline November 12 - you must email tali(at)ignivomous(dot)org by this date with the following information: 1. Name, Contact Info, URL (contact info will be made public unless otherwise requested by you) 2. Product/s short description (~1 line) 3. Prices 4. ONE Image Only (500x500 pixels 72 dpi) you'll be notified if more are needed All of these must come in one email to the address above, incomplete or late submissions will be ignored. FAQs answered: You are not responsible or involved with the installation or sale of your stuff (though if you're interested, help may be requested from you, at a later point). La Superette takes care of that, you have no booth and there's only 1 cashier. You will get paid at pickup. Multiple Items are welcome and encouraged. If you want to get more involved, help is wanted for: Simple Graphic Design for catalog. Web Designer for www.lasuperette.org Press contact person/people Artist and space contact person/people there will also be Music, Food, and Drinks as always. if you'd like to perform please be in touch with me and i'll put you in touch with the person responsible for performances. _______________________________________________ Lasuperette mailing list Lasuperette AT ignivomous.org http://ignivomous.org/mailman/listinfo/lasuperette_ignivomous.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 10.25.04 From: Pete Otis <virtualart AT culture.hu-berlin.de> Subject: CALL: REFRESH! Conf. on the Histories of Media Art ********************************************************************** CALL FOR PAPERS REFRESH! FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY Banff New Media Institute, Canada, September 28 - October 3, 2005 http://www.mediaarthistory.org <http://www.mediaarthistory.org/> Deadline: Dec. 1st 2004 ********************************************************************** "The technology of the modern media has produced new possibilities of interaction... What is needed is a wider view encompassing the coming rewards in the context of the treasures left us by the past experiences, possessions, and insights." (Rudolf Arnheim, Summer 2000) Recognizing the increasing significance of media art for our culture, this Conference (Evening of Sept. 28th, Sept. 29th, 30th, October 1st) 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, Banff New Media Institute the Database for Virtual Art 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. Held at The Banff Centre, featuring lectures by invited and selected speakers, the latter being chosen by an international jury from a call for papers, the main event will be followed by a two-day summit meeting (October 2-3, 2005) for in-depth dialogues and international project initiation (proposals welcome). For more information on the conference, please visit: www.MediaArtHistory.org <http://www.MediaArtHistory.org/> Papers are invited from scholars and postgraduates in any relevant discipline, particularly art history and new media, art and technology, the interaction of art and science, and media history, are encouraged to submit for the following sessions: (Please address your proposals to the sessions with the Priority A to C) 1. MediaArtHistories: Times and Landscapes I and II I. 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, telematic and nanoart). 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. This panel tries to clarify, if and how varieties of Media Art have been splitting up during the last decades. It examines also how far back Media Art reaches as a historical category within the history of Art, Science and Technology. 2. Although there has been important scholarship on intersections between art and technology, there is no comprehensive technological history of art (as there are feminist and Marxist histories of art, for example.) Canonical histories of art fail to sufficiently address the inter-relatedness of developments in science, technology, and art. What similarities and differences, continuities and discontinuities, can be mapped onto artistic uses of technology and the role of artists in shaping technology throughout the history of art? This panel seeks to take account of extant literature on this history in order to establish foundations for further research and to gain perspective on its place with respect to larger historiographical concerns. II. Methodologies This session tries to give a critical overview of which methods art history has been using during the past to approach media art. Papers regarding media archaeological, anthropological, narrative and observer oriented approaches are welcome. Equally encouraged are proposals on iconological, semiotic and cyberfeministic methods. III. Art as Research / Artists as Inventors Do "innovations" and "inventions" in the field of art differ from those in the field of technology and science? Do artists still contribute anything "new" to those fields of research - and did they ever in history? Which inventions changed the arts as well as technology and the media? These questions will be discussed in a frame from the 19th century until today, special foci of interest are: - modernism and the birth of media technology 1840 - 1880 - the utopia of merging art and technology in the 1920s and 1960s - the crisis of the "new" vs. digital media art innovations since the 1980s IV. Image Science and ?Representation?: From a Cognitive Point of View Although much recent scholarship in the Humanities and Social Sciences has been "body-minded," this research has yet to grapple with a major problem familiar to contemporary cognitive scientists and neuroscientists. How do we reconcile a top-down, functional view of cognition with a view of human beings as elements of a culturally shaped biological world? Current scientific investigations into autopoiesis, emotion, symbolization, mind-body relations, consciousness, "mental representations", visual and perceptual systems ?open up fresh ways of not only figuring the self but of approaching historical as well as elusive electronic media --again or anew--from the deeper vantage of an embodied and distributed brain. Papers that struggle concretely to relate and integrate aspects of the brain basis of cognition with any number of pattern-making media are solicited to stimulate debate. V. Collaborative Practice/ Networking (history) In a network people are working together, they share resources and knowledge with each other - and they compete with each other. This process has sped up enormously within a few decades and has reached a new quality/dimension. It is the computer who had and has a forming influence on this change ? from the Mainframes of the 50s and 60s to the PCs of the 70s and the growing popularity of the Internet during the 90s of the past century. The dataflow created new economies and new forms of human communication ? and last but not least the so-called globalization. VI. Pop/Mass/Society The dividing lines between art products and consumer products have been disappearing more and more since the Pop Art of the 1960s. The distinction between artist and recipient has also become blurred. Most recently, the digitalization of our society has sped up this process enormously. In principle, more and more artworks are no longer bound to a specific place and can be further developed relatively freely. The cut-and-paste principle has become an essential characteristic of contemporary culture production. The spread of access to the computer and the internet gives more people the possibility to participate in this production. The panel examines concrete forms, as for example computer games, determining the cultural context and what consequences they could have for the understanding of art in the 21st century. VII a. Collecting, preserving and archiving the media arts Collections grow because of different influences such as art dealers, the art market, curators and currents in the international contemporary art scene. What are the conditions necessary for a wider consideration of media art works and of new media in these collections? VII b. Database/New Scientific Tools Accessing and browsing the immense amount of data produced by individuals, institutions, and archives has become a key question to our information society. In which way can new scientific tools of structuring and visualizing data provide new contexts and enhance our understanding of semantics? VIII. Cross-Culture ? Global Art Issues of cultural difference will be included throughout Refresh! However, the panels in Cross-Culture--Global Art provide an opportunity to examine cross-cultural influences, the global and the local. Through these sessions we hope to construct the histories, influences and parallels to new media art and even the definitions of what constitutes new media from varied cultural perspectives. For example, how what are the impacts of narrative structures from Aboriginal and other oral cultures on the analysis and practice of new media? How do notions of identity shift across cultures historically, how are these embedded and transformed by new media practice? What philosophical perspectives can ground our understandings of new media aesthetics? How does globalization and the construction of global contexts such as festivals and biennials effect local new media practices? We encourage papers from diverse cultural perspectives and methodologies. IX. What can the History of New Media Learn from History of Science/Science Studies? As in the case of artists working in traditional media who have engaged science and technology, new media artists must be situated contextually in the ?cultural field? (Kate Hayles) in which they have worked or are working. Science and technology have been an important part of that cultural field in the twentieth century, and the history of science and science studies?along with the field of literature and science--offer important lessons for art historians writing the history of new media art. This session invites papers from art historians and scholars in science-related disciplines which explore methodological and theoretical issues as well as those that put interdisciplinary approaches into practice in studying new media art. X. Rejuvenate: Film, sound and music in media arts history During an earlier period of new media arts discourse, time-based media were often considered to be "old media." While this conceit has been tempered, we still need to consider the sophistication and provocation of film, sound and music from the perspective of media arts history. This session invites papers, which examine the return of old media, thick in their natural habitat of the discourses, practices and institutions of the arts, entertainment, science, everyday life, wherever they existed. Please send a 200 word proposal and a very brief curriculum vitae by December 1st, 2004 via e-mail to MediaArtHistories AT culture.hu-berlin.de. Full papers (5000 to 7000 word long) must be received via e-mail by July 1st., 2005. Details about their format will be sent separately to the participants. All Papers will be considered for publication. Registration information soon: www.banffcentre.ca/bnmi/ ---------------------------------------------------------------------------- www.MediaArtHistory.org HONORARY BOARD Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI ADVISORY BOARD Andreas BROECKMANN, Berlin; Paul BROWN, London; 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. BANFF Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local Chair) Susan KENNARD, Executive Producer of BNMI (Organisation) www.banffcentre.ca/bnmi/ LEONARDO Annick BUREAUD, Director Leonardo Pioneers and Pathbreakers Art History Project, Leonardo/OLATS www.olats.org PUBLICATIONS COMMITTEE Chair: Roger F MALINA, Chair Leonardo/ISAST www.leonardo.info CONFERENCE DIRECTOR & ORGANISATION Oliver GRAU, Director Immersive Art & Database of Virtual Art Humboldt University Berlin http://virtualart.hu-berlin.de SUPPORTED BY: LEONARDO, BANFF NMI, DATABASE OF VIRTUAL ART, GERMAN RESEARCH FOUNDATION, UNESCO DIGIARTS, VILLA VIGONI, INTEL + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 10.25.04 From: Rachel Greene <rachel AT rhizome.org> Subject: Rachel Greene <rachel AT rhizome.org> Hi -- Rhizome.org is looking to hire a developer to assist in the refinement of an existing Filemaker database. We would prefer to work with developers who have some familiarity with arts organizations. Thank you in advance for passing this along to any of the outstanding professionals you might know. Please have them contact me via the contact information below. Rachel Greene Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. rachel AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.org/info/org.php for more information or contact Rachel Greene at Rachel AT Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 10.25.04 From: Miki FUKUDA <miki AT mkf-lab.com> Subject: IAMAS: Artist-in-Residence program Call for applications ----------------------------------------------------------------------- IAMAS: Artist-in-Residence Invitation Program ----------------------------------------------------------------------- The Institute of Advanced Media Arts and Sciences and the International Academy of Media Arts and Sciences (IAMAS) conducts an Artists-in-Residence invitational program to support new and creative activities wherein scientific knowledge and artistic sensibility are aesthetically combined. The outline of the invitational program is as follows. 1. Term of Invitation and Number of Invitees Term: 1st April 2005 - 30th September 2005 1 person 2. Application Requirements 1) The applicant should be either an artist or researcher with an excellent track record as a professional in the field of media art. 2) The applicant should be able to speak either Japanese or English to the extent of being able to get by comfortably during his/her stay in Japan. 3) The applicant should be in good health. 3. How to Apply Applicants are required to submit the documents listed below in either Japanese or English. Please be aware that application materials, once submitted, shall not be returned. You can download the Application Forms from <http://www.iamas.ac.jp/SC/E/index-air.html>. 1) Artist-in-Residence Program Application Form (Form A) 2) Curriculum Vitae and Record of Activities (Form B) 3) Creative Activity Planned During Stay (Form C) 4) Letter of Reference (from an authoritative person or society in your field) * Please type 1) to 4) on a computer. 5) Portfolio on your major works * You are free to submit software and recorded media as part of your portfolio. In the event you submit software, please make sure that it can run in popular operating systems and that you specify the operating system needed). It is not possible to apply by only showing your works with the link to your webpage. 6) Other a. 2 photos (40mm x 30mm) * The photos must be taken within the last six months. No hats, no backgrounds. b. Certified copy of your diploma (please provide a translation into Japanese or English) c. Photocopy of passport Please submit the above documents to: * It is not possible to apply on-line and we do not accept applicants by e-mail. IAMAS 3-95 Ryoke-cho, Ogaki-shi, Gifu, 503-0014, Japan Tel: +81-584-75-6600 Fax: +81-584-75-6637 4. Application Deadline Your application forms must reach IAMAS by 31th December 2004. 5. Screening Process The Artist-in-Residence Screening Committee, consisting of IAMAS teaching staff, will strictly screen all applicants. The Committee may interview applicants in person and/or by telephone. 6. Notification of Screening Results IAMAS will notify applicants of the screening results by around February 2005. 7. Support Provided by IAMAS 1) Facilities and Equipment Facilities designated by IAMAS and equipment set up in the said facilities. 2) Economic Support One roundtrip ticket will be provided. Living expenses incurred while working on the program. 3) Apartment IAMAS will rent an apartment for the Artists-in-Residence. However, the artists are asked to pay part of the rent. 8. What is Expected of the Artists-in-Residence 1) To create and exhibit/release one work by the end of his/her stay. 2) To actively mix with IAMAS students and instructors by, for example, working in collaboration with them on their projects. 3) Artists-in-Residence are sometimes asked to participate in workshops geared for local residents and students. 4) The documentations of the produced work need to be submitted to IAMAS. These documents can consist of video, picture, text, etc. The artists give IAMAS the right to use these documents for IAMAS promotional purposes without prior consent of the artist. 9. Copyrights of the Works The copyright of the works that Artists-in-Residence create during their stay will belong to the artists on condition that: 1) When they exhibit/release such works outside IAMAS, they indicate in the credits that they created the works at IAMAS. 2) They readily cooperate with IAMAS when IAMAS wants to exhibit their works. 3) They leave copies of the works (or materials related to the creation of the works if the works are hard to copy) at IAMAS when their term of stay ends. 4) The artists agree that IAMAS, at its own discretion, may use, for the purpose of education, research and publication, the copies of (or materials related to), and the documentations of its production and its exhibition that they left in IAMAS. 10. Miscellaneous 1) Artists-in-Residence are required to carry accident insurance and health insurance at their own expense. 2) IAMAS will not pay for the transportation of works and/or equipment at the time when Artists-in-Residence join and leave the program. 3) An Artist-in-Residence may be accompanied by their spouse, however they are required to pay all the costs involved. 11. query info AT iamas.ac.jp http://www.iamas.ac.jp/SC/E/index-air.html ----- Miki Fukuda Center for Media Culture (CMC) cmc AT iamas.ac.jp iAMAS Institute of Advanced Media Arts and Sciences International Academy of Media Arts and Sciences 3-95 Ryoke-cho, Ogaki-shi, Gifu 503-0014, Japan http://www.iamas.ac.jp/ -- Miki FUKUDA miki AT mkf-lab.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.net/your_account_name). Details at: http://rhizome.org/services/1.php + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 10.29.04 From: Julie Harrison <jharriso AT stevens.edu> Subject: part-time teaching, Stevens Institute of Technology The Department of Art, Music & Technology (DAMT) at Stevens Institute of Technology in Hoboken, NJ, is newly formed and dedicated to the study and practice of art and music in relationship to science and technology. Currently, we are seeking interesting and committed artists to teach part-time, possibly leading to a full-time position as the department grows. For spring05, we are in need of an adjunct in 3-D Foundations, and particularly welcome artists who are traditionally underrepresented in academia. Please send a copy of your resume, syllabi, and url to Julie Harrison, jharriso AT stevens.edu For further information, see our website-in-progress at: http://www.hum.stevens.edu/ArtMusicTechnology/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 10.25.04 From: "Rhizome.org" <artbase AT rhizome.org> Subject: Just added to the Rhizome ArtBase: metatelephony by Lewis LaCook Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?27742 + metatelephony + + Lewis LaCook + metatelephony is a networked poem-->metatelephony takes any web page you feed it, grabs the source code of the page, mixes it up at random, takes a randomly-chosen word from that page, performs a Google search on it, and displays a blend of both the source code and descriptions of pages found in the search...-->a shadow-poem of the web--> + + + Biography Lewis LaCook is a poet, musician and net artist with a gnawing obsession: the intersection of randomness, interactivity and post-post-modern poetics. His work, both text and hypermedia, has appeared in Cauldron and Net, Shampoo, _sidereality, 5_trope, furtherfield.org, Aught, Lost and Found Times, the muse apprentice guild, CTheory Multimedia, hyperrhiz, and Slope, among others. Some of his hypermedia pieces are archived in the Rhizome artBase(New York); some of his texts have been archived in the Avant Writing Collection, curated by John M. Bennett(Ohio State University) and the rare books archive at SUNY Buffalo, curated by Michael Basinski. In 2004 he was the recipient of a turbulence.org commission. Published books and chapbooks include: Cling(anabasis, Washington, 2000); The Odious Art of Lewis LaCook (BeeHive Microtitle, e-book, San Francisco, 2001)(http://microtitles.com/); Drowning in The Age of Mid-Air(xpress(ed), e-book, Finland, 2002)(http://www.xpressed.org/main.html). Lewis makes his home in Lorain, OH. Please visit his website at http://www.lewislacook.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 10.26.04 From: "Rhizome.org" <artbase AT rhizome.org> Subject: Just added to the Rhizome ArtBase: Life Support by Annette Weintraub Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?28488 + Life Support + + Annette Weintraub + Life Support explores the subjective experience of space. It looks at the way in which medical environments affect behavior, perception and perhaps healing. Life Support draws upon depictions of medical spaces in advertising, popular culture and film and their reintegration into this vocabulary of space. It creates a series of â??roomsâ?? based on archetypal hospital spaces: a corridor, waiting room, patient room and treatment room. Each of these locations is associated thematically with a particular psychological state/adaptation response, and explored in moving images paired with short fictions and architectural commentary. The architectural constructs of Life Support are hybrids of 2D and 3D space in which the 3D spatial construct â??a wireframe of a room â??functions as a scrim for the projection of multiple images and as a container for the layering of audio elements. Movement through space and narrative movement are linked, as in a walking meditation. Life Support layers multiple images, moving images, on-screen text and audio. Flash was chosen as a media integration tool for the projectsâ?? extensive audio and animation. Actionscript functions as a content management tool, loading and unloading the content fragments as needed. + + + Biography Annette Weintraub is a media artist whose projects embed layered narratives within a variety of architectural constructs. Her work is an investigation of architecture as visual language, and focuses on the dynamics of urban space, the intrusion of media into public space and the symbolism of space. Her work has been presented at the International Art Biennial-Buenos Aires, Museo Nacional de Bellas Artes 2002, Buenos Aires, Argentina, The 5th Biennial of Media and Architecture in Graz Austria, The Whitney Biennial 2000, The International Center for Photography/ICP, The International Film Festival Rotterdam, Thirteen/WNET TV�s Reel New York.Web and in numerous other national and international exhibitions. Commissioned works include projects for Turbulence, CEPA, and The Ruschlikon Centre for Global Dialogue. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 10.26.04 From: Annie Abrahams <aabrahams AT bram.org> Subject: SolitudeS What about loneliness? La Solitude, ça vous évoque quoi? Some people long for it, others are afraid of it. Internet a tool to reveal 'la condition humaine'? Please, send me your phrases around this word. http://www.bram.org/solitude thanks annie abrahams La Solitude, ça vous évoque quoi? Internet, un révélateur de la condition humaine? Svp, envoyez-moi des phrases autour de ce mot dont on peut avoir peur, mais qui fait aussi rêver. http://www.bram.org/solitude + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 10.29.04 From: "Rhizome.org" <artbase AT rhizome.org> Subject: Just added to the Rhizome ArtBase: Book of Rage and Longing by michael wilson Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?28654 + Book of Rage and Longing + + michael wilson + The Book of Rage and Longing seeks to create a democratic plane where voices of desire, emotion, and critical engagement can initiate a dialogue with the origins of Western democracy. Several on-going letters of sincerity from the United States and around the globe are sent to the ancient center of Athens. Writers are asked to express their passionate dismay, their poignant pleas, their will and affirmation for a different administration of our dimension. In keeping with the idea of democracy and a heterogeneous blend of voices, those desiring to participate need only log on to the Rage and Longing site to send their personal missive. Our hope is that the accumulation of these missives addressed to the global power elite may begin to describe rage and nightmares, produce psychic seeds for cross-fertilization, and share hopeful musings. In Athens, these multiple thoughts/voices, arriving through an online interface, are projected inside the Byzantine Museum. As each missive arrives, it is immediately printed and an interpretive/administrative committee edits together an official text â?? a new agenda created on the spot through arguing, editing, cutting, pasting, and whimsy. This is made into a large, â??canonizedâ?? book. Sections of the official text are then given to a Greek chorus to sing. This amplified song of rage and longing fills the area. + + + Biography The collaborators live in Los Angeles and Athens. They are disparate artists and filmmakers bonded only by love. All look for home in a conceptual space called America â?? a space not yet realized in terrestrial form: Natalie Zimmerman, Michael Wilson, Jennifer Nelson, Melissa Longenecker, Dimitri Kotsaras & Mr. Flo + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. Date: 10.29.04 From: Lauren Cornell <lclclc70 AT hotmail.com> Subject: A Review of Future Cinema A Review of Future Cinema, It seems that Cinema needs to constantly die in order to go on living. Throughout its life span, its vitality has relied on its conventions being shattered again and again by its practitioners. At many of these moments of crisis, innovation has initially been treated like a threat: Warhol¹s films were critically dismissed, as was early video art, and similarly today, artists who integrate film form with digital technologies, video or otherwise, are often accused of not living up to the medium¹s critical or aesthetic promise. The new anthology Future Cinema: The Cinematic Imaginary After Film, edited by Jeffrey Shaw and Peter Weibel, begins with Guy Debord¹s ³Prolegomena to All Future Cinema² in which the author writes, ³the arts of the future will entail the shattering of situations, or nothing.² Somewhere in between a dedication and a battle-cry, these words effectively throw down a gauntlet for the ensuing 600 pages of theoretical and historical texts which assert that digital media has, indeed, invoked another sea change in cinema¹s course. In his introduction, Shaw argues the history of cinema has been significantly determined by technological experimentation, as its mechanisms of production, exhibition and distribution mechanisms are necessarily tied to economic, political and ideological conditions. Hollywood, he goes on to say, is not cinema¹s destination, but rather its latest stage, and a stage that is now being challenged by the prevalence of digital technologies. Video games, virtual experiences, cameras located in your cell phone or keychain, and artistic practices that incorporate such technologies distribute cinematic experiences throughout our everyday lives. But will these necessarily outmode Hollywood as the editors imply, and should this even be a goal? This notion is taken up throughout the book by critics, who examine the ways Hollywood and the burgeoning network of visual practices sustain and transform each other. The exhaustive efforts on the part of the editors to discuss and contextualize applications of digital technology within the traditions of popular and avant-garde cinema makes the book a rich resource for cinema history. Many of the critics methodically employ an ³apparatus-oriented² approach, as Weibel terms it, evaluating significant technical developments along cinema¹s historical trajectory and, co-extensively, how these emerged from and impacted a constellation of factors economic, social and visual. Historical texts, and essays on contemporary artists or projects are interspersed throughout. These illustrated writings are grouped under categories, such as IMMERSIVE or NAVIGABLE, that explore different facets of a digital cinema. (Here, the former denotes (in brief) visual environments that require a ³totality of engagement², and the latter works that imbue the participant not just with the ability to interact but to direct the narrative.) Timothy Druckery, whose contributions to Future Cinema are some of its brightest, reviews cinematic invention from its early days as a ?cinema of attractions¹, replete with dazzling phantasmagorias and magic lantern performances, to proto-Virtual Reality with the grand and encompassing Panorama in his essay ³Fugitive Realities, Situated Realities, ³Situational Realities² or Future Cinema(s) past². Climbing up through the twentieth century, his analysis of film between the World Wars swings from the avant-garde montages of the Dadaist and Surrealists to the ideological films of Eisenstein, Murnau, Lang and Hitchcock. He picks his way through various mid-century touchstones of cinematic progress such as the Cinerama, a three-screen projection of a single image, and Cinemascope, an early Wide screen cinema process, and whirls to closure by shouting out to the Expanded Cinema of the ?60¹s and the video revolution that followed on its heels. Druckery¹s essay provides such a thorough timeline that it could be used as a guide for the rest of the book. The writings of other authors expand moments that he discusses more briefly. Andre Bazin¹s 1953 essay, ³Will Cinemascope Save the Film Industry², for instance, argues that the Cinerama and the Cinemascope were developed to sustain Hollywood¹s popularity amidst the economic crisis and drop in movie-going audience wrought by the introduction of the home television. Robert Haller writes on Steina and Woody Vasulka¹s early video experiments, in which they employed computers and electronic synthesizers to explore the medium¹s possibilities. Their famous renderings of video snow, and identical flat images stuttering across the screen powerfully captured the tension between their control over the medium, and its limiting of their options. In ³Cinema and the Code², one of the centerpieces of the book, critic Gene Youngblood attempts to synthesize a discussion between himself, the Vasulkas and Weibel on the implications of digital imaging for the evolution of cinematic language which he notes began in 1986 and is still in progress today. Though it stands alone, Future Cinema is technically the accompanying catalogue to an exhibition by the same name that took place at ZKM in 2003. The exhibition presented works that explored the narrative and formal possibilities of digital technologies afforded cinema. The detailed re-presentation of these projects, including Gary Hill, Chris Marker, Isaac Julien, Jennifer and Kevin McCoy, and Young-hae Chang Heavy Industries among others, is one of the book¹s greatest contributions. Though their work, and the cumulative effect of digital technologies leaves Hollywood very much intact, the book does confirm how the notion of making, experiencing or believing in cinema has profoundly changed thanks to the saturation of digitally mediated vision. The contradiction then in Future Cinema is that is an accurate and provocative reflection of the present. The problem with projections of the future is that they date according to the moment they were imagined, and so in essence, they always reveal more about the present than they ever could about moments to come. -L.Cornell + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 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 rhizome.org). ISSN: 1525-9110. Volume 9, number 43. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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