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: 11.19.04
Date: Tue, 23 Nov 2004 13:05:04 -0800

RHIZOME DIGEST: November 19, 2004


1. Rachel Greene: Fwd: Consciousness and Teleportation / Bewusstsein und
Teleportation, Luzern/Lucerne January 22-23, 2005
2. Kevin McGarry: Rhizome Exhibitions! Rhizome Member-curated Exhibits!
3. abroeck AT transmediale.05 - BASICS

4. Gretchen Skogerson: New Film/Video Faculty position Mass College of Art
5. Kevin McGarry: seeks web designers
6. Rachel Greene: Fwd: Position Notices (USC)
7. defne ayas: Call for Works from New Museum

8. rich white: glimpsed
9. Just added to the Rhizome ArtBase: The White Room by John
Paul Bichard
10. Just added to the Rhizome ArtBase: The Concise Model of the
Universe by The Paul Annears

11. Just opened: "We don't have to show you no stinking artist
statement." curated by Archive Registrar

+scene report+
12. laurie hb: where¹s the art in electronic art?: a perspective on the
Dutch Electronic Arts Festival 04.

13. ryan griffis: Tandem Surfing the 3rd Wave w/ Matthew Fuller

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Date: 11.15.04
From: Rachel Greene <rachel AT>
Subject: Fwd: Consciousness and Teleportation / Bewusstsein und
Teleportation, Luzern/Lucerne January 22-23, 2005

Begin forwarded message:

From: "René Stettler, NGL" <stettler AT>
Date: November 15, 2004 11:02:00 AM EST
To: "René Stettler, PRIVAT" <stettler AT>
Subject: Consciousness and Teleportation / Bewusstsein und
Teleportation, Luzern/Lucerne January 22-23, 2005


The 6th Swiss Biennial on Science, Technics + Aesthetics
6. Schweizer Biennale zu Wissenschaft, Technik + Ästhetik

Science ­ Technology ­ Art ­ Consciousness Research
Wissenschaft ­ Technik ­ Kunst ­ Bewusstseinsforschung

January 22 - 23, 2005 / 22. / 23. Januar 2005

Swiss Museum of Transport and Communication, Lucerne, Switzerland
Verkehrshaus der Schweiz, Luzern, Schweiz

Key-Note Speakers:

PROF. DR. DICK J. BIERMAN, Physics and Consciousness Research, Physik und
Bewusstseinsforschung, University of Amsterdam and Utrecht University

PROF. DR. SAMUEL L. BRAUNSTEIN, Quantencomputation, Quantum Computation,
Department of Computer Science, University of York, UK

PROF. DR. Emeritus GISELHER GUTTMANN, Psychologie und Neurowissenschaften,
Psychology and Neuroscience, Institut für Psychologie, Universität Wien,

PROF. STUART HAMEROFF, M.D., Anästhesiologie und Psychologie, Anesthesiology
and Psychology, Center for Consciousness Studies, University of Arizona

PROF. DR. Emeritus KARL H. PRIBRAM, M.D., Neurophysiologie und
Neuropsychologie, Neurophysiology and Neuropsychology, Department of
Psychology, Georgetown University, Washington D.C.

PROF. JD JOHN D. PETTIGREW, FRS, Biomedizinische Wissenschaften, Biomedical
Sciences, Vision, Touch and Hearing Research Centre, School of Biomedical
Sciences, University of Queensland, Australia

PROF. DR. Emeritus ABNER SHIMONY, Philosophie und Physik, Philosophy and
Physics, Boston University, Boston,

OSWALD WIENER, Schriftsteller, Writer, Walstern 14, Halltal / Österreich /

Organized by: New Gallery Lucerne:
Veranstalter: Neue Galerie Luzern:


Theorie der Quantenteleportation; Theorie der Informationsübertragung mit
Lichtgeschwindigkeit; Quantenteleportation und Wirklichkeit; Bellsches
Theorem; Quantentheorie und Messung; Wissenschaft und Teleportation;
Kopenhagener Interpretation der Quantenmechanik; Komplementarität;
Gödelsches Theorem; Mathematik; Reversibiliät und Irreversibilität von Zeit;
nicht-komputierende Physik; (Mikro)-Relativität; (Mikro)-Konstruktivismus;
Neurowissenschaften; ?Neuroquantologie³; Quanteninformation und Bewusstsein;
Bewusstsein und Beobachtung; Bewusstsein und Teleportation;
Quanten-Nichtlokalität und unbewusste Hirnfunktionen; das Konzept eines
Ichs; Philosophie des Bewusstseins; Physik und Psychologie.

Quantum teleportation theory; superluminal information transfer theory;
quantum teleportation and reality; Bell¹s inequalities; quantum theory and
measurement; science and teleportation; Copenhagen interpretation of quantum
mechanics; complementarity; Gödel¹s theorem; mathematics; time reversability
and irreversability; non-computational physics; (micro)-relativity;
(micro)-constructivism; neuroscience; ?neuroquantology³; quantum information
and consciousness; consciousness and observation; consciousness and
teleportation; quantum non-locality and subconcious brain functions; the
concept of a "self"; philosophy of consciousness; physics and psychology.

Introduction / Einführung:
The former Lucerne Symposium has evolved into the Swiss Biennial on Science,
Technics + Aesthetics and has reached its 10 year anniversary. The upcoming
Symposium relates to the 2001 Symposium «The Enigma of Consciousness» at
which the topic of quantum teleportation (also called «remote transmission»
or «the first small step to beaming à la Star Trek») was discussed along
with questions like What is Information? and What is Reality? Will it soon
be possible to copy parts of the human body and transport them over
distances? What is the role of «information» in our understanding of the
world? Are there connections between brain functions, mental phenomena and
quantum physics? What role does consciousness play in the universe (or the
universe in consciousness)?

Das zur Schweizer Biennale zu Wissenschaft, Technik + Ästhetik mutierte
gleichnamige Luzerner Symposion wird 10 Jahre alt. Die neue Ausgabe knüpft
an das Symposion von 2001 «Das Rätsel des Bewusstseins» an, wo die
Quantenteleportation («Fernübertragung» oder «der erste kleine Schritt zum
Beamen à la Star Trek») und Fragen wie Was ist Information? oder Was ist
Realität? für kontroverse Diskussionen sorgten. Können schon bald Teile des
menschlichen Körpers kopiert und über Entfernungen transportiert werden? Was
ist die Rolle von «Information» in unserem Weltverständnis? Gibt es
Zusammenhänge zwischen der Funktionsweise des Gehirns und
quantenphysikalischen Theorien oder zwischen biologischen Prozessen im
Gehirn und geistigen Phänomenen? Was für eine Rolle hat das Gehirn im
Universum (oder des Universum im Gehirn)?

Bewusstsein und Teleportation
Consciousness and Teleportation
22. / 23. Januar 2005
January 22 / 23, 2005
Offizielle Partner: Verkehrshaus der Schweiz und D4 Business
Center Luzern. Official Partners: Swiss Museum of Transport and
Communication and D4 Business Center Lucerne

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Date: 11.16.04
From: Kevin McGarry <kevin AT>
Subject: Rhizome Exhibitions! Rhizome Member-curated Exhibits!

Hi All --

Rhizome launches two new ArtBase programs today!

+ 1 +

"Ya Heard!: Sounds from the ArtBase" is the first in a series of online
exhibitions presenting works from the ArtBase selected by invited curators,
net artists, and writers. "Ya Heard!" is curated by Mendi and Keith Obadike
( ).

As new shows are launched and previous shows are archived, you may
Access Rhizome exhibitions here:

+ 2 +

Additionally, all Rhizomers are now able to create member-curated exhibits
composed of works from the ArtBase. While browsing projects, click to add a
work to the curating tool. Next, go to the curating tool --

( )

-- and add notes for each work, a curatorial statement, a title and graphic,
and open the exhibit for public view. A work's record on the ArtBase will
automatically acquire a link to each exhibit including it. Also, each
member page will now point visitors to member-curated exhibits, in addition
to art and recent texts contributed by members.

You may browse member-curated exhibits here:

Let us know if you have any suggestions or difficulties while exploring
these new features. Enjoy!

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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: 11.19.04
From: abroeck AT
Subject: transmediale.05 - BASICS


BASICS is the title of transmediale.05, the 18th edition of the
international media art festival in Berlin. The festival explores the
relations between art, technology and society on the basis of controversial
topics: bio-technological achievements transcend our perception of life,
security technologies are developped on the expense of the privacy needs.
While technological progress generates a multitude of new opportunities,
people experience a confusing inflation of options: What shall I do? What am
I responsible for?

The transmediale.05 proclaims the "Next Level BASICS", and, as in previous
years, resists mere pessimistic approaches. From February 4th to 8th, 2005,
the festival showcases examples of artistic practice which are based on the
appropriation of an extreme and contradictory contemporary culture, rather
than on obsolete value systems.

The international media art festival takes place under the patronage of Dr.
Christina Weiss, the Federal State Secretary for Culture and Media, who will
inaugurate transmediale.05 on February 3rd in Berlin's House of World

The competition's call for the transmediale Award 2005 has for the first
time abandoned specific categories. Nearly 900 artists from 51 countries
applied for the prize endowed with 8.000 Euros, which were donated by the
company AVM Computersysteme. Last weekend the international jury, composed
of Masaki Fujihata (Japan), Amanda McDonald-Crowley (Australia), Gunalan
Nadarajan (Singapore), Christiane Paul (USA) and Michael Bielicky (Czech
Republic), announced a shortlist of nine works (for short descriptions see
reverse side), three of these will recieve the transmediale Award in a
ceremony on Februaray 7th.

The transmediale was distinguished in December 2003 by the German Federal
Cultural Foundation as one out of six cultural beacons which represent the
spectrum of Germany's contemporary art production in an exemplary manner.

Nominations for the transmediale Award:

Emanuel Andel, Christian Gützer [5voltcore] (at) - 'Shockbot Corejulio'?
The performative installation consists of a computer equipped with a robotic
arm; its software is designed to destroy the hardware using the artifical
arm. The monitor shows the demolition process through increasingly
fragmented images - until the system collapses.

Joe Colley (us) - 'Desperate Attempts at Beauty'
The sound piece was sampled and composed from organic phenomena and
artificial electronic noises. The uneasy coexistence of crackling ice,
disintegrating clay and unstable systems of combined electronic devices
'could be seen as a manifestation of the schizophrenia that is crucial to
the survival of the modern individual'.

Victoria Fang (us) - 'The Living Room'
The installation is a narrative puzzle: In an effort to solve a whodunit
murder mystery, players take part by moving panels with LCD monitors.
Correctly positioning the units triggers filmed scenes that play back across
the three separate panels, and these scenes give the player new clues to
trigger the next scene.

Usman Haque (uk) - 'Sky Ear'
The performance stages 1000 balloons in the sky. An integrated ultra-bright
LED illuminates them in different colours while they are responding to the
electro-magnetic environment. Spectators with mobile phones may call the
balloons, creating additional colouring.

Thomas Köner (de) - 'Suburbs of the Void'
The video uses stills from a traffic supervising camera. Cross fadings of
single images show always the same, deserted and anonymous intersection in a
housing estate, while the musical composition dramatizes the immobile scene.

Alice Miceli (br) - '88 from 14.000'
The video shows portraits of victims who were imprisoned and murdered during
Pol Pot's regime. The images, taken at their detension, are projected on a
veil of falling sand, the projection time being proportional to the
individuals' suffering in prison.

Niklas Roy (de) - 'Pongmechanik'
The installation is an electro-mechanical version of the video game classic
"Pong". "Pongmechanik" ironically reverses the development of video games
towards an increasingly naturalistic impression. At the same time the work
is a hommage to the basics and fathers of computer technology.

Michelle Teran (ca/nl) - 'Life: A User's Manual'
The public performance invites visitors to a walk examining the hidden face
of a city. A specially contructed device detects private wireless
surveillance camera signals and displays the hidden images.

Camille Utterback (us) - 'Untitled 5'
The interactive installation draws abstract graphic compositions and
pictoral structures based on algorithms. The video projection on a big
screen shows these forms and colours caused by the movements of visitors in
a marked field.

Additionally ten works received honorary mentions:
boredomresearch (uk) - 'Ornamental Bug Garden 001'; Thom Kubli (de) -
'Stationsraum für Assimilativen Zahlwitz'; Barbara Lattanzi (us) - 'C-Span
Karaoke'; Johann Lurf (at) - 'ohne titel'; NomIg. (ca) - 'pdx_01'; Petri
Kola (fi), Minna Nurminen (fi) - 'Sankari'; James Patten (us) - 'Corporate
Fallout Detector'; Steven Pickles [pix] (au/de), Julian Oliver [delire]
(nz/es) - 'Fijuu'; Marco Scoffier (us), Miwa Koizumi (us/jp) - 'Simplex
Complex'; Lina Selander (se) - 'Reconstruction'

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Date: 11.16.04
From: Gretchen Skogerson <gee AT>
Subject: New Film/Video Faculty position at Mass College of Art

MPA - Film/Video Search
Video Artist

POSITION SUMMARY: Mass College of Art is seeking candidates for a
Tenure-track position as Asst. Professor in the Film/Video Program of the
Media and Performing Arts Department. This is a full-time position, which
will begin in the fall semester of the 2005-2006 academic year. Established
in 1873, Massachusetts College of Art was the first and remains the only
public college of art and design in the US. The college is nationally known
for offering a broad access to a quality arts education, accompanied by a
strong general education in the liberal arts. A major cultural force in
Boston, Mass Art offers public programs of innovative exhibitions, lectures
and events.

Candidates must be willing and able to teach several time-based media
courses within the Film/Video Major, ranging from intro level studio classes
to graduate seminars. The candidate must be an artist proficient in digital
video and sound with current experience in any combination of the following:
digital compositing, DVD authoring, video streaming, interactive video, and
video installation.

A full-time teaching load at MassArt is twelve (12) credit hours or four
courses per semester. The faculty member will be required to participate in
curriculum development, committee work and student advising. The position
offers the opportunity for the faculty member to help shape the digital
time-based media curriculum.

- MFA required or equivalent professional activity.
- Two years college-level teaching experience or equivalent.
- An active record of professional achievement as demonstrated by the
following: screenings, exhibitions, professional practice, publications,
grants or other scholarship.

This position will remain opened until filled. Qualified applicants must
send the following:
- Letter of intent
- Curriculum vitae
- Personal statement of educational philosophy
No electronic submissions will be accepted. Please do not send any
additional materials at this time. The Chair of the Search Committee will
contact finalists to submit supporting materials and letters of reference.

SALARY: Commensurate with qualifications. This position offers a
comprehensive benefits package including medical, dental, life insurance and
retirement plans.

All inquiries and application materials should be directed to:
Massachusetts College of Art
Human Resources
621 Huntington Avenue
Boston, Ma 02115

Mass Art is an equal opportunity employer and welcomes applications from
individuals who will contribute to its diversity.

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Date: 11.17.04
From: Kevin McGarry <kevin AT>
Subject: seeks web designers is looking for exciting, fresh web designers to build upcoming
online exhibitions.

Rhizome Exhibitions is a new program in which invited artists, curators, and
writers select and exhibit works from the ArtBase, our archive of indexed
new media art.

Our first exhibition, "Ya Heard: Sounds from the ArtBase," opened in
mid-November. We plan to launch a new exhibition every 6-8 weeks. The next
one is slated for late December or early January. Design production will
begin and end during the first 4 weeks of December.

We are looking for a design that is open and instinctively navigable.
Simple, elegant and/or edgy html or css should do the trick. Please, no
Flash. You will work closely with the ArtBase Coordinator to conceive,
revise, and execute an interface that illustrates the concepts set forth by
the curators. Visiting the current exhibition, "Ya Heard"
( ), should give you a good
idea of the task at hand.

This opportunity is paid. For students, there is the option to perform the
design as a for-credit internship.

Please send a resume and links to a portfolio or previous websites, both in
the body of an email, to artbase AT

Please circulate this announcement freely.

Kevin McGarry
ArtBase Coordinator

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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: 11.17.04
From: Rachel Greene <rachel AT>
Subject: Fwd: Position Notices (USC)

Begin forwarded message:

From: "Edu-News" <info AT>
Date: November 17, 2004 4:32:22 PM EST
To: "rachel AT" <rachel AT>
Subject: Position Notices
Reply-To: Edu-News <info AT>

Position Notices:

Two Assistant Professors:
Painting/Drawing, & New Genres
Position Notices:

Two Assistant Professors: Painting/Drawing, & New Genres

Two tenure track positions to begin Fall 2005. The School is seeking
practicing artists with growing national and international stature;
requirements include evidence of excellence in a developing professional
exhibition record and a minimum of two years teaching experience. MFA degree
preferred. The artists will teach undergraduate courses as well as
participate in the MFA graduate program. At the graduate level,
responsibilities would include the ability and desire to work with graduate
students from all media, teach graduate critique seminar on a rotating basis
and participate on the MFA graduate core faculty and to participate in the
evolution and growth of the MFA program.

Painting/Drawing: Specific undergraduate responsibilities will include
teaching existent courses in painting/ drawing, as well as potentially
developing new courses that fuse these areas of practice with other forms
and media. Applicants must have knowledge of technical, aesthetic and
conceptual issues within historical and contemporary painting/ drawing
practices. All serious applicants must possess a demonstrated ability to
teach undergraduate students technical as well as related critical
discourses, and painting theory concurrent with contemporary and historical
studio practice. The position offers the opportunity to join the art school
and further develop the bond and interaction between drawing and painting
within an innovative undergraduate art program, as well as within other
areas of the curriculum.

New Genres: The position will bridge the school's Sculpture and Intermedia
programs and create an area of study that merges sculpture, video, and new
genres. Specific undergraduate responsibilities will include teaching
existent courses in sculpture and video or hybrids thereof, as well as
developing new courses that potentially fuse these areas of practice with
other forms and media. Applicants must have knowledge of technical,
aesthetic and conceptual issues within historical and contemporary art
practices, and possess a demonstrated ability to teach the technologies and
related critical discourse and theory surrounding dimensional expression and
time-based production. The position offers the opportunity to guide the
initiation and development of New Genres offerings within the art school and
to further develop both the relation and interaction between the Sculpture
and Intermedia areas as well as other areas within the curriculum.

Send letter of application, curriculum vita, related sites, SASE, lists of
three references, and/or DVD, CD, slides of recent work to the appropriate
committee; Painting Search Committee or New Genre Search Committee,
University of Southern California, School of Fine Arts, Watt Hall 104, Los
Angeles, CA 90089-0292. Deadline January 14, 2005. AA/EOE/WMA. No electronic
submission accepted.

The University of Southern California School of Fine Arts is positioned
within one of the nation's premiere private research universities, and it is
centrally located in Los Angeles, an internationally recognized region for
contemporary art and culture.

The University of Southern California is proudly pluralistic and firmly
committed to providing equal opportunity for outstanding men and women of
every race, creed and background.

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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: 11.19.04
From: defne ayas <dayas AT>
Subject: Call for Works from New Museum

Submission deadline: December 17, 2004
Exhibition dates: April 21-June 4, 2005
Location: Media Lounge at the New Museum of Contemporary Art

Fresh- is a special showcase opportunity for emerging New York-based artists
working in all aspects of the digital medium. This exhibition evolved from
the successful Digital Culture Evening Fresh of Fall 2003, which acted as a
critical development workshop for selected graduates of interdisciplinary
design programs with a focus on new media. Fresh was organized in
collaboration with independent curator Michele Thursz and Mark Tribe,
Founder of

We invite submissions from artists producing the most engaging digital work
and welcome a wide range of projects from spatial/architectural
installations and networked objects to playful games and websites.
Cross-disciplinary approaches are encouraged. The exhibition aims to provoke
critical discussion about innovation and current movements in the field that
blur boundaries, for example, between art/architecture/ new media, or that
result in new forms of artistic production.

Please consider these following factors for your installations. The projects

- Take the factor of exhibition into account, as the work should be designed
for the Media Lounge. (Please email fresh AT for floor plan or
visit the New Museum (Chelsea 556 West 22nd Street) for a closer look.

- Provide detailed instructions regarding the installation and operation of
the work.

- Depending on the nature of the submissions, the exhibition will either
take the form of a group show or two to three separate installations between

What the New Museum will provide:

- Necessary PC based systems, audio and video equipment and the cabling for
the installation

Please refer to the current technical capabilities (please contact
fresh AT for up to date information)

- Various computers
Pentium III 750Mhz, 256MB Ram, 32 MB screen card, sound card, dvd player,
windows 98 or 2000
Pentium 4 1.2 GHz, 256MB Ram, 32 MB screen card, sound card, dvd player,
windows 98, 2000 or XP
- 1000lumens AND 2300lumens projectors that are all 800x600 native
- 5 42-plasma screens 16x9 ratio, 2 60" plasma screen 16x9 ratio, and 6-7
15-plasma monitors
- Sound systems: JBL shelf speakers, Bose shelf speakers, 1 dolby surround
amp, and many stereo amps.
- Internet connection of Business DSL 1,5Mbps


Please read the requirements above before you complete this form. If you
have any questions about the application process, then please email us at
fresh AT Once completed, please send your form along with
materials to:

fresh AT or
Fresh/ Education and New Media Programs/ New Museum
210 11th Avenue 2nd Floor
NYC 10001

Name of artist(s)

Contact email / cell phone #

Biographical information

Artist Statement

Samples of most current and related work
(This can include: images + media samples on-line)

Proposed project
(This should include: Concept/Context/Use of Technology)-

Requirements/ Instructions on the Installation and Operation of the Work

New Museum of Contemporary Art will exhibit the projects both physically and

Deadline for submissions: December 17, 2004
Review of projects: January 7, 2005
Announcement of successful proposals by: January 12, 2005
Launch: April 21, 2005

About the New Museum of Contemporary Art
The New Museum of Contemporary Art, founded in 1977 and located in the heart
of Soho, is the premier destination for contemporary art in New York City.
With an annual schedule of dynamic exhibitions, the Museum presents the most
innovative and experimental work from around the world. Debate and
discussion about contemporary culture are encouraged through a broad range
of educational programs, publications, performances, and new media
initiatives. The New Museum will begin construction on a new 60,000 square
foot facility at 235 Bowery in 2005. Visit for more about
the New Museum.

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Date: 11.16.04
From: rich white <counterwork AT>
Subject: glimpsed
the bits of buildings that appear above trees, isolated.

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Date: 11.14.04
From: "" <artbase AT>
Subject: Just added to the Rhizome ArtBase: The White Room by John Paul

Just added to the Rhizome ArtBase ...

+ The White Room +
+ John Paul Bichard +

The White Room is a set of photographic prints resulting from an in-game
photo shoot that documents a series of constructed disasters. These
interiors were set up by the artist using the videogame Max Payne 2, a 'Film
Noir' thriller that tells a tale of lost love, deception and betrayal. The
shoot took place within the game's developer mode using the GOD and
GETALLWEAPONS cheats and BenDMan'S 'bloody mod 1.2'. By transforming the
game environment into a ready-made urban studio space, the objects and
interiors were altered using the in-game weapons with the gore from dead
enemies being used to 'paint' the sets before being unceremoniously blasted
out of view and the scene captured. The events implied never happened in the
game, they are not representations of 'real-life' crimes nor are they
illustrations of fictional crime stories. These are silent witnesses,
containers demanding context, they are waiting places.

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

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

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

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

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Date: 11.15.04
From: "" <artbase AT>
Subject: Just added to the Rhizome ArtBase: The Concise Model of the
Universe by The Paul Annears

Just added to the Rhizome ArtBase ...

+ The Concise Model of the Universe +
+ The Paul Annears +

XXOS Group is the umbrella organisation that finances the various projects
of The Paul Annears. Online activities include the virtual gallery that goes
by the name of OXPEN GALXE. 'Art For Squares' caters for a niche market: art
collectors with serious money and a sense of humour. These enterprises are
part of The Concise Model of the Universe which in turn supports the
non-profit Flat Universe Society and promotes the sentience awareness
initiatives Zebra Reality and Al Qaka: the Voice of the Desert Penguin.

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The Paul Annears are a shadowy coterie...

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Date: 11.17.04
From: "" <webmaster AT>
Subject: Just opened: "We don't have to show you no stinking artist
statement." curated by Archive Registrar

Just opened ...

+ We don't have to show you no stinking artist statement. +
+ Curated by Archive Registrar +

Artists! Try to forget the very notion of 'art.' Forget those silly fetishes
-- artefacts that are imposed [on] you by suppressive system[s] you were
obliged to refer your creative activity to. Theorists! Stop pretending that
you are not artists. Your will to obtain power [over] people [by] seducing
them with intellectual speculations is very obvious (though understandable).
But [a] realm of pure and genuine communication is much more appealing and
is becoming very possible nowadays. Media artists! Stop manipulat[ing]
people with your fake 'interactive media installations' and 'intelligent
interfaces!' You are very close to the idea of communication, closer than
artists and theorists! Just get rid of your ambitions and don't regard
people as idiots, [unfit] for creative communication. Today you can find
those that can affiliate [with] you on [an] equal level. If you want of

- Alexei Shulgin (1996)<br><br>

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Rhizome ArtBase curation allows any Rhizome member to
curate an exhibit from works in the ArtBase. Go to to see a list of all open exhibits.

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Date: 11.15.04
From: laurie hb <lhb AT>
Subject: where¹s the art in electronic art?: a perspective on the Dutch
Electronic Arts Festival 04.
November 9-November 21.

Last year¹s DEAF03 was debated in the Dutch media community as being too
?old-school¹. At first glance, this year¹s exhibition felt similar to last
year; it seemed as though the exploration of interactivity has not moved
forward beyond ?push button, step on platform etc. to make something vaguely
pointless happen¹. The exhibition felt like a high-end science fair, and as
one member of the Dutch media community said: ³?a lot seems to be very much
oriented on what can be done with technology -- but I do not always get the
?why¹ of it?²

While there were some effective pieces such as ?M.U.S.H¹ by Eleonore Hellio
and Joachim Montessuis [FR] which created a connection between two
individuals in two locations via telepresence equipment and ?Perpetual Self
Dis-Infecting Machine¹ by which created a [harmless]
virus to make visible the mechanisms that viruses activate in public space,
most of the works did not invite interaction: either because of the
technology or the aesthetics or because they required you to ?perform¹ in
public. One piece titled 'run, motherfucker, run' by Marnix de Nijs [NL]
dealt with the affect of speed on the body: a treadmill that accelerated or
de-accelerated the projected image before you [of moving through the streets
of Rotterdam] based on how fast you ran on a treadmill. This particular work
seemed to reflect my questions about the exhibition, including ?is it art
that uses technology or technology that is framed within an art
context?should there be a difference or a value of one over the other?¹

DEAF04 had a number of speculative, engaged symposiums that included
panelists who mentioned interactive work in their lectures. [note: 1/4 of
the panelists had science backgrounds]. In the ?The Art of Immersive Spaces¹
symposium, theoretician/writer Annette Smelik asked ³Why do we have this
desire to be immersed in reality through technology, when we¹re already
immersed in reality?² and artist Maurice Benayoun had these responses: ³?to
be ourselves in a designed environment?to create a world led by the brain:
to think it and becomes real, ?since the world is becoming a fiction, to be
able move inside a fictional experience.² And to able to control, [re]
create reality?

The main symposium over 2 days; ?feelings are always local¹ [which included
an astute lecture by Alex Galloway] focused on how ³networks manifest
themselves at a local level in everyday life². During his lecture,
theoretician/writer Arjen Mulder said making interactive art can be
difficult and gave this example of a non-electronic art work that was
interactive: ?Untitled (Portrait of Ross in L.A.)¹, 1991by Felix
Gonzales-Torres. The piece is a pile of candies that are available for the
public to take. Originally, the candies taken were to be constantly replaced
by whoever owned the piece so that the pile remained the weight of Torres¹
lover as he was dying of AIDS, and then to remain at his weight when he
died. Mulder described interactivity as two sub-systems connecting: art as a
system and the audience as a system to equal the meaning as a process of
creation. If the artist presents an Open System then the audience will form
a network to then ?create¹ the piece. In the Gonzales-Torres piece: the work
is distributed to a large audience of individuals that when taking a piece
of candy, become part of a network and this network ?creates¹ the work by
symbolically taking the ?body¹ into their body; becoming implicit in both
the relationship between Gonzales-Torres and his lover, and the process of
his dying. This interaction becomes emotionally charged, and changes the

Another event in the festival that continued the idea of eating as an
inherent form of interactivity were the Open Brunch seminars. Each of these
events included lunch by a food artist. In the first one ?To Go¹, there was
a discussion about pushing the boundaries of physical interactivity with
public space, which included Permanent Breakfast, a collective based in
Austria that turns breakfast into a public and political event. Technology
was used as a way to create communities: a global network of others
interested in these activities. The second: ?Sensing Location¹ was focused
on locative media as a way to use technology to [re] define our relationship
to physical space.

While the exhibition is high-tech but less than accessible, the seminars
seemed to be concerned with counter-balancing this by emphasizing the
inherently accessible. One seminar that was particularly inspiring was a
presentation of projects for fused space []; an international
competition for new technology in/as public space. Shu Lea Chang presented
some of her projects in connection with this seminar, and she mentioned how
the ³the virtual can be lonely, the local is becoming more important².

Maybe it¹s a question of language; while the term ?new media¹ continues to
be debated [see CRUMB archives:], maybe
the term ?electronic art¹ has now created the perception of a separation
between technology and art? An inter-relationship between art and science
can only be valuable and DEAF04 reflected some amazing accomplishments in
terms of how technology can affect society. I look forward to DEAF05 to see
how technology can affect art.

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Date: 11.16.04
From: ryan griffis <grifray AT>
Subject: Tandem Surfing the 3rd Wave w/ Matthew Fuller

Tandem Surfing the Third Wave with Matthew Fuller
Ryan Griffis

Matthew Fuller is an author (_ATM_, _Behind the Blip_), software artist
and educator. Together with Simon Pope and Colin Green, he produced
software projects such as the Web Stalker under the name I/O/D. He has
also collaborated with Mongrel on works like "Natural Selection" that
critically engages the often presumed neutrality of data technologies
like search engines. He is currently the Course Director for the Piet
Zwart Institute's MA Media Design program in Rotterdam, and directs,
with Femke Snelting, the Institute's Media Design Research program.

The following conversation took place during the Fall of 2004 via email.

Ryan Griffis: I'd like to start by discussing the Media Design Research
Program at the Piet Zwart Institute. Looking over the program and list
of past and upcoming research fellows (including Brian Holmes, The
Bureau of Inverse Technology, and Florian Cramer), while knowing
something of your own creative work, it seems that there is an
interesting overlap - which makes perfect sense, of course. But, how
did the program come about? Were you asked to create the curriculum
from the bottom up, essentially?

Matthew Fuller: The programme Media Design Research and the MA Media
Design was initiated by the Willem de Kooning Academy, the art school
in Rotterdam of which PZI forms the postgraduate arm. The Research
Fellows programme that you mention is basically run as standard with
this form of academic position. People are invited to make a proposal
which is then evaluated by a board. We've been lucky with the Fellows
so far, who have also included Alexei Shulgin and Lawrence Liang. If
people are interested in what they've done at PZI they can check out
material on the site. The work from Lawrence - two major texts, one on
the implications of Free software and another a user's guide to open
content licenses and issues - will be up soon after peer-review. I'd
urge people to read them when they're ready

Like the Research programme, the Master of Arts programme (equivalent
to a US MFA) also came about on the initiative of the Academy, and
Femke Snelting and I, along with others soon after, were there to start
the thing rolling and design the course. In June we just had the first
round of students from the two-year course graduating so the course has
been thoroughly road tested and also has some great projects under its
belt. If people want to check out the exhibition guide to the
students' work, it's online as a pdf.

RG: Having taught technology-based arts myself, I'm curious about how
you handle (along with your colleagues) the different learning curves
(for cultural awareness and techie know-how) involved in such
processes. While there are such splits in many disciplines, the divide
seems especially wide in "New Media," as some recent discussions in
forums like Discordia and Nettime indicate. These discussions also
brought up questions of the role of education in creating further
dependency on commercialized technology.

MF: Yes, there are many differences to be encountered, amongst them
between different kinds of knowledge and skill. For me this is one of
the reasons that I find digital media interesting - the way that the
absolutely reductive and binary can be at once infinitely rich and
stirring. We see media design as a problematic, an area that needs
inventing, a set of permutational fields to get stuck into rather than
as a discipline to conform to. That certainly means headaches for
staff and students but it also means there's more that we can learn
from each other. And seeing as there's only six or so students per
year, for a two year course, there's enough time to make those
introductions to each other's fields and peculiar domains. This
recognition of the area as being made up by many different dynamics
also brings us into contact with students who want just that and who
also come from practice in many different contexts.

Regarding the use of commercialised technology, for us I don't want to
set up a moral position, especially in education in which the
commercial is bad just for being connected to trade. Rather it's
important to understand the question politically: what gives students
the most power, as insights, as skills that are viable for work and for
themselves. This is our role as educators, to create a context in
which one of the processes occurring is that students take power, not
simply within the confines of the school, but that they generate the
terms for doing so outside.

RG: There seem to be a couple of trends in media arts that have
surfaced in the last couple of years. For example, an intense interest
in "locative media" and the ability to tag the experience of space with
meta data, present in both Europe and the US. Another development is in
gaming, though I'm more aware of it in the US. There have, of course,
even been mergers of the two happening (Noderunner, Pac-Manhattan,
various projects by Blast Theory). Some say that these developments
come from the mere availability of affordable and accessible technology
(mobile phone cams, moblogs, GPS devices, etc), and the pull of a
consumer market that is taking over the entertainment industry. What
are your thoughts on these trends, if you even see them as trends?

MF: Trends are significant, and certainly not something that is
inherently negative. They can be seen as many people, working in
parallel to sort something out, whether it's the heavily parametered
variation on ways of wearing a certain piece of clothing that occurs in
fashion or whether its possibly more considered work in media culture,
they tend to produce a condition in which many people can interact with
a set of conditions - such as a new technology - and work out some of
its possibilities. Needless to say, with some technologies, these
waves of attention are as revealing as a wave of First World War
infantry going over the top into a curtain of machine gun fire as a
flesh feelergauge for the generals.

There is a tendency in some material that is circulated via media art
festivals, but which I don't see as art per se, more as what the Dutch
call e-culture, to work with creative prototyping. I don't see this
work as necessarily needing to work with reference to art, as it tends
to put unnecessary pressures on it. Things can just be fun, a nice
piece of work, a sharp use of a technology in an appropriate or telling
context. Art requires a more rigorous attention to perception, to its
function as a reflexive process. The work of Blast Theory clearly works
in relation to art, and one of their achievements is to maintain
collaboration with partners such as the Mixed Reality Lab in
Nottingham, serious technologists, where both parties, from what I can
tell, seem to have genuinely developed the capacities of the other. The
two other specific projects you mention, I don't know enough about to

Conversely, that work does not involve itself in the kinds of
self-questioning that characterises art practice may in fact mean it
has other things to offer. But it does mean that it also possibly sets
itself up for the danger of mobwalking right into the machine gun fire
of consumer-grade boredom.

I like the phrase used by Jonah Brucker-Cohen and others recently,
'Design for Hackability'. This seems to be a good minimum demand to
make on any media technology. By these standards, mobile phones and
other locked technologies are decreasingly interesting. By the same
measure though, the relatively open practices of W3C and others in
establishing Meta-data standards mean that there are real possibilities
here. And indeed, the question of how to couple either of these
currents of technology with an aesthetics that is productive and
disturbing is still wide open.

RG: I'm interested in the notion of "software culture" explored in your
_Behind the Blip_ and the type of work, criticism and pedagogy that you
are involved in though the MA Media Design Program and your own work.
Is there a desire to reshape the dominant culture(s) (that some may
refer to as a technocracy) to be more self-aware, inclusive and
reflexive? Or is it more interesting to create divergent, purposefully
specialized and oppositional cultures? Perhaps this question is about
working "inside" versus "outside" to effect difference.

MF: I think that it's relatively inevitable that, in shortly given
terms, when people, whether students or not participate in a context in
which they have space, time, good resources, and involvement with other
people with skills and ideas, that something will come out that is not
moulded by what might be called a dominant culture. Whether that
domination might come from a teacher wanting to produce a homogeneous
approach to software culture, one perhaps that is compulsorily
speculative, or come from the macro-to-micro scale formations that
attempt to subordinate or harness all thought, technology and
aesthetics to a mediocrely conceived capitalism, the principle is the
same. People, the compositional dynamics that they compose and that
course through them, are usually idiosyncratic enough, deviant enough
to foil or surpass anyone's expectations.

Perhaps the question is also, if we can understand art schools, other
such institutions, organisations and groups as - at their best - what
Guattari described as laboratories of subjectivation, places and
moments when technologies, ideas, aesthetics, people and practices
interact to produce something which is in excess of its 'list of
ingredients.' How can we make an account of such processes which allows
others to recognise and experiment with some of what comes out?
Perhaps we need our own earnest researcher to carry out a version of
'laboratory life'? (The title of a ground-breaking work of
anthropology/science studies in which the daily working life of
scientists is followed and recorded)

The question you pose is one which has a long history. The twentieth
century saw it disastrously posed as an opposition between reformism
and revolution, leading to sad revolutionaries and timid, if not
slavish, reformists. Perhaps as greater and more supple thought to the
ethics and aesthetics of organisation and relationality is made in the
area of art, and areas such as organisation studies become increasingly
open to multiple currents of experience (despite being a least
potentially constricted to the perpetual redesign of control), or, in
political terms, self-organising currents, such as those who, in the
London European Social Forum, become increasingly self-aware in such
terms and define themselves as 'horizontals', and in many other
contexts, we can begin (always again) to work through some of these
possibilities. Perhaps including a 'grammar' as Paulo Virno has called
it, in the areas of both education and media design?

RG: The anthropological research of science/technology, and by proxy,
all authority, that you mention is probably one of the most interesting
and important projects, in my opinion, at the moment for 'cultural
workers.' Your (non)classification of 'not-just-art,' (from "A Means of
Mutation") i think, provides some room for this kind of work to operate
on many levels. I've been especially interested in the work of
'not-just-artists' that move through the art world when it provides
convenient mechanisms for exposure and research facilities. Where do
you see the most engaging forms of 'not-just-art' coming from/going at
the moment?

MF: Perhaps alongside the recognition of, or the search for,
'authority' in scientific practices it is also useful to recognise in
it, something more positive, a thread which continues from the
enlightenment onwards which is the search for a more useful, accurate
or suggestive understanding of the world. I'd question any discipline
that attempts to unmask 'authority' without also working on itself.
Whether this is a po-faced anthropologist, reality-policing scientist
or self-righteous artist claiming access to the truth by simple virtue
of their being produced by a discipline with greater access to the
verities. Disciplines as such - and art, even as the arch
'anti-discipline,' is amongst them - are only ever a transitional
stage, providing a certain perspectival rigour or training. They
provide a motor for seeing and moving beyond themselves.

One obvious case right now is that of the Critical Art Ensemble. Their
mobilisation of amateurism, the headlong and extremely artful plunge
into biotechnology, molecular engineering and the integration of life
at the sub-organismic level with regimes of property and militarisation
is absolutely timely. It is also a kind of work that works with art
methodologies, but outside of their normalised context. To use the
term, 'not-just-art', this is work that deals with arguments about
representation and materiality, about the location and visualisation of
certain kinds of objects, with procedures of naming, positioning and
knowing, with the making of certain hitherto popularly 'ineffable'
knowledges (those accorded the status of the military industrial
sublime) palpable and usable. The work also works reflexively on
notions of truth, how it is arrived at, assigned value, made available
to different kinds of people, organisations and instruments. CAE's
work operates fully in relation to these questions, which are
aesthetic, to do with the construction and experience of perception but
also locates these aesthetics in terms of their striation by political
forces. Crucially, (and this is where perhaps it becomes 'not-just-art'
in the sense you mention) the points where such cutting up, such
marking by power, occurs are not simply taken as a boundary point - the
place where the slug of art meets the salt of reality - the place to
turn back and to put up pictures, but as a crucial knot, a nodal point
that can be mobilised by the reality forming principles of direct

Clearly CAE are not alone in attempting such work. In a more sensorial
mode, Lygia Clark's work merging materials aesthetics with
'therapeutic' or phenomenal practices is extremely interesting.
Equally, you can look at projects such as the txtmob that spring out of
a bastardisation of art, engineering, and again, the idea of direct
action, that of acting without representation now in the world in a
reality-forming way.

(I was convinced about Clark's work, for instance the 'relational
objects', when I saw some documentation in the exhibition 'Phases of
the Kinetic at the Hayward Gallery in London in 2000. See Suely Rolink:
'For a State of Art, the actuality of Lygia Clark' at )

Recognising art methodologies as reservoirs of reflexive, critical and
perceptual dynamics that can be put into play in, that ripple into,
many contexts, not simply those of art systems per se, is in a sense, a
next step. If not-just-art allows for things to be recognisable as
working with art systems, but also outside of such a skin, we can also
see art methodologies moving outside of art systems, not reporting back
to the mother-ship but infecting and mobilising other parts of life,
realising other compositional dynamics. (Tracking and developing such
art methodologies in the realm of software is something that I'm
currently working on for a project 'Softness' with Huddersfield Media
Centre.) Partly perhaps this is to do with the massification of art
education, art as a partly commodified cultural force, partly also
because of a more general intellectuality which occurs in perverse,
non-disciplinary, but still reflexive, self-aware and
self-experimental, dynamics. Perhaps in the way that cellular automata
sometimes produce 'gliders' that move across and out from their
generative matrix in a dynamic manner, art methodologies are also
launched by art systems which are themselves unable to pre-determine
their patternings and behaviours. How can we best learn to set in play
the creation of such sensorial and subjectival gliders, self-generating
and relational patternings that spread knots, tingles and explosions of
other becomings in contexts from which they are supposedly excluded?

RG: The development of meta-data standards is something that seems very
promising to me, as it relates to a kind of 'opening-up' of information
and processes that allows for comparison and relational research. But,
at the same time, it's hard for me to not read these developments
against Virilio's conception of speed and my negative (luddite?)
reactions to the utopian fantasies of a singularity, as a primary
motivation for meta-data seems to be the 'speeding-up' and
universalization of the archive. I'm curious about your thoughts on the
desire for a comprehensive archive, a universe of 'tagged' experiences.
How do we formulate a dialectical approach that avoids the
utopia/dystopia trap, yet remains politically and structurally engaged?

MF: Well this is a key question! I dare say that simply raising such
questions, stubbornly insisting on the political and existential
dimensions of these technologies is essential in itself to forming
something of an answer. And it seems that many people working in the
area of metadata are aware of this. The richness, the
uncontrollability of life is what drives them on, that makes them
hungry to find an expressive way of coupling it with the inherently
reductive, but also manifoldly explosive powers of computational and
networked digital media.

At the same time, this is a current recursion of an old
media/anti-media problem. Does Plato call for poets to be imprisoned
for betraying the lived immediacy of language or for being a vector by
means of which the wrong things, tricky ideas, serious pleasures might
be remembered and made mobilisable?

The notion of 'The Singularity', however, that significant
computational intelligence will be developed, be networked and suddenly
cross a threshold of richness into a new level of synergetic post-human
intelligence used to express a totalisation, is a phantasm - control's
dry dream of Daddy transmuted into God, but with the twist that God is,
like Eve, 'simply' the result of man's parts, the multiplication of his
tools. Needless to say, the fear is that, instead of the reverse
transit into Eden, it is man himself who becomes the appendage and the
tag becomes a tourniquet.
Given such a scenario, what more is there to do but to sit back and

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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 46. Article submissions to list AT
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