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: 10.29.04
Date: Mon, 1 Nov 2004 17:01:05 -0800

RHIZOME DIGEST: October 29, 2004


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

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

8. Just added to the Rhizome ArtBase: metatelephony by Lewis
9. Just added to the Rhizome ArtBase: Life Support by Annette
10. Annie Abrahams: SolitudeS
11. Just added to the Rhizome ArtBase: Book of Rage and Longing
by michael wilson

+book review+
12. Lauren Cornell: A Review of Future Cinema

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Date: 10.25.04
From: Rachel Greene <rachel AT>
Subject: Fwd: POSTSCRIPT [part one] Portuguese live art in the age of
scripted reality

Begin forwarded message:

From: "Melanie Stidolph" <melanie AT>
Date: October 25, 2004 12:46:04 PM EDT
To: <melanie AT>
Subject: POSTSCRIPT [part one] Portuguese live art in the age of
scripted reality

apologies for cross posting

msdm + resto & SPACE  introduce:

POSTSCRIPT [part one]
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

SPACE, The Triangle, 129-131 Mare Street, E8
Tel 020 8525 4330 / Email mary AT /

Further info:

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  ;
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
Private Lives - Teatro Praga

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

5, 6, 7 November | Performance
Fri-Sat-Sun | 8.00 pm | duration: approx 1 hour
Triangle Gallery | £8/£5
Obscuridade  -Cão Solteiro
?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

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

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 Tel: 020 8525 4337 Fax: 020 8525 4342

Paula Roush at msdm:
msdm AT  Tel: 0796 1918769

For high res images:
Postscript is supported by the Calouste Gulbenkian Foundation, with
additional funding from Instituto Camoes and the Portuguese Embassy in the

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Date: 10.28.04
From: matthew fuller <fuller AT>
Subject: Open source 3D (Blender) and audio (Ardour) workshop at DEAF?04

Workshop with presentations, demonstrations and a hands-on afternoon.
Focused on the Free/Libre/Open Source Software projects Blender and

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

Advance application for the workshop is necessary. Please send an email
stating your preference for either Blender or Ardour/Linux-audio to
flossbootcamp AT 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 ( ) 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 ( 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 ( ). 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
V2_, Institute for the Unstable Media

For application or questions mail to:
flossbootcamp AT

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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: 10.25.04
From: Kevin McGarry <Kevin AT>
Subject: FW: [Lasuperette] Call for Submissions for the 7th La Superette

From: tali AT
Reply-To: tali AT
Date: Thu, 21 Oct 2004 16:28:14 -0400 (EDT)
To: lasuperette AT
Subject: [Lasuperette] Call for Submissions for the 7th La Superette

please reply to tali AT

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
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
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

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Date: 10.25.04
From: Pete Otis <virtualart AT>
Subject: CALL: REFRESH! Conf. on the Histories of Media Art





Banff New Media Institute, Canada, September 28 - October 3, 2005 <>
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: <>

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

VII a. Collecting, preserving and archiving the media arts
Collections grow because of different influences such as art dealers, the
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

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
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,
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
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:





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.


Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local

Susan KENNARD, Executive Producer of BNMI (Organisation)


Annick BUREAUD, Director Leonardo Pioneers and

Pathbreakers Art History Project, Leonardo/OLATS


Chair: Roger F MALINA, Chair Leonardo/ISAST


Oliver GRAU, Director Immersive Art & Database of Virtual Art

Humboldt University Berlin



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Date: 10.25.04
From: Rachel Greene <rachel AT>
Subject: Rachel Greene <rachel AT>

Hi -- 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

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,
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 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: 10.25.04
From: Miki FUKUDA <miki AT>
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
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
* 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
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

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
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
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

Miki Fukuda
Center for Media Culture (CMC)
cmc AT
Institute of Advanced Media Arts and Sciences
International Academy of Media Arts and Sciences
3-95 Ryoke-cho, Ogaki-shi, Gifu 503-0014, Japan
miki AT

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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: 10.29.04
From: Julie Harrison <jharriso AT>
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

Please send a copy of your resume, syllabi, and url to Julie Harrison,
jharriso AT

For further information, see our website-in-progress at:

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Date: 10.25.04
From: "" <artbase AT>
Subject: Just added to the Rhizome ArtBase: metatelephony by Lewis LaCook

Just added to the Rhizome ArtBase ...

+ 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-->

+ + +


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,, 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 commission. Published books and chapbooks
include: Cling(anabasis, Washington, 2000); The Odious Art of Lewis LaCook
(BeeHive Microtitle, e-book, San Francisco, 2001)(;
Drowning in The Age of Mid-Air(xpress(ed), e-book, Finland,
2002)( Lewis makes his home in Lorain,
OH. Please visit his website at

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Date: 10.26.04
From: "" <artbase AT>
Subject: Just added to the Rhizome ArtBase: Life Support by Annette

Just added to the Rhizome ArtBase ...

+ 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

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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

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Date: 10.26.04
From: Annie Abrahams <aabrahams AT>
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.

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.

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Date: 10.29.04
From: "" <artbase AT>
Subject: Just added to the Rhizome ArtBase: Book of Rage and Longing by
michael wilson

Just added to the Rhizome ArtBase ...

+ 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.

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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

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Date: 10.29.04
From: Lauren Cornell <lclclc70 AT>
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

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.


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 43. 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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