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: 12.10.04
Date: Tue, 14 Dec 2004 01:54:26 -0800

RHIZOME DIGEST: December 10, 2004


1. Bob Wyman: NYC Art Mobs Launches on Dec. 8!
2. Jo-Anne Green: Turbulence Guest Curator: Low-fi
3. Nanette Wylde: launching
4. Shawn Greenlee: meme AT brown announces new Ph.D. program

5. Amy Youngs: New Media Artists Wanted at the Ohio State University
6. Shelley Hornstein: Mosaica - Call for Projects - deadline January 1
7. napoleon brousseau: call for submissions and proposals, Emmersive Gallery
8. kanarinka: Art Interactive - Call For Exhibition Proposals
9. Kevin McGarry: FW: Exit Art Archivist Job Opportunity
10. Kevin McGarry: FW: REAL SPACE New Media Residency
11. Jeff Tancil: Tenement Museum Call for Proposals

12. Just added to the Rhizome ArtBase: museum of rumour by
maria miranda
13. Just added to the Rhizome ArtBase: Any Wall by Robert

+book review+
14. Charlotte Frost: A Review of New Media Art: Practice and Context in the
UK 1994-2004, Edited by Lucy Kimbell, Arts Council of England and
Cornerhouse Press, 2004.

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Date: 12.07.04
From: Bob Wyman <bobwyman AT>
Subject: NYC Art Mobs Launches on Dec. 8!


David Gilbert of Marymount Manhattan College writes:

Our "Art Mobs" team is using mobile text messaging and podcasting to allow
people to experience art in a new way. Along with the Department of Art and
the mobile arts organization YellowArrow, we are hosting a gallery event on
Wednesday, Dec. 8, here in Manhattan to showcase our technologies. The show
is open to the public, and guests can read about the event, view an
instructional video, and download the podcast at

See the actual blog posting for more data.

Sorry if this is a repeat.

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Date: 12.07.04
From: Jo-Anne Green <jo AT>
Subject: Turbulence Guest Curator: Low-fi

December 7, 2004
Turbulence Guest Curator: Low-fi
[you may need to reload/refresh]

Low-fi's curatorial contribution to is the prototype of a
distribution system that co-exists symbiotically on other sites. Rather than
producing additional content, it is an embedded syndication of Low-fi's
current editorial and guest list activity that updates automatically to
provide a brief introduction, title, artists¹ names and links to relevant
Low-fi projects.


Low-fi is an artist collective focusing on net art, mediation, and
distribution systems. Their main activity centers around and commissioning net art. Low-fi's activity is
extended by a program of monthly guest contributions which offer a diverse
weave of perspectives on net culture.

Low-fi's current active members are: Kris Cohen, Rod Dickinson, Jenny
Ekelund, Luci Eyers, Alex Kent, Christian Nold, Jon Thomson, and Chloe

For more Guest Curators, see

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Date: 12.08.04
From: Nanette Wylde <nanl AT>
Subject: launching

featuring works by
Lionello Borean + Chiara Grandesso
Katie Bush
David Crawford
Carla Diana
Robert J. Krawczyk
Geoffrey Thomas
Jody Zellen

December  2004 - March 2005

produced by
the Electronic Arts Program at
California State University, Chico

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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 Kevin McGarry at Kevin AT or Rachel Greene
at Rachel AT

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Date: 12.10.04
From: Shawn Greenlee <seg AT>
Subject: meme AT brown announces new Ph.D. program

please pardon cross postings.

meme AT brown (Multimedia & Electronic Music Experiments AT Brown) and the Brown
Department of Music are pleased to announce a new Ph.D. program in
Electronic Music and Multimedia. Applications are now being accepted for the
2005-2006 academic year. The deadline for applications is January 1, 2005.

Candidates in the Ph.D. program will focus on the creative use of technology
in order to:

- conduct original technical research
- create multidisciplinary works of art
- gain expertise in sound, space & image
- develop new modes of performance and interaction
through composition, programming and engineering

Fellowships and Teaching Assistanceships are available to qualified

meme AT brown is an interdisciplinary center for real-time interactive
installation and musical performance. Located in the Steinert Building on
the Brown University campus, meme AT brown is known for art and research that
traverse the boundaries between computer music, installation, video, theater
and dance.

As part of the larger Brown and RISD (Rhode Island School of Design) digital
media community, meme AT brown provides expertise in real-time computer music
and interactive video and tracking, as well as specializations in interface
design and gestural controller hardware/software.

Todd Winkler, Associate Professor, Co-Director
Butch Rovan, Associate Professor, Co-Director
Thomas Ciufo, Technical Manager

Affiliated Brown Departments:
Visual Arts, Computer Science, Modern Culture and Media,
Theatre, Speech and Dance, and Creative Writing.

For more information, please contact Butch Rovan (Butch_Rovan AT

Also, for program and application information please see:

meme AT brown
Department of Music
1 Young Orchard Avenue
Box 1924
Brown University
Providence, RI 02912

Todd_Winkler AT
Butch_Rovan AT

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Date: 12.04.04
From: Amy Youngs <youngs.6 AT>
Subject: New Media Artists Wanted at the Ohio State University

Earn money, gain experience teaching art, focus on making your artwork and,
at the end of 2 successful years, earn a Masters of Fine Art - all without
paying tuition. Art and Technology at the Ohio State University is seeking
applicants to the MFA degree program for 2005 - 2007.

Art & Technology is an interdisciplinary studio art program in computer
mediated art, which includes electronics and kinetics, interactive, robotic
sculpture, 3D modeling and animation, holography and light, digital video,
multimedia, net art, installation and sound. Students are encouraged to
consider conceptual approaches to art making while working with content and
contexts that may not fit within traditional definitions of art or display

The Ohio State University is one of the nation's largest, most comprehensive
universities. As members of the University community, students in the
Department of Art have the opportunity to draw on a wide variety of
resources that may be pertinent to their work. The University Fine Arts
Library holds over 40,000 volumes. Ohio State's Advanced Computing Center
for the Arts and Design is known internationally as one of the top centers
for graduate students focused in animation and 3D modeling. The History of
Art Department has a comprehensive slide, print and digital collection of
more than 450,000 items. The Wexner Center for the Arts presents
exhibitions, dance, film, and performances by nationally and internationally
known contemporary artists.

90% of studio art graduate students receive Graduate Teaching Assistantships
or University Fellowships. GTAs receive a stipend for nine months of service
and a full waiver of tuition. All graduate students in the Department of Art
are provided with studio space.

Art Department:

Application information:

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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:

++ Through December 31: a free domain with each hosting plan purchased! ++

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Date: 12.04.04
From: Shelley Hornstein <mosaica AT>
Subject: Mosaica - Call for Projects - deadline January 1

Call for online projects:

Project Mosaica, a new website devoted to contemporary Jewish culture
online, is seeking projects from individuals and groups on the theme of Jews
and Diaspora: Jewish Culture, Web Culture, New Culture. Two $1,000 (CND)
production honoraria will be awarded to the successful candidates whose web
projects address the possibilities of the virtual diaspora with this theme.

Projects should be innovative and address the visual possibilities of the
web as well as contribute to an understanding of the multi-valent nature,
complexities, significance and changes in meaning of diaspora. This call is
intended to be as inclusive as possible: projects enlisting any and all
artistic disciplines are welcome.

Provide a project description in 500 words including the following: a
statement about the projectâ??s relationship to Jews and diaspora; why the
web is a viable medium for the project; and an explanation of how the
project will be sustainable beyond implementation.

Include a web-ready presentation.

Include a CV.

Include a selected portfolio of previous work in CD-R, DV-R or video-DVD
(region-one compatible) as appropriate, featuring no more than three images
or five minutes of video.

Proposals to be submitted in English or French; however, we recognize that
other languages may play a role in the final project.

Innovative content and its adaptation to web aesthetics will be the primary
consideration in the selection process. Artists will maintain copyright of
their productions, which will be disseminated by Mosaica on the site and may be presented at public talks and screenings.
Submission material will not be returned.

Applications must be submitted by January 1, 2005.
Online applications are to be submitted to mosaica AT
Decision date: Candidates will be notified by March 1, 2005.
A condition of the honorarium is completion of the project by September 1,

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NEW: Rhizome Member-curated Exhibits

View online exhibits Rhizome members have curated from works in the ArtBase,
or learn how to create your own exhibit.

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Date: 12.06.04
From: napoleon brousseau <nbrousseau AT>
Subject: call for submissions and proposals, Emmersive Gallery

Emmersive Gallery is currently accepting proposals for its 2005/2006
programming year.
We are a newly established gallery situated in the heart of the Queen Street
West gallery district in Toronto. Our mandate is to
exhibit contemporary time-based and computer-generated works with an
emphasis on marketability. Our dynamic media platform is designed to serve
as a consulting service for private collectors, museums and corporations.
Our venue operates on a 6 week cycle and accommodates solo, two-person and
group exhibits from local, national and international artists.

Submission deadline is January 8th 2005.

download a PDF Submission Form

Please include: CV, Artist Statement, Project Proposals, DVD or CD
documentation, URL's, as well as any other relevant information.

no slides, films, video tapes, original artworks, or photographs will not
be accepted.

For information on the gallery exhibition and venues contact:

Maria LegaultProgram Director
at 416 597 1664 or maria_legault AT

Emmersive Gallery
1096 Queen Street West.
Toronto, Ontario
Canada / M6J 1H9

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Date: 12.06.04
From: kanarinka <kanarinka AT>
Subject: Art Interactive - Call For Exhibition Proposals


Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator).

The following call can also be found at:

Questions: contact proposals AT

Call for Exhibition Proposals
Art Interactive in Cambridge, MA, invites curators to submit exhibition
proposals for the 2005-06 season. Art Interactive's mission is to provide a
public forum that fosters self-expression and human interaction through the
development and exhibition of art that is contemporary, experimental, and
participatory. Previous exhibitions have included Engaging Characters
(Kathy Brew, Curator), Do-It-Yourself Fluxus (Midori Yoshimoto, Curator),
and eVolution (Christiane Paul, Curator). To review these and other Art
Interactive exhibitions, please visit:

Art Interactive encourages proposals that presents works in any media, but
each proposal must address the goals described in the curatorial mission
statement. Please note that Art Interactive discourages artists who are
acting as curators from submitting proposals that include their own work.
To read the curatorial mission statement, please visit:

Proposals will be reviewed by Art Interactive's Curatorial Committee,
comprised of Rachael Arauz, Independent Curator, Sharon Matt Atkins,
Assistant Curator, Currier Museum of Art, George Fifield, Director, Boston
CyberArts Festival and Adjunct Curator of Media Arts, DeCordova Museum,
Joseph Ketner, Director, Rose Art Museum, Jeff Talman, Artist, Emanuel
Lewin, Director, Art Interactive, Catherine D'Ignazio, Associate Director,
Art Interactive, Winnie Wong, Director of Curatorial Planning, Art

Gallery Space
Art Interactive is located in the Central Square neighborhood of Cambridge,
MA. The exhibition space is approximately 2,000 square feet with 16-foot
ceilings. Two glass walls provide extensive natural light, and the space can
be partitioned by four movable modular wall panels. Visits to the space
during gallery hours are encouraged, and a floor plan is available upon

If accepted, Art Interactive provides the following resources to assist the
1) Exhibition Coordinator, Exhibition Designer and Graphic Designer to
assist in these aspects of exhibition planning.
2) Press and marketing support, Event Coordination, and Education and
Outreach are handled primarily by Art Interactive.
3) Technical support and labor for construction and installation.
4) Printing and design of posters, postcards, press releases, mailings, and
an exhibition brochure.
5) A host of high-end equipment including computers, projectors, cameras,
etc. A detailed specification list is available upon request.

In addition to these resources, Art Interactive will provide total
additional support of $2500. This is typically used for stipends, travel,
shipping, purchase of special construction materials or equipment. If the
budget for the proposed show exceeds $2500, please provide a detailed plan
for how and when additional funds will be raised. Art Interactive is able to
provide some administrative support, planning and strategy for raising
additional funds for a compelling curatorial project.

Proposals must be received at Art Interactive no later than February 1,
Notifications will be sent by email to proposers on March 15th, 2005.

Submission Guidelines
Submissions must include 8 copies of the following:
1. Curator's CV (please include name, address, email address)
2. Proposed exhibition title (maximum 10 words)
3. Exhibition Abstract (maximum 500 words)
4. Exhibition Checklist (maximum 1 page)
5. Proposed Budget (see above, "support")
6. Supporting visual materials

Supporting visual material can include DVDs, CD-ROMs, websites, and printed
A self-addressed stamped envelope may be included in the submission for the
return of these materials.

Please send all submissions by mail to:
Curatorial Committee
Art Interactive
130 Bishop Allen Drive
Cambridge, MA, 02139

For more information, please visit:
For additional inquiries, please email proposals AT

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Date: 12.07.04
From: Kevin McGarry <kevin AT>
Subject: FW: Exit Art Archivist Job Opportunity

From: Richard Rinehart <rinehart AT>
Date: Fri, 3 Dec 2004 15:37:35 -0800
To: preservation AT
Subject: Exit Art Archivist Job Opportunity

Exit Art Archivist Job Description

Since its founding in 1982, Exit Art has presented the work of over 2,000
artists and grown from a pioneering alternative art space into a model
cultural center with a substantial reputation for curatorial innovation,
depth of programming in diverse media, and especially for bringing to public
attention the work of important unknown and under-recognized artists. Over
the past two decades, Exit Art has accumulated and preserved its rich
history of artists' materials and is now at a critical stage: making its
archival materials available to the public and online. Exit Art receives
thousands of requests each year from scholars, curators, doctoral students,
and artists for information that is currently only accessible by

Currently, Exit Art seeks to hire an Archive Manager who will work closely
with the Executive Director and Curatorial staff to conserve, digitize,
describe, and make available online the unique cultural materials in Exit
Art's archives.

The conservation and collection management of the physical archives include:

+ Label, catalogue, and store the contents of approximately 5,000
exhibitions files into archival-quality file folders and document boxes
+ Organizing and storing oversized original exhibition invitations, posters,
catalogues and didactics
+ Cleaning, labeling and organizing slides and 4x5 negatives
+ Transferring, labeling and organizing videotape from VHS, 3/4", DVCAM,
Hi-8 and Betacam to DigiBeta
+ Digitizing, labeling and organizing audio cassette tape and creating
archival re-masters on CD-R (this will be done during the digitization stage
of the project)
+ Implement a FileMaker Pro driven database that will create a record of the
materials in the Exit Art archive
+ Work with on-staff technologist to prepare for the digitization of the
archive making records available on-line

Job Description:

+ Oversees the conservation and collection management of the physical
archive as listed above
+ Supervises the organization and maintenance of the Exit Art Archive and
the archive room
+ Helps to prepare budget reports and financials for archive-related
expenses and grants
+ Responsible for purchase and maintenance of all archive equipment
+ Supervises archive interns
+ Acts as a liaison between advisory panel and Exit Art
+ Responsible for reporting the progress of the archive project and
implementing a system analysis for the public using the physical and online


Candidates must be self-starters, goal-oriented and have a strong interest
in archiving conceptual and inter-media art; Should have experience in
organizing, analyzing and conserving paper files, slides, photographs and
video and database management; Strong organizational, leadership and
management abilities; Proficient with both Mac and PC platforms; MS Office,
FileMaker Pro, Photoshop, Illustrator and archive digitization techniques is
highly recommended; BA in Library Science or similar field highly

Start date is immediately. This is a full-time, salaried position with
benefits. Salary is commensurate with experience. Interested applicants
should send their resume and cover letter to Jodi Hanel, by email to
jodi AT or by mail to Exit Art, 475 Tenth Avenue, New York, NY

No phone calls, please.

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Date: 12.07.04
From: Kevin McGarry <kevin AT>
Subject: FW: REAL SPACE New Media Residency

(fwded from

A New Media Residency

Sponsored by Do While Studio and Studio Soto


A six-week process-oriented artist?Äôs residency for the development of a
new media project. The residency provides living, working and exhibition
space in the heart of downtown Boston, as well as ?Äúthink tank?Äù support
from professionals in the field. Projects should be experimental,
research-oriented, community-based, and in need of further development.


Residency: June 15 - July 31, 2005.
Opening reception/Artist Talk: July 29, 2005.
Installation/Show: July 29 - August 28, 2005.


Artists who work with new media and technology.


We provide real space for real ideas. New media and technology may well
offer innovative ways of expressing artistic concepts, but real, physical
space is still the best venue for sharing work with the community.


You propose a new media project that meets the residency criteria. We select
one resident per year. If we select your project, we provide the necessary
support and resources to help you develop it.

Who Decides

A select panel of new media professionals which might include artists,
curators and invited members of Do While Studio and Studio Soto.

For more information on the residency program please visit us at:

Sponsored by: and

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Date: 12.09.04
From: Jeff Tancil <jtancil AT>
Subject: Tenement Museum Call for Proposals

The Lower East Side Tenement Museum is currently accepting proposals for
web-based exhibits that will be produced through its Digital Artists in
Residence Program (DARP).

The Museum will host two virtual residencies. During these residencies,
artists will work off-site to complete web-based exhibitions that explore
some aspect of the contemporary immigrant experience.

All works completed through the DARP program will forward the Tenement
Museum's mission to 'promote tolerance and historical perspective through
the presentation and interpretation of a variety of immigrant and migrant
experiences on the Lower East Side, a gateway to America.'

Duration and Exhibition Dates
Each residency will last for six months.

First residency: Begins April 2005. Exhibition/site launches in October

Second residency: Begins June 2005. Exhibition/site launches in July 2005.

Criteria for Selection
Preference will be given to proposals that:

+ Embody and forward the Museum's mission.
+ Make exceptional and innovative use of the dynamic, interactive qualities
of the Web.
+ Are produced by and/or focus on contemporary immigrant experiences.
+ Display a deep understanding of and innovative approach to the project's
subject matter.
+ Can be successfully completed during the six-month residency.

All proposed pieces must be web-based and be able to be viewed with 4.0 and
higher-generation browsers. All completed projects must be able to function
on the Museum's web server. The Museum runs a Windows 2000 Server and
supports the following technologies:

+ Flash
+ MySQL Databases
+ MSSQL databases
+ Java
+ Javascript

Applicants should be aware of users with special needs. In turn, applicants
are must consult the World Wide Web Consortium's (W3C) Content Accessibility
Guidelines ( ) and detail how they will
respond to the needs of these users.

Benefits for Artists
All projects created by DARP residents will be hosted on the Museum's web
server. In turn, each DARP site will be featured on the Museum's home page for three months and will continue to reside on the
site after this period, if requested by the artist. Artists selected for the
residencies will also be able to utilize the Museum's web server to store
and test their work during development.

The Museum will provide artists with a $5000 stipend for the project and may
also reimburse artists for up to $2500 worth of expenses. Artists will only
be reimbursed for expenses that are deemed necessary for the completion of
their work. Artists must submit a list of proposed expenses with their

The Museum will also help promote the exhibits. The Museum's PR & Marketing
department will help write and distribute a press release for each exhibit,
as well as promotional announcements that will appear in its e-mail
newsletter and Calendar of Events. Artists who wish to utilize the
collections should detail how they plan to do so. The Museum will pay for
printing and mailing.

Artists may utilize the Museum's library, as well as its collections of
artifacts and historic images. Access to these materials will only be
provided as is deemed necessary. Artists should detail how they wish to
draw on the collections in their proposals. More Information on the
Museum's collections is available at

Please note that this is a virtual residency. The Museum is unable to supply
housing or office space.

Informational Meetings
The Museum will hold informational meetings for all applicants who wish to
learn more about the Museum and the DARP project. The first meeting will be
on January 10th at 2pm; the second meeting will be on January 24th at 4pm.
During these meetings, applicants will take a tour of the Museum's tenement
building and will also have to time to discuss the DARP project with the
Museum's Web Producer.

Attending this meeting is strongly recommended. Anyone interested in
attending these meetings should contact Jeff Tancil, Web Producer, at
212-431-0233 x.234.

If you are unable to attend either meeting, we suggest that you take one of
the tours of the tenement at 97 Orchard Street. Information about these
tours is available online at

If you are unable to visit the Museum, you can also take a virtual tour of
the tenement: If possible,
however, we strongly suggest that you visit the Museum in person.

How to Apply
Proposal Overview
Applicants should submit a 2-5 page proposal, not including attachments, to
the Museum (contact information is provided below). In their proposal,
artists should detail the concept, scope and theme of one original work.
Applicants should also discuss how their project will specifically address
both the immigrant experience and the Museum's mission.

All proposals are due no later than February 15, 2005.

All proposals must include the following attachments
+ Budget of proposed expenses

+ Schedule
Schedules should reflect the six-month duration of the residency. Schedules
must include the following deliverables:
o Three formal project reviews with the Museum's Web Producer and the DARP
Advisory Board.
o A beta version of the site to be completed no later than six weeks prior
to the launch of the project.
o Launch date.

+ Resume

+ Work Samples
Applicants must submit 2-3 samples of web sites and/or web-based exhibits
that they have created. Applicants can either submit a list of URLs or
CD-ROMs that include their work. Please specify the work that you performed
on each project. Applicants can also submit additional samples of work
completed in other mediums.

Group Size
Applicants can apply either as individuals or as part of a group. If you are
applying as a group, you must demonstrate the unique role of each member in
producing the exhibition. Please note that the stipend and expenses are the
same regardless of group size.

Contact Information
Applications and attached materials should be submitted to the Museum either
by mail or e-mail. All proposals are due no later than February 15, 2005.

jtancil AT

91 Orchard Street
New York, NY 10012
Attn: Jeff Tancil

Please direct any questions to the Museumâ??s Web Producer. He can be
contacted by e-mail (jtancil AT or phone (212-431-0233 .234)

About the Lower East Side Tenement Museum
The heart of the Lower East Side Tenement Museum is the tenement at 97
Orchard Street. From 1863 to 1935, 97 Orchard was home to an estimated
7,000 people from over 20 nations. The Museum uses the stories of 97
Orchard Street residents to raise public consciousness on social issues,
which endure to this day, including: welfare, immigration and child labor.
Museum walking tours and tenement building tours, dramas, readings, media
presentations, publications, exhibitions, and research projects reinforce
this new approach to history and breath life into this neglected and vital
area of our national experiences.

About the DARP Program
The DARP program was started to encourage the creation of web-based art that
explores issues related to the Museumâ??s mission and work. The first
series of DARP residences began in the Fall of 2001. During this first
round of residencies, DARP provided funding and support for three new
projects created by local artists and one work that was created by two New
York high school students.

The works produced during the first round of residencies were:
o Claudia Chow's Banana

o Jenny Polak and Lauren Gill's Hard Place

o CUP and HONEST's Code City

o La Lutta's The Immigrant Experience

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Date: 12.07.04
From: (artbase AT
Subject: Just added to the Rhizome ArtBase: museum of rumour by maria

Just added to the Rhizome ArtBase ...

+ museum of rumour +
+ maria miranda +

The Museum of Rumour is a fictive work that presents ongoing 'pataphysical
research into the study of rumour. It uses a sort of 'gay science' of
multiple and contrary theories - from the physics of motion to the theory of
six degrees of separation.

In particular the museum charts the uncanny connections of the so-called
small world effect by mapping the intersections of rumours through the nodal
point of Gertrude Stein, a major figure of rumour.

+ + +


Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark.
We have been working together for over 15 years, beginning in radio and then
from the early '90s making work with CD-roms, installations, websites and
net art installations.

Maria Miranda is a new media artist based in Sydney. Visit for further details.
Norie Neumark is a sound/radio/new media artist based in Sydney. Visit for further details.

Currently we are interested in working with the fictive possibilities of the
net -- playing on the borderland between fiction and reality. Investigations
include anomalies, rumour, difference, Gertrude Stein, ducks, everyday life,
trees and frogs, Jules Verne, volcanoes, Jorge Luis Borges -- through a
variety of 'scientific' approaches, from rumourology to emotionography to
data collecting.

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Date: 12.10.04
From: (artbase AT
Subject: Just added to the Rhizome ArtBase: Any Wall by Robert Krawczyk

Just added to the Rhizome ArtBase ...

+ Any Wall +
+ Robert Krawczyk +

Any Wall

This piece speculates on a possible replacement for Sol LeWitt's
with a web application for his wall drawings, a simple experiment in viewer
directed art.

This is a parody of the original concept of the wall drawing.
This is not a wall drawing.
This is not art by Sol LeWitt.
You are not Sol LeWitt if you choose to execute this.
This JAVA applet is not Sol LeWitt.
You are the artist.

Imagine an additional button that could send you a printed copy of the
you generated, size and payment to be determined.

Imagine if such a web page could drive a real-time display the size of an
actual wall or room. Changes to the wall could be presented from all over
the world at some time interval. A send button would be added to queue the
next arrangement.

Or imagine if the wall is covered with a future version of digital vinyl or
digital ink technology turned into a digital paint.

Is Sol LeWitt's "machine for art" now complete?

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Robert J. Krawczyk, is an Assistant Professor in the College of Architecture
at the Illinois Institute of Technology in Chicago focusing on digital
During his twenty-one years at IIT, he has developed and taught a series of
CAD and digital design courses covering 2D and 3D CAD, image composition,
animation, and form generation methods. In addition to teaching, he is an
advisor in the PhD and Master's programs on form generation and other
related digital design methods.

Robert is a graduate of the University of Illinois Chicago, College of
Architecture; prior to teaching at IIT; he pioneered digital graphic
applications in the architectural office of Murphy/Jahn in Chicago for eight
years, covering the 1970's. After leaving Murphy/Jahn he started a computer
consulting firm that continues today.

His research into digital methods and artwork covering science, mathematics,
architecture, and technology continues to be published and presented
internationally in the form of prints, web pieces, sculptural, and
architectural studies.

A highlight of his digital artwork was being selected for the SIGGRAPH 2001
and 2003 Art Gallery, including the 2001 SIGGRAPH International Traveling
Art Show.

Artwork is displayed at: and student work, papers,
and other projects are at:

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Date: 12.10.04
From: Charlotte Frost <charlotte AT>
Subject: A Review of New Media Art: Practice and Context in the UK
1994-2004, Edited by Lucy Kimbell, Arts Council of England and Cornerhouse
Press, 2004.

A Review of:
New Media Art: Practice and Context in the UK 1994-2004, Edited by Lucy
Kimbell, Arts Council of England and Cornerhouse Press, 2004.

By Charlotte Frost

Having somewhat ripped up the conference circuit this year, I was relieved
to discover a book, in the form of New Media Art: Practice and Context in
the UK 1994-2004, which is rather like attending a conference ­ but without
the flu (ISEA), travel expenses (ISEA again!) and inevitable weariness (take
your pick!) associated with such events. New Media Art is the Arts Council
of England¹s round-up of ten years of funding new media projects. Its
opening explains:

³The book is part catalogue and part anthology, providing a gateway to other
references and sources for the reader to explore; it presents a wide range
of voices and approaches to new media practice and illustrates the
extraordinary breadth and diversity of the constituencies and cultures of
the new media arts landscape in the UK.² (P.7)

And its exactly 300 pages offer an informal introductory glimpse of a decade
of UK-based new media art creation, curation and context, from the
perspective of regular new media ?knowledgables¹.

This book acts as a conference substitute, however, not in any formal
didacticism, but in a more valuable and intimate way. Each concise essay,
case study, or conversation, which constitute its canon, is more like one of
those invaluable discussions that takes place in-between, rather than
actually at, the panels and workshops put on at most new media conferences.

Indeed, the fact this book is less ?keynote¹ than it is ?coffee-break¹ makes
it no less informative. Its articles from some of ?those who where there¹,
such as Armin Medosch, Lisa Haskel, Rachel Baker, Josephine Berry Slater,
Sarah Cook, Charlie Gere, Saul Albert, Pauline Van Mourik Broekman and the
book¹s editor Lucy Kimbell, mean that if you missed hanging out in backspace
you can certainly capture the camaraderie and creativity. Unlike many new
media books that take emphasis away from networking and package their
information as static art historical-style readers, this book stays true to
its roots. In fact New Media Art might be better than actual networking
because even the savviest socialite couldn¹t hope to cover such terrain and
so many topics and still have time for tea!

However as long as many conferences remain logistically prohibitive to a
broad section of artist groups (flu, travel expenses and weariness not
withstanding), there will always be important voices we are not hearing
from, and despite the extensive knowledge of the contributors, the missed
opportunity presented by this book was to give a voice to many of the
artists often muted by such occasions.

One formal talk which does resonate is Steve Dietz¹s ?Why Have There Been No
Great Net Artists?,¹ which was originally a presentation at CADRE in 1999,
and serves to remind us that sometimes it is these very problems within new
media which best characterise its creation and context. In this famous
article, as most will no doubt be aware, Steve Dietz outlines some of the
paradoxes in net art:

³The problem with net art is that it is so opaque. The problem with net art
is that it is so obvious. The problem with net art is that not everyone can
see it. The problem with net art is that it takes too long. The problem with
net art is that it's ephemeral. The problem with net art is that it's too
expensive. The problem with net art is that anyone can make it. The problem
with net art is no one supports it. The problem with net art is that it is
being usurped. The problem with net art is that it's boring. The problem
with net art is that it's too challenging. The problem with net art is all
those plug-ins. The problem with net art is that it is so reliant on
industry standards. The problem with net art is that it's old hat. The
problem with net art is that it's too new. The problem is that there is no
great net art.² (p.78)

And this book is certainly not exempt from such pandemonium, having caused
fervour on the lists prior to publication, being criticised for the projects
it ignored and the notion that New Media could be geographically located or
fenced by any time-frame. However, New Media Art¹s most notable problems are
also those of all new media.

The problem with New Media Art: Practice and Context in the UK 1994-2004 is
its title. The problem with New Media Art is that it is a book. The problem
with New Media Art is that it is so controversial. The problem with New
Media Art is that it isn¹t controversial enough. The problem with New Media
Art is its glaring omissions. The problem with New Media Art is all the
people it has included. The problem with New Media Art is it is global. The
problem with New Media Art is its UK-centric.

Thus whether one believes this book describes such issues or suffers because
of them, the fact it encounters them makes it a truer reflection of the

Therefore, my only real problem with New Media Art: Practice and Context in
the UK 1994-2004 ­ seeing as I rather like networking and never did make it
to backspace ­ is the amount of wasted paper. It isn¹t that the paper the
essays are printed on is wasted, but the unusually excessive use of paper
seems like a retort to the paperless online world, and this makes it hard to
accept any missing content or the lack of an attempt to tackle the
?problems¹ head-on. Where Rachel Greene and Christiane Paul might be
forgiven for missing out some of the key figures in net/digital arts because
of the constraints of Thames and Hudson World of Art books, it is hard to
accept that the Arts Council couldn¹t have fitted more into their book.

If you can¹t afford the conference network financially, physically,
logistically, or politically, this book is a pretty close substitute; if you
do attend, however, take it with you and fill in some of the blank spaces
with some of your own conversations, and maybe put a couple of tea cup rings
on it (not least to disrupt the ordered pixels that cover its many pages)
and soon, it might fully resemble a context for new media art production in
the UK.

Charlotte Frost

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Rhizome Digest is supported by grants from The Charles Engelhard
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