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: 4.15.05
Date: Mon, 18 Apr 2005 23:54:47 -0700

RHIZOME DIGEST: April 15, 2005


1. Pau Waelder: Contagious Media Showdown AT Eyebeam
2. Francis Hwang:

3. B: Multimedia/Digital Video/Computer-based Design Assistant Professor
4. Emma Posey: CONVERGENCE RESIDENCY, Cardigan, West Wales, UK
5. Rachel Greene: Fwd: Web/Systems Manager Position
6. Melanie Crean: Eyebeam call for Production Fellowships

7. Just added to the Rhizome ArtBase: Shmoogle by Tsila Hassine
8. Plasma Studii: http in tha house

+commissioned for
9. ryan griffis:

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The Rhizome Commissioning Program makes financial support available to
artists for the creation of innovative new media art work via panel-awarded

For the 2005 Rhizome Commissions, seven artists were selected to create
artworks relating to the theme of Games:

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.

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Date: 4.14.05
From: Pau Waelder <pau AT>
Subject: Contagious Media Showdown AT Eyebeam

Announcing the world's first Contagious Media Showdown. Do you have what it
takes to corral enough traffic to win the cash prizes? Can you make the next
Dancing Baby, All Your Base, or Star Wars Kid and ride into the sunset with
the bounty? This is your chance to prove you are the best in the West.

April 28-June 4th the New Museum of Contemporary Art will feature
"Contagious Media", an art exhibition presented in conjunction with the

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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: 4.14.05
From: Francis Hwang <francis AT>
Subject: Commission voting: 6 days left

Hi all,

Just wanted to remind y'all that there are only six days left in the
commissions voting process for the 2005-2006 Net Art Commissions. This
isn't some inconsequential poll; the winner of this voting stage will
be one of the Commissions for this cycle. So vote early, and vote

As always, if you have any questions about this whole process, feel
free to contact me personally or on the list.

Francis Hwang
Director of Technology
phone: 212-219-1288x202
AIM: francisrhizome

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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: 4.11.05
From: B <albeeb AT>
Subject: Multimedia/Digital Video/Computer-based Design Assistant Professor

Assistant Professor, tenure-track Starting September 1, 2005, pending
budgetary approval.

Interactive Multimedia/Digital Video/Computer-based Design
Department of Art, The City College of New York.

Qualifications: M.F.A (or equivalent) and full-time college teaching
experience required. Seeking a visual artist working in multimedia and
digital video to teach undergraduate courses in interactive multimedia,
digital video and BFA thesis. Primary responsibility for teaching courses in
Director. Must be highly proficient in Lingo and be competent to teach
courses involving scripting and programming, as well as having the ability
to supervise design, web and interactivity-oriented Thesis projects.
National and international exhibition record required. Must have
demonstrated excellent administrative, communication and technical skills.
Shared responsibility for program administration as well as department
committee work and significant student advisement.

Include letter of application, statement of teaching philosophy; CV; digital
portfolio on CD or DVD [Portfolio may also include URLs], at least 15
examples of student work, SASE; names, addresses & phone numbers of three

Application deadline May 24, 2005. Affirmative Action; Equal Opportunity
Employer; Women and Minorities encouraged to apply. Applications to:
Professor Ellen Handy, Chair, Art Department. City College of New York.
Convent Avenue at 138th Street, NY, NY 10031. 212 650-7421. An AAEO/ADA/IRCA

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Date: 4.11.05
From: Emma Posey <emma AT>
Subject: CONVERGENCE RESIDENCY, Cardigan, West Wales, UK


The residencies are part of the programme for MAY YOU LIVE IN INTERESTING
TIMES, Cardiff festival of creative technology, 28th to 30th October 2005.

The artist/s will address the convergence of traditional, new media and
emerging technologies. Focusing on the combination of data and
communication, the project will employ one or all of the following
technologies: transmission, networking, and/or surveillance.

The residency host is Creative Mwldan, Cardigan, where the artist will have
access to a range of technical equipment and expertise. Creative Mwldan is a
centre in West Wales, UK, working with digital creativity. For further
information on the host visit

Fee: There is a fee of £4,800 (40 days), materials budget of £2,000, and
outreach travel of £250.

Deadline: Posted applications should be received by FRIDAY 29th APRIL 2005.
Shortlisted artists will be notified on 6th May, interviews will be held in
Cardigan, West Wales.

Selection Panel: Hannah Firth (Curator, Chapter/ Festival Director), Steve
Knight (Director, Creative Mwldan), Walt Warrilow (Project Manager, Cywaith
Cymru/Artworks Wales), and Emma Posey (Director, Bloc/Festival Director).

MAY YOU LIVE IN INTERESTING TIMES is Cardiff's inaugural festival of
creative technology - a three-day programme of events being held across the
capital. The festival is being developed between bloc and Chapter. The
residency programme for the festival is supported and managed by Cywaith
Cymru/Artworks Wales), the national organisation for public art in Wales.
The festival residencies are supported through the National Lottery
celebration of Cardiff 2005.

Festival Theme:
Artists are increasingly engaged with or inspired by digital technology -
exploring consumer and communication technologies such as the worldwide web,
mobile networks, file sharing, and computer gaming. Because digital
technology is a participatory medium with global reach, artists tend to
explore digital technology in the context of public and shared spheres.
Often digital art is situated somewhere between public art - albeit in a
dematerialised form - and street culture where the technology itself is used
as a 'site' for the production and presentation of art works. Although
digital technology is often claimed to go beyond physical limitations,
engagement with technology is always embedded in, or grounded in, real
spaces and places whether this is explored from a user or network

The residency form part of the festival's core programme where artists are
being invited to investigate the 'places' where digital technologies become
grounded in a geographical and social context. It is anticipated that the
work from the residencies will have a strong presence in Cardiff during the
festival period - 28th to 30th October 2005. All commissioned works shown at
the festival will negotiate with the specifics of the location at various
'sites' in order to bring about activity and exchange beyond the gallery.

The residency is open to an artist or group of artists and cover a period
spent with the residency host between June and November this year (the
timing of the residencies is negotiable although the work must be made
evident during the festival period).

If you have any questions or would like to have an informal discussion about
the residency please email Walt Warrilow: walt AT

Applicants should post their CV, a proposal of no more than 1 side of A4
stating ref: Convergence, and supporting visual material in slide or CD
format to:
Cywaith Cymru . Artworks Wales
Crichton House
11-12 Mount Stuart Square
CF10 5EE

T: +44 (0)29 2048 9543
F: +44 (0)29 2046 5458
e: walt AT

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Date: 4.13.05
From: Rachel Greene <rachel AT>
Subject: Fwd: Web/Systems Manager Position

Begin forwarded message:

> From: "Debra Singer" <Debra AT>
> Date: April 13, 2005 4:24:44 PM EDT
> To: "Debra Singer" <debra AT>
> Subject: Web/Systems Manager Position
> Hi All,
> If you know of anyone who might be interested in this half-time position,
> please pass this along this job description and tell them to email me their
> resume. Thanks for spreading the word!
> Best,
> Deb
> Position Opening:
> Part-Time Systems/Web Manager
> for The Kitchen
> Acclaimed experimental arts organization in West Chelsea serving performing
> and media artists seeks an experienced network administrator and webmaster for
> a twelve person office. Responsibilities include: administering a
> Windows-based data network; overseeing the organization¹s database system; and
> administering the organization¹s website, including design and text updates,
> page creation, and programming. The job also entails managing the operations
> of the office computers including, implementation of hardware and software,
> anti-virus protection, maintenance, and repairs as well as providing technical
> support to staff and artists.
> Good working knowledge of Windows Server and Exchange, TCP/IP networking,
> HTML, and Photoshop are required.
> Salary commensurate with experience. EOE. 

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Date: 4.14.05
From: Melanie Crean <melanie AT>
Subject: Eyebeam call for Production Fellowships

Eyebeam's Production Fellowship offers possibilities for artistic
investigation, professional development and critical study to young artists
of exceptional ability. Fellows are provided with a salary, health benefits
and unlimited access to Eyebeam's production facilities at its newly
renovated 540 W. 21st Street space throughout their 11 month term. They
spend about 1/3 of their time developing their own self-directed projects,
and the remaining time interacting with senior artists on larger projects,
creating work for the commission, residency and co-op programs. During their
stay, they benefit from critiques, lectures, gallery visits and interaction
with other artists working at Eyebeam. Fellows' work is presented publicly
at the end of the program year.

The Fellowship is granted to three artists per year, who generally
concentrate in one of several areas, depending on upcoming projects:
technical direction (rigging/dynamics), 2D compositing/motion graphics, 3D
modeling/texturing/lighting, animation, sound and interactive programming.

The program is 11 months long, running from October to August. Fellows are
selected from an open call, international applicants are welcome to apply.
Applications go on line April 13th at, and are due on June 5th.

For more information, please see

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Date: 4.11.05
From: <artbase AT>
Subject: Just added to the Rhizome ArtBase: Shmoogle by Tsila Hassine

Just added to the Rhizome ArtBase ...

+ Shmoogle +
+ Tsila Hassine +

What is Shmoogle? Shmoogle is a Google randomiser. When you type your query
into Shmoogle, you get Google's results but.... in random order!
This tool touches upon several crucial issues on the web such as Search
Engine Optimization. Shmoogle instantly neutralizes Page rank and the whole
SEO industry induced by it.
Yet it addresses other fundamental issues such as retrievability vs.
visibility. While all pages on the net are equally retrievable, they are
certainly not equally visible. Every page is accessible by directly typing
its URL, independent of Google, but how visible is it? how often does this
page appear among Google's first results?
Shmoogle breaks this strict hierarchy, and by doing this it promotes the
diversity of the web. Since every result has the same chance of being on
Shmoogle's first page, results of a more common nature have a bigger chance
of appearing first. This is actually polling the web for its view on the
query. Shmoogle sacrifices Google's accuracy for a web democracy, and gives
common web authors an equal chance of exposure.
You might want to try it out with some examples, let' take "art" for
example. Google's first page consists of the Metropolitan museum, The
National Gallery, MoMA, and some art portals on the web (not much of a
surprise). On shmoogle, a (possible) first page features sites entitled "
we make money not art", "Olga's gallery", and "Art Passions", among others -
did you know these sites exist?
This diversity and the uncertainty factor (it is in fact the first
non-deterministic search engine) add a feeling of freedom, excitement, and
playfulness. Enjoy!

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Tsila Hassine grew up in Tel Aviv, Israel, where she completed B.Sc's in
Mathematics and Computer Science. She spent 2003 at the New Media department
of the HGK Zuerich, and in 2004 she joined the Piet Zwart Institute in
Rotterdam, where she is pursuing an MA in Media Design.

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Date: 4.13.05
From: Plasma Studii <office AT>
Subject: http in tha house

thought y'all may dig this.

HTTP in tha House

enter a URL and it comes up with a rap.


art non-profit
stages * galleries * the web
PO Box 1086
Cathedral Station
New York, USA

(on-line press kit)

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Spring Hosting Special from BroadSpire

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,

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Date: 4.15.05
From: ryan griffis <griffay AT>
Subject: Tragic Travelogue, a Consideration Around Christina McPhee¹s
Carrizo-Parkfield Diaries

Tragic Travelogue, a Consideration Around Christina McPhee¹s
Carrizo-Parkfield Diaries

³What are we to make of the popularity of such tourist targets as celebrity
murder sites, concentration camps, places where thousands have been shot
down, inundated with lava, herded off to slavery, crushed by earthquakes,
starved to death... or otherwise suffered the excesses the rest of us hope
we will never experience?²
Lucy Lippard, _On the Beaten Track_, The New Press, 1999.

"I wasn't thinking of it before as helping tourism for Sri Lanka as such. I
was looking at it as a holiday," she says. "Now I feel I'm going out there
to help get tourism back on its feet."

The ³tragic tourism² that Lucy Lippard is questioning above certainly took
on a new meaning for the thousands of tourists who found themselves in the
path of the earthquake-generated tsunami in the Indian Ocean this past
December. There was a kind of cruel inverted logic to the televised
spectacle of the catastrophic events. Armchair tourists, voyeuristically
watching reports of separated families, lost loved ones and miraculous
survivors, able to say, ³I¹m glad I wasn¹t there.² As people rushed to
generously help those living in the effected regions rebuild homes and
infrastructure, the tourism industry made it clear - as it did after the
September 11 attacks on the economic and military headquarters of the US -
that it would not only continue, but would be part of the movement forward.
It would not be a surprise if more than one memorial to the event were
created and designed as a tourist destination, as the small town of Hilo on
the big island of Hawaii has done to commemorate their run in with a killer
wave. (see: Mike Davis, ³Tsunami Memories,² _Dead Cities_ The New Press,

One of the more prominent emotions expressed in US media accounts of the
tsunami was disbelief. How could such a thing happen with no notice? Aren¹t
there satellites, buoys, and globally positioned networks that should warn
us of something like this way before it happens?

Back home in Los Angeles, the thought of earthquakes doesn¹t usually produce
images of giant waves, but rather collapsed freeways, imploded parking
decks, and expensive hillside homes riding down with landslides. For those
that have lived around earthquakes in California for a while - a group to
which I don¹t belong - the regular shifting of the earth is part of the
social memory in a mundane, as well as terrifying, way. The interaction
between a larger social imaginary (that includes movies like the 1970s
classic Earthquake), subjective experience and the body of data and method
known as geology makes up part of the subject matter (and methodology) of a
recent body of work by California-based artist Christina McPhee in
collaboration with Terry Hargrave (video), Jeremy Hight and Sindee Nakatani
(texts and programming) called the ³Carrizo-Parkfield Diaries.²

³Carrizo-Parkfield Diaries² manifests itself as an artwork in three
complimentary, yet distinct ways: a series of large scale digital prints, a
video and a web-based piece that is accessible anytime, anywhere - given an
internet connection and proper plug ins.

The prints, on display at Transport Gallery in downtown LA, are vertical
columns, above average human height, and are composed of layered
photographic pictures, unidentifiable charts and graphs, and elusive
architectonic drawings existing within a dense and spacious black
background. Placed close together, the combined verticals - taking up much
of the space between the ceiling and the floor - visually combine to create
a larger, horizontal presence - not unlike a view through the large windows
of a sky-rise office building. But rather than the usual pastoral impression
of a landscape, a partially submerged, or subterranean, view is created by
the striations of pictures, drawings and textures. This layering (surface vs
depth) and vertical stacking of imagery suggests that we are looking
through, rather than over, the surface. The use of scientific-looking data,
along with the transparency of the layers of images, adds to this effect,
recalling the technological displays of sci-fi films like Minority Report.

Functioning in a similar manner, the web work layers audio, animated images
and texts in a manner that suggests both a spatial and conceptual depth.
Rather than using input from visitors to generate its dynamic mix of media,
data from other external sources is used to produce the changing composition
of a Flash movie. This data, live information from seismic monitors near the
San Andreas Fault and archives from a significant 2004 Parkfield quake,
³collides² to produces a series of number strings - visible between
³chapters² in the movie - that determines the combination of media
experienced. What occur, in various arrangements, are distorted images of
the Carrizo Plain, hauntingly minimal audio tracks, and elusive fragments of
a narrative recounting memories of death and the trauma of being in an

Don't let the earthquakes scare you away from visiting this beautiful town,
not a single person has ever been injured from a Parkfield quake.  As the
sign at the Parkfield Cafe reads, "Eat Here When It Happens," the same goes
for the Parkfield Inn, "Sleep Here When It Happens." website
"IT" Finally Happened! Parkfield experienced a magnitude 6.0 Earthquake on
September 28, 2004. website

The title of McPhee¹s work references the town of Parkfield, California, and
the Carrizo Plain - a National Monument often called ³California¹s
Serengeti² - two places in which the San Andreas Fault is a visible
geographic force (The Carrizo Plain is also known as the ³Cadillac of the
San Andreas Fault system²). As Parkfield¹s official website suggests,
earthquakes are a crucial part of its image. Since the 1970s, the US
Geological Survey (USGS) and the State of California had been attempting to
³trap² one of the region¹s oddly regular magnitude 6+ earthquakes
(occurring roughly every 22 years since 1857). The quake that was to be
trapped sometime between 1988 and 1992 was over a decade late when it struck
on September 28, 2004, simultaneously fulfilling and upsetting Parkfield¹s

McPhee¹s Diaries seem to play on the tension between these formulated
expectations and the more chaotic experience of both time and space (the
late arriving Parkfield quake supplied the archived data for the web
project) . Even without Parkfield¹s backstory, the seemingly desolate
landscape of the Carrizo Plain is not where most of us imagine the dramatic
effects of earthquakes - while shifted roads and cracked earth may be
spectacular, a demolished city often hits closer to home. Parkfield as a
site for both symbolic and scientific study is one that is neither here nor
there - situated between Los Angeles and San Francisco, it¹s off the radar
for most California residents. It is a site of inquiry, the geographic
equivalent of an ³indicator species,² where earthquake patterns can be
studied (hopefully) before they effect a major city.

In the exhibited video, McPhee can be seen exploring the rugged terrain of
the Carrizo Plain¹s Soda Lake - recalling Smithson walking around his Spiral
Jetty. Remembrances of the interventions of ³earth artists² like Smithson
inevitably attach to other memories associated with deserts and other
³uninhabited spaces² - places where the avant garde, whether the Manhattan
Project or artists from Manhattan, see nothing but a blank canvas to be
shaped by bulldozers and atomic blasts. The violence enacted in and upon the
US West, including its indigenous inhabitants, surely leaves behind what
Lippard referred to as ³invisible² monuments, where ³something awful
happened but its traces have disappeared leaving only the voids to speak.²

For McPhee, the remoteness and openness of the Carrizo Plain seems to
suggest the spatial equivalent of the subconscious, a place where trauma may
reside undetected, except for sudden and unpredictable eruptions. In her
Diaries of these ³invisible monuments,² we can find a relationship between
social memory and natural history, mirroring the way that human activity has
irreversibly become part of the geologic record. ( ) I have the
feeling that we are being taken on our own tragic tour of some fault line
that extends from the Carrizo Plain into the social imaginary, looking for
clues to past eruptions and hoping we¹re not there to experience future

Ryan Griffis

The Carrizo-Parkfield Diaries Project can be found online at:
and was exhibited at Transport Gallery, Los Angeles March 5 - April 16, 2005

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Rhizome ArtBase Exhibitions

Visit the third ArtBase Exhibition "Raiders of the Lost ArtBase," curated by
Michael Connor of FACT and designed by scroll guru Dragan Espenschied.

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the New Museum of Contemporary Art.

Rhizome Digest is supported by grants from The Charles Engelhard
Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for
the Visual Arts, and with public funds from the New York State Council
on the Arts, a state agency.

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Rhizome Digest is filtered by Kevin McGarry (kevin AT ISSN:
1525-9110. Volume 10, number 16. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

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