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: 5.08.05
Date: Mon, 9 May 2005 00:20:35 -0700



1. Midori Yasuda: ITP, NYU end of the year events
2. Lauren Cornell: Ignivomous presents ART! AT *<>WORK

3. Kevin McGarry: (call) Memefest-International festival of

4. Amy Alexander: Introducing Scream: Software + Activities
5. Eduardo Navas: FW: Art-Domains: new Domains on ebay - NETART 6 hours
6. Pall Thayer: New work: Autodrawn

7. ryan griffis: Art Critic Misses Big Picture

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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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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 Lauren Cornell
at LaurenCornell AT

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Date: 5.03.05
From: Midori Yasuda <midori.yasuda AT>
Subject: ITP, NYU end of the year events

ITP announces it's end of the year events!

ITP is pleased to announce our Spring '05 end of the year show -- and
related presentations -- please join us for any or all! Events run
from April 29 through May 14. All events are free and open to the
public unless otherwise noted.

The ITP Spring Show 2005 is the interactive extravaganza that you
have come to expect from our students -- 80+ fascinating projects
ranging from experiments in physical computing to 3D environments to
sonic designs to big games -- May 10 & 11 from 5 to 9 pm. Save the
dates, and bring a friend!

A full calendar of events here:

Read on for information about Thesis Week presentations (which will
also be streamed live on the web), talks, and performances from our
Live Image Processing, Future of the Infrastructure and New
Interfaces for Musical Expression classes.

We look forward to seeing you!


ITP Thesis Week 2005
Tuesday, May 3 through Saturday, May 7

See for the updated schedule and list of

ITP's Thesis Week 2005 gives graduating students the chance to
present their final thesis work to the ITP community. Each student
will have 20 minutes to present their research and projects they have

All presentations will be held at ITP. While the public is invited
to attend the presentations, space is limited. Please note that ITP
will provide a live video stream of every presentation on the thesis


ITP Spring Show 2005
Tuesday, May 10 from 5 to 9pm
Wednesday, May 11 from 5 to 9pm

A two-day explosion of interactive sight, sound and technology from
the student artists and innovators at ITP.

An oversized Greenwich Village loft houses the computer labs,
rotating exhibitions, and production workshops that are ITP -- the
Interactive Telecommunications Program. Founded in 1979 as the first
graduate education program in alternative media, ITP has grown into a
living community of technologists, theorists, engineers, designers,
and artists uniquely dedicated to pushing the boundaries of
interactivity in the real and digital worlds. A hands-on approach to
experimentation, production and risk-taking make this hi-tech fun
house a creative home not only to its 230 students, but also to an
extended network of the technology industry's most daring and
prolific practitioners.

Interactive Telecommunications Program
Tisch School of the Arts
New York University
721 Broadway, 4th Floor South
New York NY 10003

Take the left elevators to the 4th Floor
These events are free and open to the public
No need to RSVP

For questions: 212-998-1880
email: itp.inquiries AT

Midori L. Yasuda
Admissions, Special Events, Alumni Coordinator
Interactive Telecommunications Program
Tisch School of the Arts
New York University
721 Broadway, 4th Floor
New York, NY 10003
phone: 212/998-1882
fax: 212/998-1898

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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: 5.08.05
From: Lauren Cornell <laurencornell AT>
Subject: Ignivomous presents ART! AT *<>WORK

May 2005, New York City ?Ignivomous, a non-profit arts organization
dedicated to nurturing and developing new genres, art forms and mediums
presents ART! AT *<>WORK an art exhibition exploring the tension between the
art of doing work and the work of doing art.

This show will take place in the cubicles of a midtown Manhattan office
space. Fifteen artists will transform and exhibit projects inspired by the
act of doing work and the spaces created for working. Visitors will be
invited to explore and interact with the space during ?office hours.?

* Cat Mazza (microRevolt) recreating corporate logos with knitting,
machines, and needlepoint.
* Sabrina Gschwandtner sewing thread and paper drawings on the machine
installed in her cubicle.
* LoVid and Douglas Repetto producing patchwork of videos generated by an
installation of work clothes and electronic office supplies.
* Evan Greenfield and Erika Somogyi creating a shrine to lost free time
out of Sculpy clay and wax.
* Tony Luib transforming his cubicle into an abstract environment using
office supplies.
* Michelle Rosenberg?s installation will create a space for daydreaming.
* Yoav Bergner replacing the office?s furniture with his own artisan and
conceptual furniture.
* Elana Langer installing an audio piece complied of field recordings
taken from local office spaces.
* The group N.I.N.E will launch a new addition to their urban exploration
game HERE, HERE AT Work.
* Visitors will be invited to take part in the game throughout the show.
* Irene Moon presenting a 4? tall microscope as well as photographs and a
video animation from her MS thesis in entomology.
* Brian Alfred will show a collage entitles Cubicles with a replication of
all the tools used to make the work out of paper.
* Tom Moody installing an old computer and drawing during visiting hours
portraits using the outdated software MSPaintbrush.
* Bengala will include their personal experiences from their jobs in a
mixed media installation.

ART! AT *<>WORK is made possible through Artists Space Independent Project

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Date: 5.04.05
From: Kevin McGarry <kevin AT>
Subject: (call) Memefest-International festival of radicalcommunication

------ Forwarded Message
From: "Oliver Vodeb" <oliver AT>
Reply-To: oliver AT
Date: Tue, 3 May 2005 20:21:17 +0200 (CEST)
To: republicart-list AT
Subject: [rep_art] (call) Memefest-International festival of radical

Memefest -International Festival of Radical Communication:
Call for participation!

Dear Friends,

For those of you who may not know, Memefest is an annual festival of
radical communications that is now four years old. It was started because
we feel that positive ideas- memes- can and should spread just as easily
as negative and commercial ones. But this can?t happen out of nowhere;
and so, every year, we ask students, artists, graphic designers,
activists, and anyone with an interest in counter-culture to put their
talents to good use. They (this means you!) can choose to submit your
works to one of our four categories: communication studies, sociology,
visual arts (all open to undergraduate and graduate students of any
discipline), and Beyond?, open to students and non-students alike. The
first two require a written response to a critical and current text in
cultural studies; visual arts asks for static, moving or interactive
works in response to another (different, though equally relevant, piece),
while Beyond?requests a response whose form breaches mainstream academic
and art conventions- it can be anything, so long as its message is
positive- and infectious!

Please consider this a personal invitation for each and every one of you
to take part in this year?s festival in some way. The text for the
communication and sociology category is an excerpt from Douglas Rushkoff?s
?Nowhere to Hide,? which deals with the subversive attempts of advertisers
to stay ?one step ahead? of even the most conscious (and cynical)
consumer. The text for visual arts and Beyond? is ?The People?s
Communication Charter,? an insistent proclamation for an utopian society
where all citizens have equal access to communication.

The jury for all four categories continues to be comprised of
world-renowned scholars, artists, and devoted activists. Beside
traditional Jury members like art critic, activist and translator Brian
Holmes and Adbusters? producer and art director Paul Shoebridge, new
additions this year include Chris Habib, Sonic Youth?s photographer and
designer, who was instrumental in New York?s Liberty Street Protest, and
is the co-founder of Protest Records, Claire Pentecost, who runs the
Critical Art Ensemble Defense Fund and new media artist and multimedia
essayist Giselle Beiguelman.<br><br>

Check out our site, and see what we?re about. And, check out pieces and
writing from students of the last few years. Memefest 2004 received more
than 350 entries, from 36 Countries and this year we hope to top that;
but, we need your help!

The contest is run completely on-line and all the required texts and
registration can be found at:

Also drop us an e-mail if you?ve got some ideas, some questions, or would
like to collaborate on the project. <memefest AT>

<b>Deadline for submissions is May 20th, 2005.

Subvert, Create, Enjoy!

The Creators of Memefest 2005

We, the organizers of Memefest 2005, ask you to forward this e-mail to as
many people as possible. The media usually make it difficult for us to
get publicity by censoring, or ignoring Memefest, so please help us as an
?alternative? disseminator.

The republicart mailing list functions as an open forum to post
announcements and exchange information on projects, events, publications
etc. related to participatory, interventionist and activist practices in
public art.
to post a message mail to: republicart-list AT

------ End of Forwarded Message

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Date: 5.03.05
From: Amy Alexander <plagiari AT>
Subject: Introducing Scream: Software + Activities

Introducing Scream

Scream is a software application to facilitate screaming.

Scream sits quietly in your computer's system tray and automatically
springs into action when it detects a scream.

Scream disturbs your Windows interface. But it isn't aimed just at
computer frustrations. In a world where "anger" is paired with
"management," Scream encourages the return to prominence of the lost art
of screaming. As Howard Beale said in 1976, "I don't have to tell you
things are bad.... all I know is that first you've got to get mad."

But whereas Howard advised his viewers to turn their television sets off
to get mad, Scream proposes that you leave your computer on.

Scream can be used in private. Or public. It can be used at home, at work,
or on the street; at a Fluxus-style Scream-in; at the mall or at your
favorite cafe. When your throat gets tired, Scream can double as an
unusual music visualizer - or as a new approach to digital filmmaking. Use
Scream to start a meme. Or simply as a random act of deprogramming.

Scream - The Screaming Enhancer.
(Also indicated for use with door slams, domestic disputes, and police

More info, demo movies, software download and more at:

For more Deprogramming software, VJ/musical performances, and more(?) visit
the homepage at:

Note - Mail sent to the email address in the header may or may not actually
reach me! A current, fully-functional address for me can always be found at
bottom of the home page. Danke, gracias and thanks!

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Date: 5.07.05
From: Eduardo Navas <eduardo AT>
Subject: FW: Art-Domains: new Domains on ebay - NETART 6 hours left

------ Forwarded Message
From: Peter Luining <email AT>
Organization: ctrlaltdel
Date: Fri, 06 May 2005 13:58:55 +0200
To: email AT
Subject: Art-Domains: new Domains on ebay - NETART 6 hours left

NETART.US current bid on ebay $ 1.75;

NETART.US auction ends
Ends May-06-05 10:25:53 (PDT) Los Angeles
Ends May-06-05 19:25:53 (CET) Amsterdam, Berlin, Paris

New Art-Domains on ebay


The above domainnames are auctioned by Art-Domains a project by Peter
For more info about the project visit
For more art related domain names visit

------ End of Forwarded Message

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Date: 5.07.05
From: Pall Thayer <palli AT>
Subject: New work: Autodrawn

Autodrawn: Sketching landscapes seen through my windows
Pall Thayer


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Date: 5.02.05
From: ryan griffis <grifray AT>
Subject: Art Critic Misses Big Picture

Since others were discussing the NYT review of the cyberarts festival,
i thought i'd post Steve Dietz's response from his blog. he rightly
criticizes the author not for a lack of knowledge about interactive art
per se, but contemporary art in general.

Art Critic Misses the Big Picture
It's not that Sarah Boxer is clueless. I don't believe that someone
has to "get" interactive art to write about it. Maybe some of the
artwork she skewers in her April 26 New York Times review of the Boston
Cyberarts Festival, Art That Puts You in the Picture, Like It Or Not,
is as "irritating" as she claims it is. What should concern her
readers, and even more so her editors, is her apparent lack of
perspective about contemporary art. Let us count the ways.

Boxer: Problem No. 1: potty-mouthed machines. "PS," by Gretchen
Skogerson and Garth Zeglin at the Stata Center, is an oval mirror with
a sign that bids you "lean in close." You do. A voice says, "I like to
masturbate in public." Ack. Did anyone else hear that?
Can anyone say Seedbed?

For his notorious and influential performance at Sonabend Gallery in
1972, Vito Acconci lay beneath the floorboards of a constructed ramp
masturbating while his fantasies about the visitors above him were
broadcast over loudspeakers. Ack.

Boxer: Problem No. 2: too much ritual, too little time. "1-Bit Love,"
by Noah Vawter, is a musical altar, a totem covered in foil and exuding
a synthetic rhythm (a one-bit wave form). The pillar has red velvet
knobs. People are supposed to lay hands on it and turn the knobs to
modulate the sound. No one wants to be the first to paw the idol. And
once you do, it's not clear what effect you are having. [emphasis
Compare: Nam June Paik, Participation TV, 1963 - 1966
[Participation TV I] concerns a purely acoustic-oriented type of , with
an integrated microphone. The later version serves a television showing
in the middle of its screen a colored bundle of lines which explosively
spread out to form bizarre-looking line formations the moment someone
speaks into the microphone or produces any other type of sound.
Depending on the sound¹s inherent quality or volume, the signals are
intensified by a sound-frequency amplifier to produce an endless
variety of line formations which never seem to repeat themselves or be
in any way predictable. [emphasis added] (via Media Art Net)
Boxer: [P]roblem No. 3: ungraciousness. Machines make no bones about
their own flaws, but are unbending about yours.
Let's just stick to photography (another machine art). Gary Winogrand.
Diane Arbus. Lee Friedlander. Tina Barney. Lisette Modell. Shelby Lee
Adams. Susan Meiselas (Carnival Strippers). Bill Owens. Walker Evans.
Bruce Gilden. Nan Goldin, Richard Avedon (The American West). Stop me,
Boxer: [P]roblem No. 4: moral superiority. Consider "Applause," by Jeff
Lieberman, Josh Lifton, David Merrill and Hayes Raffle. You stoop to
enter a curtained booth. (Already you're in the weak position.) There's
a movie screen divided into three parts, and in front of each is a
microphone. Clap vigorously into one of the microphones and the movie
screen in front of it comes to life, playing its movie. Stop clapping
and the action grinds to a halt.

Now, wouldn't it be great if you could get all three screens going at
once? You can! Just run from mike to mike, clapping in front of all
three. Now they're all going! Uh-oh. It's Hitler giving a speech. And
there you are clapping like crazy, you idiot.
Compare: Paul McCarthy, Documents(1995-1999). "Selections of 8 x 10
photographs with images of Disneyland and other American pop items and
images from Nazi Germany, mounted and framed." (via) You should hear
the docents trying to explain that one without making the public feel
like idiots.

My point is not that the work at the Cyberarts Festival necessarily
compares favorably with these iconic works of contemporary art, but
Boxer's reasoning is lazy at best. And yet it is so commmonplace in the
mainstream press as to be almost not worth mentioning, except that this
hasn't always been true at the Times. To give Boxer credit, she does
not fixate on the cost, collectability, or technology of the works, but
neither does she provide even the most minimal sense of context, except
her own apparent discomfort at being in the picture. This despite
almost a half century of contemporary art that does just that from
Michelangelo Pistoletto to Bruce Nauman to Dan Graham to Andrea Fraser
to Janet Cardiff to ...

I don't know whether to laugh or cry.

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Visit the third ArtBase Exhibition "Raiders of the Lost ArtBase," curated by
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Rhizome Digest is filtered by Kevin McGarry (kevin AT ISSN:
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