The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.
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Subject: RHIZOME DIGEST: 4.01.05 From: digest@rhizome.org (RHIZOME) Date: Wed, 6 Apr 2005 13:36:37 -0700 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: April 1, 2005 Content: +announcement+ 1. [art-messenger]: Prison of love at MNCARS, Madrid 2. juha huuskonen: PixelACHE 2005 : The Dot Org Boom! 3. Joy Garnett: Cultural Politics 1.1 > available free online 4. Francis Hwang: Rhizome Commissions: Finalists chosen, 2nd voting phase begins +opportunity+ 5. geoffrey thomas: New Media Instructor Position +work+ 6. jimpunk: SCREENFULL (radio)sounds 7. jimpunk: SCREENFULL_THE_BOOK +interview+ 8. Curt Cloninger: pop sound bytes on outsider net art +thread+ 9. Plasma Studii, Ivan Pope, Pall Thayer, Robert Spahr, Rob Myers, Geert Dekkers, ryan griffis, jeremy, Ethan Ham, Jim Andrews: web evolution +commissioned for Rhizome.org+ 10. Katherine Moriwaki: From Silk to Microcontrollers + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005 Rhizome Commissions, seven artists were selected to create artworks relating to the theme of Games: http://rhizome.org/commissions/2005.rhiz The Rhizome Commissioning Program is made possible by generous support from the Greenwall Foundation, the Jerome Foundation, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 3.29.05 From: "[art-messenger]" <virtu AT kulturserver-nrw.de> Subject: Prison of love at MNCARS, Madrid "Prison of Love" - Cultural stories on Gender Violence (Cárcel de amor. Relatos culturales sobre la violencia de género) . A presentation curated by Berta Sichel, Virginia Villaplana and Remedios Zafra, and Rosa Mª Peris, director of the Women Institute. . 31 March until 8 May 2005 at National Museum Centro de Arte Reina Sofia, Madrid/Spain <http://www.carceldeamor.net/> . The show "Prison of Love", presenting multiple perspectives and views on violence in couple and family- their limits and energy expressing the changing and heterogenous relations between the cultural analysis, the political critics and the artistic production, - is structured in 5 parts interrelating with each other e.g a cycle of films and videos, an Internet based online part, conferences and meetings and the edition and an action by Angélica Liddell. The online part of the show is entitled "Violence without Bodies" ("Violencia Sin Cuerpos") <http://www.carceldeamor.net/vsc> and consists of a selection of netart works about gender violence including following aspects and related artworks/artists--> 1. "SYMBOLIC VIOLENCE IN MYTHS": (Evas and Princesses contra Cyborgs) Brutal Myths. An herbal healing of misogynius (1996), Sonya Rapoport y Marie-Jose Sat; Mythic Hybrid (2002), Prema Murthy Make me a man (1997), Sonya Rapoport; Eden.Garden 1.1 (2001), Auriea Harvey y Michael Samyn; [ i want to share you - what are you doing to me? ] (2001), Intima (Igor Stromajer). . 2. Narrated violence (when body does not exist ): Compressed Affair (2001), Agricola de Cologne; Parthenia "A Global Monument Violence Domestic Victims? (1995) Margot Lovejoy; The Intruder (1999), Natalie Bookchin; Dollspace (1997, 2001), Francesca da Rimini . 3. Does body matter? (cybersex and videogame) Tomb Raider (1999), Robert Nideffer. Tunnel (1996), Melinda Rackham. BindiGirl (1999); Prema Murthy; Cunnilingus in North Korea (2003); Young-Hae Chang Heavy Industries (Young-hae Chang y Marc Voge); Mutation.Fem (2000), Anne-Marie Schleiner. . 4. New Visibility of the Prevailed- (feministe online practices contra the hegemony of being able to camouflage)-: Smart Mom (1998-1999), Faith Wilding y Hyla Willis; voyeur_web (2001), Tina La Porta; El lugar de las mujeres en el Metro de la Ciudad de México (2001), Cindy Gabriela Flores; Guerrilla Girls (Website), Guerrilla Girls; No-pasatiempo (2004), Cristina Buendía. . The comprehensive project site <http://www.carceldeamor.net/vsc> includes a number of texts ( in Spanish only) and the access to the selected art works. . After the presentation of "Prison of Love" at National Museum Centro de Arte Reina Sofia, Madrid/Spain - 31 March until 8 May 2005 - the travelling show will be presented in other Spanish museums until the end of 2005 including -->Hospital de San Juan de Dios. Centro de Arte Contemporáneo, Almagro/Spain 12 May - 19 June -->Centro Párraga, Murcia /Spain - 12 - 28 July -->Centro de Arte Caja Burgos, CAB/Spain - 8-30 September -->Artium, Centro-Museo Vasco de Arte Contemporáneo, Álava/Spain - 30 September -16 October -->Centre d?Art la Panera, Lleida/Spain - 3 - 29 November -->Filmoteca Canaria del Gobierno de Canarias. Tenerife y Las Palmas de Gran Canaria. 28 November - 4 December . Links--> "Cárcel de amor" (Prison of Love) <http://www.carceldeamor.net/> "Violencia Sin Cuerpos" (Violence without Bodies) <http://www.carceldeamor.net/vsc> Press release on W3art.es (Spanish) <http://w3art.es/weblog_archivos/000244.php> Press release as PDF (Spanish) <http://w3art.es/mncars/archivo/folleto%20Carcel%20de%20amor.pdf> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering organizational subscriptions, memberships purchased at the institutional level. These subscriptions allow participants of an institution to access Rhizome's services without having to purchase individual memberships. (Rhizome is also offering subsidized memberships to qualifying institutions in poor or excluded communities.) Please visit http://rhizome.org/info/org.php for more information or contact Kevin McGarry at Kevin AT Rhizome.org or Rachel Greene at Rachel AT Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 3.30.05 From: juha huuskonen <juhuu AT juhuu.nu> Subject: PixelACHE 2005 : The Dot Org Boom! PixelACHE 2005 : The Dot Org Boom Festival of electronic art and subcultures 14-17 April 2005, Helsinki Kiasma Museum of Contemporary Art www.pixelache.ac - - - The main theme for PixelACHE 2005 is the Dot Org Boom. Dot Org Boom is the non-profit version of the Dot Com Boom (RIP). The essential ingredients of this rapidly growing phenomenon are open source community, open content initiatives, media activist networks and myriads of NGOs around the world. PixelACHE Festival will bring together a diverse group of artists, engineers, activists, architects and designers to discuss and develop the future of Dot Org Boom. In addition, PixelACHE 2005 features the following program sections: * VJ Culture and Audiovisual Performances * Experimental Interaction and Electronics * Interactive & Participatory Cinema * particle/wave hybrid radio workshop - - - "...the Net is not Yet a monolithic broadcast medium. I remain wildly optimistic about it's potential. The recent ascent of peer-to-peer networks, weblogs and free software could be a sign of a coming Internet renaissance" - Geert Lovink, My First Recession (2003) "In United States and Canada, for example, almost everyone knows about the explosion of the dot-coms - a much smaller phenomenon - but millions have not heard the big story: the worldwide explosion of dot-orgs. It is a story with far-reaching implications: By sharpening the role of government, shifting practises and attitudes in business and opening up waves of opportunity for people to apply their talents in new, positive ways, the emerging citizen sector is reorganising the way the work of society gets done." - David Bornstein, How to Change the World (2004) "a browser is also an editor a desktop is also a server a user is also a producer" - Sarai media lab, free media lounge (2005) - - - ### The Dot Org Boom program ### Wikipedia is a free online encyclopedia which can be read and edited by anyone. Wikipedia currently has independant editions in 190 languages, sponsored by the non-profit Wikimedia Foundation. Wikipedia contains approximately 1.3 million articles, 500,000 of which are in its English language edition, over 200,000 in the German language and 100,000 in the Japanese language. Wikipedia is one of the most popular reference sites on the Web, receiving around 50 million hits per day. It has spawned numerous conceptually related sister projects such as Wiktionary, Wikibooks and Wikinews. Florence Devouard (France) will be the official Wikipedia ambassador at PixelACHE 2005. www.wikipedia.org Streamtime (Netherlands/Iraq/international) is an international crew of journalists, poets, artists and software developers, dedicated to assist local media to get connected. Openness, free publishing (copy left), easy access, low-to-no literacy and multi-linguality are guidelines. Streamtime uses old and new media for the production of content and networks in the fields of media, arts, culture and activism in crisis areas, like Iraq, where the project is setting up independent communication links between Iraq and rest of the world. Streamtime is collaborating with dyne:bolic linux cd installation project, which can be used as an instant toolkit for media production and transmission. www.streamtime.org - www.dynebolic.org Naeem Mohaiemen (US) will give a presentation about independent Muslim media networks and their role in shaping up the "Globalized Islam". Naeem Mohaiemen is a digital-media activist and filmmaker specializing in Political Islam. He is editor of shobak.org ("Outsider Muslims"), and Associate Editor of altmuslim.com. He is also director of VISIBLE, a collective of Muslim and Other Artist-Activists. VISIBLE premiered DISAPPEARED IN AMERICA, a film trilogy and multimedia installation about detention of American Muslims after 9/11. http://www.shobak.org - http://www.disappearedinamerica.org - http://www.altmuslim.com Dodo.org a Finnish environmental organisation. Dodo.org will present a project about ideas of how the world could be saved. The ideas have been collected from the visitors of the Dodo.org website (the page about the project is unfortunately available only in Finnish). Dodo will also present their NGOphotos.org project, an image bank for NGOs where all images are made available under Creative Commons licence. www.dodo.org - www.ngophotos.org - www.creativecommons.org Vanessa Gocksch and Walter Hernandez have initiated the Intermundos.org grassroot organisation in Bogotá, Colombia. The goal of Intermundos is to inspire local cultural activities and connect them to global movements through various media projects. Website keywords: Intermundos, hip hop, indigenous, Colombia, Columbia, afro, community. www.intermundos.org Used in India presents media devices and narratives of their use throughout the 20th century in India. From the cyclostyle machines of the sixties to the telephone meters of STD/PCO booths, this hyper-textual inventory refers to applications, technologies, and services that constitute the heterogeneous world of Indian media culture and design. Used in India has been created by Center for Knowledge Societies (CKS) and is shown for the first time at the Doors of Perception Conference 8 in New Delhi, India. www.ict4d.info - doors8delhi.doorsofperception.com PixelACHE 2005 will also host the launch of a new project, digitalopenandfree.org. It is a project for exploring the digital open and free which is more than just open source and content - open networks, open access, open search, etc... www.digitalopenandfree.org Dot Org Boom theme also features a WebCamTalk with Trebor Sholtz (www.newmediaeducation.org) and a presentation by Franco 'Bifo' Berardi (www.rekombinant.org). The theme is explored in other PixelACHE program categories as well : open source audiovisual performance tools, Kino film-maker community, etc... ### VJ Culture and Audiovisual Performances ### SF&L and Drifter TV are the winners of Visual Sensations, the first national VJ competition in Netherlands and Belgium. PixelACHE features a performance by SF&L, which combines live video mixing with mixing of liquids, light and transparent plastic sheets... the result is a mix of two narratives, one based on the video footage and one on real-time typographical experiments with texts. www.visualsensations.nl - www.studiofrank-lisa.nl Machinista 2004 festival in Glasgow explored and questioned the ideas of 'artificial intelligence in the arts' and 'wo/man-machine interaction'. PixelACHE 2005 presents a screening of the Machinista 2004 dvd and PERM 36 ROBOVISION performance by Pointless Creations, a Glasgow based collaborative video art project. www.machinista.org.uk - www.pointlesscreations.co.uk PixelACHE 2005 features a screening of the soon-to-be-released RELINE2 dvd. "RELINE2 artists investigate modern mythology, examine environments, explode form, and play with similes between machine and body. From buildings ripping apart by unseen forces to characters on strange journeys in wild imagined spaces, these videos explore the integration of technology into every strata of our lives." www.reline.net PixelACHE 2005 premieres re:spam inbox, a performance by Timothy Jaeger (US) and Alex Dragulescu (US/Romania). Re:spam explores 'unwanted, abject data in the form of solicitous messages' aka spam. The re:spam performance straddles the line between a traditional VJ performance and newer generative coding practices. www.respam.com VJ Pillow & VJ Mademoiselle and Christelle Franca (Dj Chrys de Nice) & Patrick Watson from Montreal have been invited for a two-week long artist residency to work on A Day on Earth performance. The first version of the performance will be premiered and PixelACHE 2005. The Montreal crew also includes Ben Bogart, who will present his Volume Curvature performance and the pixelTANGO software which he is developing at SAT (Society for Art and Technology, Montreal). www.ekran.org/ben - www.sat.qc.ca Piksel (www.piksel.no) is an annual workshop dedicated for the developers of open source audiovisual software tools, organised by BEK in Bergen, Norway. PixelACHE will present some of the current Piksel software projects and results of the Piksel04 workshop from November 2004. www.piksel.no Also in the VJ Culture program: TEMPEST performance by Erich Berger (www.randomseed.org, Norway), a performance with sound, video and odours by RYBN (www.rybn.org, France), a collaboration between Selfish Shellfish (Finland)+ video performance collective Amfibio (www.amfibio.org, Finland), Malfunctionalism dance performance prototype by Mikko Kallinen & Llare (Finland), PIKU audiovisual performance by Visual Systeemi and Tuomas Toivonen (www.visualsysteemi.com/piku, Finland), VJing show by Intermundos (www.intermundos.org, Colombia), Midi control workshop by Dag Engström (Sweden) + several discussions and workshops (seminar on using VJ performance in theatre, workshops on VJ tools and software, etc.)... ### Experimental Interaction and Electronics ### MusicBox by Jin-Yo Mok (US/Korea) is an exceptionally well designed interactive instrument. It is an electronic version of a traditional music box, where the composition is presented as dots of light on a wooden cylinder. MusicBox also contains an online component which can be used for trying out compositions and sharing them with others. www.playmusicbox.com PixelACHE 2005 is proud to present home-made electronic instruments and a performance by one of the Finnish pioneers of the field, Mika Rintala / Verde. www.aural-innovations.com/issues/issue14/verdegal.html Also in the Experimental Interaction and Electronics program: Four Ophones by Erik Sandelin & Magnus Torstensson (www.unsworn.org, Sweden), Skisser och rutiner performance by Daniel Skoglund (Sweden), Elf - Electronic Life Forms by Pascal Glissmann & Martina Höfflin (www.electronic-life-forms.de, Germany), Chamber Music for One performance by Teemu Kivikangas (Finland), Kick Ass Kung-Fu by Animaatiokone Industries (www.animaatiokone.net, Finland), workshops by Jürgen Scheible and Tuomo Tammenpää + more... ### Interactive and Participatory Cinema ### Do well with nothing, do better with little, and do it right now! This is the motto of Kino 00, a non-profit organization composed based in Montreal, Canada. Kino concept has been designed to drive film-makers to create quick and rough sketches of ideas. These experiments are viewed by enthusiastic audiences every month, in Montreal and other Kino collectives around the world. PixelACHE 2005 arranges a Kino Kabaret session (an intensive workshop for creating films) and also aims to revitalize the Kino Helsinki chapter... www.kino00.com Also in the Interactive and Participatory Cinema program: One Day Video concept by Anttu Harlin & Osmo Puuperä (Finland) which will meet and/or challenge the Kino Kabaret, interactive cinema projects by Mariina Bakic & Jean-Michel Géridan (www.webdrama.net, France), interactive cinema projects by Robert Brecevic (www.banananose.se, Sweden), experimental film project by Markus Renvall (Finland), discussion about community tv and radio hosted by Robert Stachel (Austria) and more... ### particle/wave workshop ### particle/wave hybrid radio workshop explores the interface between the creative traditions of terrestrial radio broadcasting and emerging practices of internet radiomaking. particle/wave rethinks community radio practices through distributed and participatory networks of sonic exchange, open content models and new radiomaking tools. particle/wave examines the dual nature of radio as wave and packet... network and sound... transmission and reception... http://aura.siba.fi/particlewave ### PixelACHE 2005 artist residency ### Image: Light Brix & Nuage Vert, hehe.org Helen Evans and Heiko Hansen are artists and interaction designers based in Paris, France. They have been selected for the PixelACHE 2005 artist residency which is organised in collaboration with NIFCA - Nordic Institute for Contemporary Art. During their two-month long stay in Helsinki, Helen and Heiko will develop a new prototype of their Nuage Vert (Green Cloud) project. Nuage Vert proposes using gas emissions of industrial plants as surfaces for interactive projections. www.hehe.org ### PixelACHE clubs and concerts ### The first PixelACHE night features a particle/wave concert at Sibelius Academy concert hall and a live radiomaking session at m-bar. The PixelACHE club night on Saturday 16th of April at Umo Jazz House features Peerspex (France), Memnon (Finland) and more... On Sunday 17th of April there will be a concert of Hecker (MEGO) and Blutleuchte (Finland). More information about clubs and concerts coming soon! ### PixelACHE international ### PixelACHE is organising several small events together with international partners and we are also involved in several more informal collaboration projects.... Dot Org Boom media seminar in Stockholm on Tuesday 12th of April will explore the relationship between grassroot media and mainstream commercial media. What are the possibilities of the currently emerging new models for media production and distribution? There are currently millions of amateurs producing content which is freely available for all, how should the main stream media and policy makers react to this? The presenters in Stockholm include Naeem Mohaiemen (US, topic: independent Muslim media), Florence Devouard (France, topic: Wikipedia), Robert Stachel (Austria, topic: community tv and radio), Kai Kuikkaniemi (Finland, topic: digitalopenandfree.org), Juha Huuskonen (Finland, topic: electronic subcultures). The seminar is organised in collaboration with Finnish Embassy in Stockholm. PixelVÄRK in Stockholm on Saturday 23rd of April is a collaboration project between The Nursery and Fylkingen. The Nursery is a Stockholm based organisation promoting experimental culture which has produced close to 100 concerts, performances, lectures and club nights since the inception in 1996. Fylkingen is a society devoted to the production and promotion of new music and intermedia art. Since its foundation in 1933 Fylkingen has been committed to experimental, new and unestablished forms of contemporary arts. PixelVÄRK will gather together audiovisual artists from Sweden, focusing on the visual side of the experimental music scene. The festival will present a broad spectrum of artists who all represent different aspects of this scene. www.nursery.a.se - www.fylkingen.se Mal au Pixel in Paris in May 2005 will be a small one day mini-festival which brings together some of the Finnish and French PixelACHE artists and collaborators. The event is organised in collaboration with Mains d'Ouvres and is a preparation event for a larger Mal au Pixel festival which is planned for spring 2006. www.mainsdoeuvres.org ### Organisers and supporters ### PixelACHE is organised by non-profit organisation Piknik Frequency in collaboration with Kiasma Theatre. PixelACHE 2005 program is designed in collaboration with katastro.fi electronic art and subcultures network. PixelACHE is supported by Museum of Contemporary Art Kiasma, AVEK, Arts Council of Finland, NIFCA - Nordic Institute for Contemporary Art, Goethe-Institut Helsinki, Centre Culturel Français, British Council, Mondriaan Foundation, UCSD Visual Arts Department, CRCA (Center for Research in Computing and the Arts) and Experimental Game Lab (UCSD). Particle/Wave is a co-production of Centre for Music & Technology, Sibelius Academy and Piknik Frequency. Particle/Wave is supported by Arts Council of Finland and Australia Council for the Arts. Concert by Hecker is organised in collaboration with Charm of Sound and the lecture of Franco 'Bifo' Berardi in collaboration with Tutkijaliitto. ### More information ### You can find the preliminary program schedule of PixelACHE 2005 at www.pixelache.ac. See you in Helsinki in April! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Member-curated Exhibits http://rhizome.org/art/member-curated/ View online exhibits Rhizome members have curated from works in the ArtBase, or learn how to create your own exhibit. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 3.30.05 From: Joy Garnett <joy.garnett AT gmail.com> Subject: Cultural Politics 1.1 > available free online The first issue of Cultural Politics journal is now available for free online (in pdf): http://www.ingentaconnect.com/content/berg/cpij/2005/00000001/00000001;jsess ionid=64aroa3e639qe.victoria Cultural Politics Contents: Volume 1, Issue 1 (march 2005) Introducing Cultural Politics/John Armitage, Ryan Bishop and Douglas Kellner * Mao Zedong's Impact on Cultural Politics in the West/Andrew Ross * Pornography of War/Jean Baudrillard * Cold Panic/Paul Virilio * The Anthropologist as Witness in Contemporary Regimes of Intervention/George E. Marcus Special Section on the Cultural Politics of Information & Communications Technologies * Communicative Capitalism: Circulation and the Foreclosure of Politics/Jodi Dean * Oppositional Politics and the Internet: A Critical/Reconstructive Approach/Richard Kahn and Douglas Kellner * Hardt and Negri's Information Empire: A Critical Response/Mark Poster Field Report * Follow the Image/Joy Garnett Book Review * The (Not so) Disparate Voices of E-Democracy/Joss Hands + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 4.04.05 From: Francis Hwang <francis AT rhizome.org> Subject: Rhizome Commissions: Finalists chosen, 2nd voting phase begins Hi everyone, The 27 finalists for the Rhizome Commissions have now been chosen. To see the full list of finalists, go to http://rhizome.org/commissions/all_finalists.rhiz . To submit your votes for the 2nd round, go to http://rhizome.org/commissions/voting/ranking/ . In this second stage, the top voted proposal will be awarded one of the commissions; the other awards will be decided by our invited jury. This second stage of voting will last until Wednesday, April 20. For more information about the voting process, please see http://rhizome.org/commissions/voting/ . Or you could just ask me, either directly or via this list. Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 3.27.05 From: geoffrey thomas <thomas AT fau.edu> Subject: New Media Instructor Position FLORIDA ATLANTIC UNIVERSITY, Department of Communication, is seeking an Instructor in New Media Production at its Davie campus, to teach courses in the Department's BA in Multimedia Studies, which includes sequences in Film & Video Studies and Multimedia Journalism. The Department seeks a scholar of digital art and new media practice with expertise in new media as art and communication. Ideal candidates will cross media platforms and have experience in creating and analyzing multimedia texts. Candidates must be able to offer instruction in the integration of text, image and audio. Applicants should possess practical skills in more than one of the following media platforms: digital photography, computer-based imaging technologies, web and graphic design, and multimedia authoring. Applicants must also be proficient in Adobe Photoshop and Macromedia Studio, and have some experience in scripting. The position is a renewable nine-month, non-tenure track appointment beginning August 2005. The teaching load is the equivalent of four courses per semester, and includes teaching introductory and advanced interactive multimedia courses, as well as managing the Department's Proteus website and serving as a web design consultant for the College of Arts and Letters. MFA, MA, or equivalent professional experience required. All candidates must have an active production record. Application deadline: June 3, 2005. Send letter of application, cv, letters of recommendation, and samples of creative work to: Dr. Eric Freedman, Chair, New Media Search Committee, Department of Communication, Florida Atlantic University, 777 Glades Road, Boca Raton, FL 33431-0991. E-mail (for questions only): efreedma AT fau.edu. For detailed information on FAU, visit our web sites at: http://www.fau.edu and http://proteus.fau.edu. Florida Atlantic University is an Equal Opportunity/Equal Access Institution. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 3.26.05 From: jimpunk <www AT jimpunk.com> Subject: SCREENFULL (radio)sounds http://www.screenfull.net/stadium/2005/03/screenfull-radiosounds.html + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 3.26.05 From: jimpunk <www AT jimpunk.com> Subject: SCREENFULL_THE_BOOK http://www.screenfull.net/THE_BOOK_2.pdf (need acrobat reader 7 to view http://www.adobe.com/products/acrobat/readstep2.html + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 3.28.05 From: Curt Cloninger <curt AT lab404.com> Subject: pop sound bytes on outsider net art high bandwidth: http://2005.sxsw.com/video/movie_window.big.php?dir=2005_coverage&id=567&spe ed=hi low bandwidth: http://server1.sxsw.com/sxsw2/2005_coverage/sx_cloninger.lo.mp4 curt's site: http://lab404.com ze's site: http://zefrank.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Spring Hosting Special from BroadSpire https://www.broadspire.com/order/rhizome/bundlepack.html Want to consolidate multiple domains? Rhizome members can sign up for a Bundle hosting package that allows for up to five separate domains under one Broadspire hosting contract -- through May 9. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 3.29.05-4.02.05 From: Plasma Studii <office AT plasmastudii.org>, Ivan Pope <ivan2 AT ivanpope.com>, Pall Thayer <palli AT pallit.lhi.is>, Robert Spahr <rob AT robertspahr.com>, Rob Myers <robmyers AT mac.com>, Geert Dekkers <geert AT nznl.com>, ryan griffis <grifray AT yahoo.com>, jeremy <studio AT silencematters.com>, Ethan Ham <ethan AT ethanham.com>, Jim Andrews <jim AT vispo.com> Subject: web evolution Plasma Studii <office AT plasmastudii.org> posted: what can we do to make the web more useful/differentiate it from the same technology we've always had? the technology hasn't ACTUALLY improved in 10+ years, only shifting attitudes and approaches. Perl's been around for at least that and it's the essential "tool" to a self-organizing web. Not the only tool now, the last decade has given us an explosion of redundancy and variations on themes. Many (like Flash) are actually de-provements, rather than IMprovements. but whatever. The tools are currently available to us, to revive this system. with this illusion of growth/upgrading, people fall back on the on the one function, they immediately latched onto, the worlds biggest mail order catalogue. but rather than a single point when that happens, a transition, it evolves continually down that path. if that's where it ends up, just a big catalogue might be fine. but then our own self-preservation is at stake. where does that leave web art? actually, maybe ironically, the amazon site continually amazes me. particularly their "add a review" and "so you want to ... " sections. a web of static information is not much of an improvement over a unlimited paid programming on cable. but the whole idea that someone can add to it, AND THEN folks can rate these additions (or even "curate" (as is also on rhizome) amazon's contents, and then others respond to the curation). if they were actually receiving 100s of reviews a day, then there could be a simple system to only show the most helpful reviews. eventually, the most helpful would float top the top, and new ones that weren't would disappear pretty fast. if there was ONLY the curated collections, this would be self-organization. then if perhaps the final option is to search or add an item, while some items simply would disappear from fluctuating interest, that would make the self-organization into learning and possibly improving. feedback, where the "viewer" actually effects the content in some way that makes the content more useful, is a realm far beyond things like catalogues. in the same way interactivity is so extremely and fundamentally different than say linear video, a recording, much less a still or static text. so much of what's labelled interactivity is essentially hyper-link options to move between a few linear things. this is a baby step, when we CAN run with it. some really do utilize interactivity to actually alter/effect the contents (the difference between a passive viewer and active participant). and some use things like CGI scripts to get input, to file away somewhere else. surely there are constructive ways to smoosh these two methods together that would drastically change peoples perspectives. user input that alters/updates what they get. blogs are one kind of example of this, but they are always clearly blogs. laundry lists of amazingly short quips or posts/dictation from a single author ranting to no one in particular but themselves. similarly, I saw a weird report on evolution vs. religion. they just aren't at all comparable. It's as if Darwin marvelled at gravity, then noticed some key elements in how it works. not even saying there can never be non-gravitational places, or that gravity is part of everything (though it is), just how it works. he's not saying "who" or even that there is a conscious force who came up with this gravitational method, any more than we attribute every ricochet of billiard balls to someone's conscious decision. it's just math. [someone mentioned evolution/catholicism]. Darwin's "sea of wedges" idea could be so darn useful for us on the web. Ideally, capitalism works the same way, the stores that survive are the ones that sell useful things at prices people like, etc. The ones that don't disappear. why not the web? darwin noticed evolution works like a sea of wedges packed tightly. all fit but one. press it down, and another random one pops up. press that, and another ... it isn't so much that any is "selected" as much as everything is driven by the situation of the whole environment. the one that pops up, isn't chosen or better, varying factors may favor one wedge at one time and another later. but they are purely random. as much as investment bankers say they can, the system still remains just beyond predictability. a word that may send up the red flags to the pope, but then many are tuning out the rest of the sentence. no religion has a problem with the fact that if you drop 1000 marbles off a balcony, you won't guess their paths. anyone with a problem with evolution is really just mistaking it for something else. that is not to say any miracles involving marbles are disproven, it says when this happens (as is often the case) here's how. how could the web use a dose of this evolutionary "selection" process? not just on a macro level but every page. communication can be a lot more than just limited to linguistic conversation. a blog can be a little like a rating system [which is a little like what mez, et al. were talking about recently]. for example, perhaps what would make their idea a perpetually-self organizing system, would be if the archive links were ranked or spatially adjusted in some way that corresponded to the number of replies. more might look up those threads that were "successful" (however, we rarely see replies to threads come in several months later. even the more "contagious" threads die out far too fast. judsoN + + + Ivan Pope <ivan2 AT ivanpope.com> replied: God, where have you been (or where were you ten years ago). Everything changed, is changing: Broadband/always on in the home changes everything. RSS Tags Semantic Web Locative Folksonomies Wikipedia Blogging Trackback Longtail Pro-am Social media Very large scale conversations Discourse architecture Really, it's the mindsets that change and as tools become available and accepted, mindets change and we all see things that we didn't see before. It's an exciting world at the moment, more exciting than it was between 1997 and 2004 to be sure. As for Rhizome, what of the above has it taken on board? Cheers, Ivan (A tide, taken at its flood ...) + + + Plasma Studii replied: ivan, these are great examples. but i'm talking about using some/any of the methods available at a given time to result in DOING something different, than we could have before. possibly, the technology could have been been there, but the tools impractical and needed to be developed. but as time has elapsed, that didn't end up being the real obstacle. PHP is much newer and a lot easier to use than Perl, but folks still use Perl and the functions we use now, we're available a decade ago. object oriented programming is a semantic improvement, but not a functional one. if C (written code) was ever supplanted by MAX (designing flow chart), that would be a far greater change though still C can do all the things MAX does (and much more). There's no actual functional advantage to using MAX, only semantic. Semantically, PHP is a breeze to use compared to Perl, but functionally differs mostly by 2 related functions (getting a users IP address and referring document) and Perl comes out slightly ahead. Technology-enthusiasts generally do not acknowledge this sort of distinction. (there literally IS change, we may even change what we do. but it's not an apples-oranges shift, it's like tangerines-oranges. bigger but not really more useful and the same basic color. is there a big difference in flavor? debatable, but mostly if you pretend there are no apples) the technology has always been there. what changes our actual lives are self-regulatory systems. (like reinforced concrete changes construction of skyscrapers, which changes cities, which changes how we live. imagine if reinforced concrete had been invented in the 1700's but we still lived in huts. that's like web technology. the concrete need not keep evolving, once it works, for the city to continually evolve) our actions fundamentally are transformed by systems that respond to user input and alter themselves, not just automatically, but according to user input. to advance the web by "dialogue" rather than dictation. we could make sites, scripts, pages that manage themselves according to user input (not time specific at all), rather than construct them from an authors final(fixed point in time) input. what are ways the web can be more use-able than as a seemingly infinite sprawling info dumping ground? google is one organizational tool. a really clever one, in how it ranks so you won't bother to see items you're less likely to be interested in, uses 100+ factors to arrive at the rank, ... but it's hardly perfect. ebay is far more self-regulating, but far less cleverly designed and employs much more monitoring/regulating manually by hired humans. there must be more advanced ways to think about organizing than by literal key words. (wikipedia (you mentioned) is a variant use of the amazon scheme previously sited, where readers can rate blog-esque submissions. a feature i'd love to see a common for business and individuals alike, a given like different colors for links than text). >Really, it's the mindsets that change and as tools become available >and accepted, mindets change and we all see things that we didn't >see before. i agree that SHOULD happen. but rather than shift (as in x=34 to x=62), the trend is to close off change (as in x=34 to x=null). maybe the illusion of advancing technology (in a hopeful/wishful self-fulfilling prophesy/mirage way) that we're going through another turn of the century paradigm shift has folks changing their mindsets to rallying for in-substantive hype, rather than the tangible or practical actions. the "available" part has been there for years, so why not "accepted"? (is ignorance a memory management technique?) >Broadband/always on in the home changes everything. you're right, "always on" changes our daily lives. but that was always possible (used to leave dial-up on at home 24/7). it has always been common to be on-line all day for web designers, which essentially has the same result. and actually, BB's not quite an improvement itself. (only effects about 1/3 of the transaction). judsoN + + + Pall Thayer <palli AT pallit.lhi.is> replied: I think some of the most significant changes we see today have to do with public familiarity with technology. A few years ago you had to hire someone with a degree in computer sciences if you wanted a dynamic web site. Today, your 13 year old cousin is likely to be running his/her own database driven website, written from scratch. And why not? Most of today's home computers come with included webservers with server-side scripting abilities and the most widely used databases are available for free download all over the place. As this previously priviledged knowledge becomes more common, we'll see more innovation. Perl is a very powerful, versatile and extensible programming language that far exceeds anything PHP is capable of. You really can't compare the two because Perl, among many other things, just happens to be usefull for web automation whereas PHP was designed specifically for web automation and isn't very good for anything else. Perl should be required learning for all first year digital arts students. Pall [...] I just want to point out that this wasn't just absent mindedly "thrown out there". I sincerely think that Perl should be required learning for artists interested in working with computers. It's rather easy to learn, it makes for quick prototyping of ideas if not a full solution and it's capable of giving the artist near complete control over the computer and it's capabilities. It's the quick-and-easy do all tool like the pencil and paper sketch. You can use it for web-based projects, to read or write to your peripherals, to interact with your microprocessor, manipulate or create images, you name it. Also, it would give the students a good general knowledge of programming concepts and techniques making it easier for them to pick up other languages and just basically understand how the computer deals with information and data. On top of all this, it comes pre-installed with most major OS's, complete with full documentation and is easily installable on Windows. Pall + + + Robert Spahr <rob AT robertspahr.com> added: I will jump in here and agree by saying that perl is quite useful for learning basic programming skills, and combined with shell scripting it is a great glue to connect many separate command line programs into a powerful combination. Another nice thing about perl is you only have to learn a small subset of the entire language, in order to write quite useful and powerful scripts. -- Rob + + + Rob Myers <robmyers AT mac.com> replied: My first job a decade ago was Python scripting. I chose Python because I wanted regexes but I didn't want the neural burn from Perl's sadistic syntax. I'd recommend Ruby to newbies, it has a more regular syntax than Python. I'm on to Lisp myself, which is a genuinely powerful and advanced programming language, and very good for the web (see Paul Graham et al). - Rob. + + + Ivan Pope replied: Pall Thayer wrote: > I think some of the most significant changes we see today have to do > with public familiarity with technology. A few years ago you had to > hire someone with a degree in computer sciences if you wanted a > dynamic web site. Today, your 13 year old cousin is likely to be > running his/her own database driven website, written from scratch. And > why not? Most of today's home computers come with included webservers > with server-side scripting abilities and the most widely used > databases are available for free download all over the place. As this > previously priviledged knowledge becomes more common, we'll see more > innovation. Agree totally. During the first wave, I realised that we couldn't even begin to really get our heads around this stuff and what it might become. I think it's a lot more than just lots of people who are very familiar with technology (though of course that helps, when I started my first web company there were just zero people in the UK who were any immediate use). I think it's that we are all familiar day in day out with the concepts, i.e. you don't have to think about what online means or email or forms or subscribing or whatever, it is just embedded. Now there are kids who have never known anything else - but maybe we are not quite there yet. I said back in the day that it would take a generation to grow up with online, graduate through college and go into teaching and teach the next generation before we would have some native apps - i.e. apps that were thought up by people who never knew or heard any different. And I also predicted that it was more likely that some kid in the Mekong delta or the Venezualean rainforest who would come up with that stuff. Having said all of that of course, I still think I'm pretty good at inventing the future :-) So what is coming down the pipes? Cheers, Ivan [...] I also believe that Jean Paul Sartre's Nausea should be required reading for all artists interested in working with computers. Thanks, Ivan + + + Geert Dekkers <geert AT nznl.com> replied: I'd like to contradict this -- one of the signs of the fact we (= humanity) haven't really started appreciating computer technology is that we're not thinking and forming our lives in analogy to these technologies. There may be a lot of readers of this list who know what a database is but outside of our barn I assure you there are very many who most certainly do not. We may have come a long way since '95 (or so) but I'd guess it will take a while still before a programming language gets put on a primary school curriculum. Cheers Geert (http://nznl.com) + + + ryan griffis <grifray AT yahoo.com> replied: and it's important, IMHO, to ask how the "evolution" of the web is impacting "society" any differently than all the other paradigm shifting communication technologies. this is not to take away from the innovations taking place, but i'm wary (still) of the broad, humanity-shifting language used to discuss computing - in both its utopian and dystopic forms. some US stats http://www.pewinternet.org/trends/User_Demo_03.07.05.htm http://www.pewinternet.org/trends/InternetAdoption.jpg notice the plateau since 2002... + + + jeremy <studio AT silencematters.com> replied: ryan griffis wrote: > it's important to ask how the "evolution" of the web is > impacting "society" any differently than all the other paradigm > shifting communication technologies. Once you start looking for the ways it impacts society you then start to create the possible need develop software with an adgenda . these types of questions bring up the debate as to whether the software gets developed based the users needs, or the programmers needs. I think it is important to ask questions, but maybe the question is how can we develop software that facilitates creative growth and adaptability of the user? or software that allows the user to create their own adgenda? How can we create software that expands the dialogue between the user and the developer, between the child and the adult? -jeremy + + + Plasma Studii - judsoN replied: >Once you start looking for the ways it impacts society you then >start to create the possible need develop software with an adgenda . >these types of questions bring up the debate as to whether the >software gets developed based the users needs, or the programmers >needs. I think it is important to ask questions, but maybe the >question is how can we develop software that facilitates creative >growth and adaptability of the user? or software that allows the >user to create their own adgenda? How can we create software that >expands the dialogue between the user and the developer, between the >child and the adult? this is a really great way of looking at it! oddly the software that is most programmer-needs oriented, like Flash or Windows, is by far the most popular. Though the user-needs software continually isn't as popular. why's that? obviously, one way of looking at it is to chalk it up to marketing, but wonder if it's also a similar phenomenon as folks in the US voting for bush (even though he's clearly not going to help that "lower 98%", they're geographically not actually at risk from terrorists, are or are close to someone who'll get killed in impending wars). i'm picking on these particular examples not because they need more picking on, but because there seems to be something more at work here than just good design = successful product. and marketing and/or price doesn't always explain it. people regularly or belligerently ignore contrary facts (be it about processing, price or presidents), in order to pick the option that will cause them the most trouble. how's that? it would seem many folks become too discouraged to advance, either technically, economically, or just in how they live, only because they use these ill-designed tools. maybe that's some protective defense mechanism? maybe many are afraid of change (even if it's learning) because of inevitable little disappointments along the way. avoid it by ignoring the long term. just an idea, anyone have any others? + + + jeremy replied: I think the key is to develop the product that teaches adaptability and not the end result. In fact, develop is totally the wrong word here. "Grow" might better used. If you grow a piece of software that frames the process of it's own growth, rather than focusing the user on the software as a means to and end result, then you will begin to teach to a more adaptable, learning audience. It is the desire for a product, for an end result that inherently teaches us how to deal with change. In this view, change is a means to an end. Somehow, through the tools that we create - we need to teach adaptability, teach a process of learning and change, and maybe we can do that by adopting a "growth" oriented process. If the tools we create are a made to fit the end product, then it is the end product that will be worshiped. -jeremy + + + Pall Thayer replied: But isn't this exactly what's done? I can't think of a single program that's still the same as it was 10 years ago, or am I misunderstanding you? Pall + + + Ethan Ham <ethan AT ethanham.com> added: Jeremy Zilar wrote: > I think the key is to develop the product that teaches adaptability > and not the end result. Infact, develop is totally the wrong word > here. "Grow" might better used. If you grow a piece of software that > frames the process of it's own growth, rather than focusing the user > on the software as a means to and end result, then you will begin to > teach to a more adaptable, learning audience. The discussion of user-focused vs. machine-focused software/UI brings pen-computing to mind. For years developers tried to create handwriting recognition software that could learn to a users' particular handwriting style (e.g., the Newton)... but in the end, the first really successful pen-computer (the Pilot) gave up on adapting the the software to the user's needs and instead trained the user to adapt a short-hand that the computer could understand. People are more adaptable than machines. + + + Plasma Studii replied: >But isn't this exactly what's done? I can't think of a single program >that's still the same as it was 10 years ago, or am I misunderstanding >you? >Pall photoshop (an example everyone's familiar with) is one of the most useful programs ever. but after 1992 and the great innovation of layers, the changes from version 2 to CS have all been ones you could have done in 2, but have 3 or 4 new ways in CS. that's all fine. if you have a computer that still runs an earlier version, no need to pay for a new photoshop. but, for example, they no longer sell the printer ink cartridges for the old printers that ran on those computers. so, you'll probably end up wanting to buy a new computer and thus need a new photoshop ... that's a change, but not an improvement. you might say "but the computers have improved", but that's certainly arguable. what macs did in 1993 (after color monitors became common, though the machines supported them long before) is still far more than we use/need aside from the time (it's the goldfish analogy again). the way most people use their computers, for things like email and word processing. faster processing speeds have been entirely unnecessary. so the industry finds tasks for them that demand more. we eventually get 3d animation, video and compression for DVD burning. (though granted, they do help to gloss over many of the memory management shortcomings) but linear video is actually a step backwards. it has nothing really to do with, much less improve on, what's innovative about computers. namely non-linear programming. yet there are folks who demand more and better video capabilities from these machines. it's like tweeking the taxi-ing features of an airplane. the public clammors for cruising the runway, but shows real disdain for and wings (originally an intrinsic part of planes). not that video or increasing processor speed is a bad thing at all. but for these "upgrades" to be evolution not devolution, they can only contribute as means, features available to programming, not as ends to be output to a media on something other than or imitated by a computer. hope that's a helpful clarification. + + + Plasma Studii - judsoN replied: >For years developers tried to create handwriting recognition >software that could learn to a users' particular handwriting style >(e.g., the Newton)... but in the end, the first really successful >pen-computer (the Pilot) gave up on adapting the the software to the >user's needs and instead trained the user to adapt a short-hand that >the computer could understand. that's be nice if it was the whole story, but think of this goal another way. this assumes "handwriting recognition" is a viable thing outside of a human reader. handwriting is chaos to anything but humans. firstly, it is just fundamentally impossible to teach anything (a monkey or program) to differentiate between writing and discoloration. the Newton experimenting revealed that. there is no straightforward way to comprehend the seemingly infinite variables. neither people nor machines are more or less adaptable, people just have finite perspectives and machines have infinite ones. so it's hard for people to figure out precisely how they narrow it down, to tell the machines. Palm ended up opting for the Graffiti method only because that was at least a lot easier, in fact, the alternative wasn't going to happen. + + + jeremy replied: I think Pall was right earlier when he said "Today, your 13 year old cousin is likely to be running his/her own database driven website, written from scratch." And if notthe average 13yr old,.... the it WILL be the average 13yr old in 20yrs. You know some kid is going to be slumping his body down, in some chair in his 10th grade "Web Evolution Class" because his teacher just announced that the assignment is to make a 5 page website by the end of the semester! At some point in the very near future, they will be offering XHTML classes as a followup to keyboarding class in grade school. > As this previously priviledged > knowledge becomes more common, we'll see more innovation. I just want to make sure that that innovation is encouraged as much as possible. -jeremy + + + Jim Andrews <jim AT vispo.com> replied: > >But isn't this exactly what's done? I can't think of a single program > >that's still the same as it was 10 years ago, or am I > misunderstanding > >you? > >Pall How about most email list technology? I realize that there are things like Fusetalk and yahoo groups and so on, but haven't the administrative options for lists themselves pretty much stayed the same? ja http://vispo.com + + + jeremy replied: instead of looking at the software to change, shouldnt we be looking at our need that the software accomplishes, and try to develop our needs, our desires? All good forms of innovation come from finding a new way to live and experience the world. I know i get lost these days .. i really dont havr the time to stop, step back and look at the caucophony of things happening, because i am too busy playing some part in it. -jeremy [...] that is really interesting... It made me think of the tim Hawkinson piece at the Whitney at the moment. However, i wasnt talking about user-focused vs. machine-focused software but rahter a debate over the intent behind the development of the software. Do we start to develop software based on our economic needs - thus teaching the user to work in a particular way, or do we give the user a bunch of tools, and see where they take it - and develop the software based off the directions they take. -jeremy I really enjoyed reading it again. I am glad that i found it again. [...] I found this essay by Manuel de Landa a couple of years back. it is called - MESHWORKS, HIERARCHIES AND INTERFACES I think it would go really good with this discussion. http://t0.or.at/delanda/meshwork.htm -jeremy + + + Plasma Studii - judsoN replied: >I think Pall was right earlier when he said "Today, your 13 year old >cousin is likely to be running his/her own database driven website, >written from scratch." >And if notthe average 13yr old,.... the it WILL be the average 13yr >old in 20yrs definitely agree. but don't see that as an improvement at all. the web already has the look/feel of being designed by a 13 year old kid. DIY is often mistaken for instant ability, by sidestepping the skill. the function of learning isn't just to gain difficult-to-obtain knowledge, but to devote time, in which you simultaneously gain "eloquence". It may seem like you pay for "expertise", though ideally we want some kind of eloquence, and may be willing to pay people who put the time in to develop it. + + + Pall Thayer replied: Well, wouldn't it then be fair to say that that 13 year old kid is beginning his/her path to refinement and eloquence. Besides, I don't really see that that has anything to do with the discussion at hand. Common knowledge doesn't mean that everyone's an expert, just that everyone has a relatively good idea about how to but things to use. Like the phone. The actual process of directing a call from one place to another is very complicated but anyone can make a phone call. It's a combination of the tools being easier to use and people knowing something about what's going on. So no, I wouldn't hire the 13 year old to build a site for my Fortune 500 company even though he/she has a homemade, database driven website because it's junk. But it does what the 13 year old wants it to do. And the number of 13 year olds with such sites is steadily growing which means that what they're doing is slowly becoming common knowledge. Once upon a time, only a handfull of people knew how to operate an automobile. The more people know about technology, the more they demand from it. If this weren't the case we'd still be looking at the same old pink and paisly websites from ca. '95 and be perfectly content. Pall + + + Plasma Studii - judsoN replied: >Well, wouldn't it then be fair to say that that 13 year old kid is >beginning his/her path to refinement and eloquence. we may hope, but not at all necessarily the case. in practice, rare. most 13 year olds just want the skill as fast as possible. ability and eloquence are entirely independent, but treated as if they were fused. we can still USE a car, without being mechanics or engineers. or we buy one because we can't design them. 100 years later, DIY cars are still not a priority. but manufacturers continually evolve/respond to changing buyers desires. why computers or web design? > Like the phone. if we look at the phone example, it only became DIY pretty recently. it gradually moved from a tool you needed an expert to use, to one you could go through an intermediate level person (switch board operators) to the present version. long long after the role it would take, the way it fundamentally works, had all been ironed out. there's been no significant change now that we dial ourselves. we still essentially use phones for talking to someone far away. around 1903, there was a service you could call and listen to a symphony, like a radio show, but before radios. this did not prove practical and died out. do we actually need both cursors to change and rolled over text to change when we are over a link? probably not. but there are so many things that still need to be ironed out, that the average joe shmoe with a gloating degree of proficiency considers an advancement. > I wouldn't hire the 13 year old to build a site for my Fortune 500 > company even though he/she has a homemade, database driven website > because it's junk. But it does what the 13 year old wants it to do. so why SHOULD everyone work with this particular aspect of technology, any more than saying every individual SHOULD be a brain surgeon or nuclear physicist or a plumber? (i admit a knee-jerk reaction against DIY brain surgery.) [...] Plasma Studii - judsoN wrote: >> Well, wouldn't it then be fair to say that that 13 year old kid is >> beginning his/her path to refinement and eloquence. > we may hope, but not at all necessarily the case. in practice, rare. > most 13 year olds just want the skill as fast as possible. ability > and eloquence are entirely independent, but treated as if they were > fused. > we can still USE a car, without being mechanics or engineers. or we > buy one because we can't design them. 100 years later, DIY cars are > still not a priority. but manufacturers continually evolve/respond to > changing buyers desires. why computers or web design? That's a pretty far fetched comparison. It takes lots of extremely expensive heavy machinery to build a car. If you already have a computer, what does it take to build a website or software? Aside from that, I'm not talking about everyone being able to write their own software or database driven website, just to be aware of them and their capabilities. That's enough for people to start asking, "Can we do this?" or, "Gee, wouldn't it be nifty if we could do this?" That's often all that's needed to get the ball rolling. If it's a good, sound idea then someone with ability will pick it up along the way and do something with it. If it all works out, we may have a bit of innovation. > so why SHOULD everyone work with this particular aspect of technology, > any more than saying every individual SHOULD be a brain surgeon or > nuclear physicist or a plumber? (i admit a knee-jerk reaction against > DIY brain surgery.) I don't know about you, but I had to learn about the human brain in high school. I also had to learn about chemistry but I wasn't required to take any plumbing courses. But I've picked up a few things along the way, it's all pretty much gravity anyway which I had to learn about in high school as well. It's becoming increasingly difficult for the average person to go a full day without interacting with a computer so why shouldn't we have to learn how they work? + + + Plasma Studii - judsoN replied: pall, we may just be talking about the same thing but from totally different angles. it occurs to me, to add that this is not about wrong/right, whether ordinary people SHOULD be allowed to use the tools. rather, which choices would now end up more useful. you may be right about everyone being allowed the freedom to design web pages, but essentially, the cats out of the bag. there'd be no way to de-publicize the world wide web at this point. whether it's the right right or a wrong rite, we can all do it. (much to MS's chagrin, who keeps trying to make it all proprietary) but what path we choose now (i propose) could get us somewhere new. may even be called a "wrong" turn by many, but not stagnant and an addition to the old, not a replacement. evolution only comes up with improvements by constantly trying out innovations though. maybe an important first step to getting that ball rolling, is for us to get back to earth about what things are innovations, variants or hype. (though perhaps we are already of a generation that says surface alteration is fundamental.) judsoN + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions http://rhizome.org/art/exhibition/ Visit the third ArtBase Exhibition "Raiders of the Lost ArtBase," curated by Michael Connor of FACT and designed by scroll guru Dragan Espenschied. http://rhizome.org/art/exhibition/raiders/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 4.01.05 From: Katherine Moriwaki <kaki AT kakirine.com> Subject: From Silk to Microcontrollers ³FROM SILK TO MICROCONTROLLERS² Katherine Moriwaki interviews Joey Berzowska on designing fashion, technology, and memory-rich garments. KM: Fashion and technology are experiencing quite a rise of interest lately. How would you explain the recent hype? Do you think the applications are ready for market, and are you interested in commercializing the projects developed at XS Labs? JB: I think the hype (not sure how recent it is, really) is explained very simply by the fact that in our western, techno-loving culture, we all want to be superheroes and have superpowers. We love gadgets, we love visual culture, and we all want to self-help and self-improve. Therefore, the promise of magical cloaks and enhanced garments resonates very strongly with most of us. Being in Canada, I have the great luxury of being able to get lots of research funding (I have received almost half a million so far) without any military or corporate strings tied to the money. Deliverables from my grants usually center on cultural dissemination and giving back to the community through teaching, writing, showing work, giving interviews, participating in conferences, and organizing workshops. I really love Canada for the great support of art-based research that happens here. I am definitely interested in commercializing things like my expertise, through consulting services, and also marketing a line of very simple dresses, focusing on good design rather than fancy technology. At the same time, I think there are lots of applications of fashion technology out there already, mostly the sports. The things that they do with shoes alone are incredible! KM: You have described your previous research titled "Computational Expressionism" as "a model for drawing that combines higher level algorithmic design with real-time gestural input" but later co-founded the company International Fashion Machines with Maggie Orth. Can you share the process by which your research interests moved from algorithmic drawing to fashion and textiles? In other words, how did you get involved in this area? JB: There are two parts to this story: personal and professional. On the personal front, I have always loved making things with fibers and textiles. I have also always been very much a "bricoleur" with clothes and accessories. I learned to knit and crochet when I was seven, but even then I mostly made bizarre, experimental, unconventional things, which usually looked terrible, but I just could never force myself to follow the patterns. Later on, I got a tiny little weaving setup, I was also making experimental clothes for the couple of dolls that I owned (really out of necessity, we were living in Africa, did not have much money and so on). I destroyed many of my own garments, trying to "improve" them. I finally learned how to make my own textiles with stuff like Batik and I learned to sew. I produced many wearable disasters such as pants with one red leg and one green leg, tunics with lots of little men running all over the place, and ripped-up dresses. I was always trying to push the limits of materials and designs, without much fashion sense, to be perfectly honest. On the professional end of things, I got undergraduate degrees in Mathematics and in Design in 1995. I always loved to make things, physical things, but somehow fell into what was then called Multimedia. I had started a little company in Montreal called Teckel Cruel ("cruel dachshund" in French) that made interactive CD-ROMs. After graduation, I moved to Australia and worked in interaction research at the University of Technology in Sydney. When I went to the MIT Media Lab in 1996, I was mostly frustrated with the limitations of existing tools for graphical expression, so I decided to make my own. I programmed a whole bunch of drawing environments that responded in very personal ways to gestural input. At the same time, I created textile-based work such as a textile (soft) input device for color selection, but most of my research involved programming for the "small screen". When Hiroshi Ishii (director of Tangible Media Group) saw my work, he yelled at me for using conventional physical interfaces (the mouse) and invited me to work with him after I finished my thesis to develop physical interfaces and tangible media research. I worked with the group for a year, on projects such as the Music Bottles. It was really a fantastic experience, but I grew a little frustrated as well, because I felt that I wanted to engage the full body in tangible interactions with the world, instead of just using the hands. I really wanted to work with garments and the whole body. I started talking to Maggie (whom I knew already form the lab) about starting a company and we decide to merge our interests in "smart textiles" and full-body interaction design into International Fashion Machines. KM: Your current research into "Memory Rich Clothing" utilizes visually animated textiles to illustrate "poetic and personal" interpretations of history and memory. Can you tell us a little more about what you hope to gain by illustrating things such as touch and intimacy on our physical bodies? What do we have to gain from this? JB: What interests me more than anything is the playful aspect of electronic textiles and reactive garments. I love the unexpected and the bizarre. I love the stuff that challenges social boundaries and makes us question how we relate to one another (in our increasingly wireless culture). I think it is great to have a skirt that shows when you've been groped (and how hard), not because you necessarily want to broadcast this to the world, but because it is one of these embodied experiences that are becoming less and less associated with definitions of intimacy (in a culture of wireless connectivity). It is, in a sense, your physical "hit counter". It is funny and it is playful. I do not think of my pieces as product designs. I think of them, first of all, as nerdy technology prototypes (they all solve some kind of connectivity or materials problems), but also social commentary artifacts. KM: You have been quoted as saying: "The killer app for wearable computing is to convey personal identity information. This is called fashion and it is mostly visual." Firstly, could you elaborate on what you see as the limits to sharing personal information? Secondly, what are your thoughts on the less visible aspects of fashion design which still influence our subjective experience? Have you explored that area? JB: We share personal information through fashion (and accessories) all the time: our social status, sexual availability, profession, religion and so on. This is well known. Digital technologies and electronic textiles should not AUTOMATE this process, but could add another layer to the experience. This is deeply subjective. The only things that change are the materials (from silk to microcontrollers) and the potential complexity of the programmed experience. The subjective components remain just as complex. When I sweat, does it mean that I am sexually aroused, that I am nervous, or that I just ran up a flight of stairs? This reminds me that I am also deeply suspicious of using biometric data to "express" ourselves. I think that reactive fashion stuff will be and should be approached in the same way that fashion is approached right now. Some things can be controlled; some things are beyond our control. Some things look much better on a model and make us look ridiculous. A blinking skirt will not solve all our social problems. KM: It seems that you are interested in not only in developing and inventing new technologies, but also in developing applications for existing technology. What caught my attention is your advocacy of the "misuse (or abuse)" of existing technologies, which is a sentiment that seems fairly popular within technology and art crowds. Could you describe how your works manifest this subversive edge? JB: I think a lot of this sentiment comes from the fact that so much new technology research is really funded (and shaped by) large institutions with specific agendas (such as the US military - which I had to deal with in my IFM days). It's cool to "misuse". It is evidence of an inventive and innovative spirit. I like to use materials in unconventional ways, especially to create soft circuits using fibers and textiles that originated from defense-based research contracts etc... Conceptually, I also flirt with questions of privacy and surveillance with projects such as the groping skirt. I also think that it's important to question what is now called the "memory industry". As I said in my paper, Memory Rich Clothing: Second Skins that Communicate Physical Memory (to be given at Creativity & Cognition 2005 in London), the term "memory industry" is being used to describe western society's growing interest in various gadgets that help commit to computerized memory all of the things that we otherwise might forget, such as appointments, commitments, and other important life details. One of the proclaimed goals of pervasive computing research is to develop invisible distributed sensor networks to record various aspects our activities. Wearable computing research is similarly concerned with questions of memory. Brad Rhodes' Remembrance Agent, for instance, is a wearable proactive memory aid and data system that continually reminds the wearer of potentially relevant information based on the wearer's current physical and virtual context. We need to clarify the distinction between concepts of human memory versus computer memory. Computer scientists started using the term memory to refer to hard drives and RAM as analogous to the way that humans remember facts. But computer memory is distinctly different from human memory insofar as it acts more as a dumping group for data, as opposed to the rich, contextual space that makes up human memory. Computers do not forget things in the same way that humans forget. At the same time, a computer can store images with great accuracy but cannot identify one image as being similar to another, which humans can do quite easily. Once the term "memory" became established in computer science, computer-based definition of memory infiltrated our discussions of human memory. The "memory industry" thus defines the concept of memory in a very objective and impersonal way. Photos and video register memory as events in time instead of stored experiences. Memory-rich research, on the other hand, deals with memory as it relates to the body and the interaction between people through the use of their bodies. It is important to develop wearable technologies that challenge social structures and assumptions in relation to embodied interaction (or concepts of knowledge). These interactions have developed under specific cultural, historical and social contexts. KM: Working in fashion and technology requires numerous multi-disciplinary skills. Additionally I have noticed you have a sizable list of researchers and both graduate and undergraduate research assistants listed on your site, as well as collaborative work with the CodeZebra project by Sara Diamond. Describe the creative process at XS Labs. How are your ideas developed? How do you see this relating to wearable design in general? JB: I make sure that everybody on my team can both use a sewing machine and an adjustable voltage regulator, despite their formal training. We have electrical engineers, weavers, designers, and programmers. They each have distinct roles, but the really great ideas come when the roles leak into each other. That is my job, I create the leaks. I dig the trenches. KM: Can you tell us what you are currently working on? Where do you see your work moving in the next twelve months and beyond? JB: We are currently finalizing four projects: 1. Several (highly personal) animated weavings that deal with issues of displacement and cultural identity. 2. Two Memory Suits that deploy various modalities for recording and displaying physical memory on the body. 3. An Animated Quilt, a 10 by 10 pixel textile display. 4. Two shape change dresses, using the shape memory alloy Nitinol (we have spent a whole year exploring the properties of various formulations and various ways of incorporating into a textile, such as weaving, embroidery, stitching etc.) I plan to spend this summer masterminding our next research direction. I am very concerned with issues of power (in all its meanings) and environmental issues associated with this work. I also want to seriously pursue further research in textile-based display technologies. I basically plan to grow a couple of research consortiums over the next two years: 1. WEARABLE POWER LAB: Alternate power sources for wearable/portable computing. We will explore power sources such as flexible solar panels, printable solar cells (photovoltaic cells), dielectric elastomers etc... We will develop new methods for integrating the above technologies into textiles, so as to enable body-worn power generation. 2. MEMORY LAB: Alternate Graphics Displays, Memory Representation and Time Based Experience. We will study issues of representing memory and alternate substrates for ubiquitous graphic display. We will develop new technologies for textile-based and body-worn displays, user scenarios for ubiquitous media deployment, and experiments in contextualizing the human body as an augmented surface for memory representations. Joey Berzowska is an Assistant Professor of Design and Computation Arts in Montreal. She works primarily with "soft computation": electronic textiles, responsive clothing as wearable technology, reactive materials and squishy interfaces. www.berzowska.com <http://www.berzowska.com/> www.xslabs.net <http://www.xslabs.net/> Katherine Moriwaki is an artist and researcher investigating clothing and accessories as the active conduit through which people create network relationships in public space. She is currently a Ph.D. Candidate in the Networks and Telecommunications Research Group at the University of Dublin, Trinity College. www.kakirine.com <http://www.kakirine.com/> www.personaldebris.com <http://www.personaldebris.com/> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Kevin McGarry (kevin AT rhizome.org). ISSN: 1525-9110. Volume 10, number 14. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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