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: 5.29.05 From: digest@rhizome.org (RHIZOME) Date: Sun, 29 May 2005 10:25:27 -0700 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: May 29, 2005 Content: +announcement+ 1. Lauren Cornell: New Membership Policy 2. Kevin McGarry: City/Observer, curated from the Rhizome ArtBase by Yukie Kamiya, opens at Rhizome.org! 3. Annie Abrahams: Why rock?+"Yes", no. release+10 onlone selections +opportunity+ 4. Kenneth Jones: Digital Arts/Interactive Media 1 Year Appointment-Harford Community College, Bel Air Maryland 5. Kevin McGarry: FW: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts Curator 6. Brooke Singer: Job: New Media Tech AT SUNY Purchase +commissioned for Rhizome.org+ 7. Helen Varley Jamieson: How re:mote am I? + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions 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 Lauren Cornell at LaurenCornell AT Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 5.23.05 From: Lauren Cornell <laurencornell AT rhizome.org> Subject: New Membership Policy Hi, I am pleased to announce the launch of our new membership policy. Every individual Member should be receiving a dedicated email about this shortly, but I would also like to bring attention to the new policy on the list to get your thoughts and feedback. This change was prompted by a reconsideration of our current membership system. When we enacted a $5 membership requirement in January 2003, we thought that such a policy would balance our need for a stable revenue source with our mission to serve new media arts communities around the world. However, having reviewed Rhizome's usage and subscription statistics, we concluded that our membership policy was stifling wide-scale participation in our online programs. We have rethought and restructured our membership policy to make Rhizome more inclusive, relevant, and open. Under our new policy, anyone, regardless of whether they have donated to Rhizome or not, will be able to post or access Rhizome content from the last year simply by signing up. It¹s completely free to sign up - all you have to do is register an email address and password. Artworks and texts that are *more than one year old* will reside in the Rhizome Archives. Only Rhizome Members will be able to access the Archives. Members will also be able to maintain a Member Page in the Community Directory, create Member-Curated Exhibits, and use special features such as Advanced Search. In the coming months, we will roll out innovative features to keep our membership program dynamic and worthwhile. All current Members will retain their membership status under the new policy. When your membership expires, you will still be able to subscribe to Rhizome lists and browse the site. But, in order to retain member benefits, you will be asked to renew your membership at an annual level of $25. I hope you will consider continuing your membership at this level. Rhizome is just as reliant on our base of Members for financial support now as ever before. In announcing our new membership, I would also like to acknowledge the vision and work of the Rhizome staff, Francis Hwang, Kevin McGarry and particularly former Executive Director Rachel Greene, who initiated and developed the plans for this new policy. We feel confident that everyone involved with Rhizome will benefit from our expanded availability, and we hope you agree. Thanks for reading this, and thank you for sticking with us as we try to find the best system to support our programs and organization. Yours, Lauren Cornell Executive Director Rhizome.org + + + Rhizome.org is a not-for-profit 501(c)(3) organization. For U.S. taxpayers, contributions to Rhizome are tax-deductible, minus the value of any goods or services received, to the extent allowed by law. -- Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 5.25.05 From: Kevin McGarry <kevin AT rhizome.org> Subject: City/Observer, curated from the Rhizome ArtBase by Yukie Kamiya, opens at Rhizome.org! Rhizome.org Announces Fourth ArtBase Exhibition FOR IMMEDIATE RELEASE Wednesday, May 25, 2005 CONTACT Kevin McGarry, Rhizome.org Phone: 212.219.1288 X220 Email: kevin AT rhizome.org NEW YORK, NY?Rhizome.org is pleased to announce the opening of City/Observer, curated by Yukie Kamiya, Associate Curator at the New Museum of Contemporary Art in New York. City/Observer is the fourth online exhibition of works curated from the Rhizome ArtBase, an archive of over 1500 new media artworks established in 1999. http://rhizome.org/art/exhibition/city/ City/Observer presents projects by a group of international artists, AUDC (US), Heman Chong (Singapore), Katrin Sigurdardottir (Iceland), the collaboration of Aisling O¹Beirn (Ireland) and Marjetica Potrc (Slovenia), and Koki Tanaka (Japan), who take the cities they live and work in as the subjects of their art practice. Rather than interrogating ³the city² as an ideological construct or manifestation, these artists organize their subjective experiences as residents to reveal the distinct, yet connected, characters of their surrounding structures, societies and situations?and articulate some effects of making art in a global world. Three of the artists?-Chong, Sigurdardottir, and Tanaka?-included in City/Observer have never before situated their work on the Internet. Their offline practices have been transposed to the Web as an experiment initiated by Kamiya, who remarked that, ³it was fascinating to see how the artists approached the Internet as a unique, limitless place, and how these projects grounded in experiences of physical cities interfaced with a foreign, virtual terrain.² Kevin McGarry, Content Coordinator for Rhizome.org commented that, ³City/Observer is not only several of the artists¹ but also Kamiya¹s first time staging an exhibition on the Internet. Through this exhibition she has successfully framed the Web as a site that is informed by unique urbanisms and politics, which at times mirror, overlap and confront those of physical territories.² + + + Rhizome Exhibitions is a program begun in November 2004, which invites international artists, curators, and writers to curate online exhibitions from works in the ArtBase. http://rhizome.org/art/exhibition + + + Member-curated Exhibits is a companion program also launched in November 2004, which allows Rhizome members to curate and interlink their own online exhibits from works in the ArtBase, using a web-based curating tool. Links to member-curated exhibits are interspersed throughout rhizome.org via member pages and included artworks. http://rhizome.org/art/member-curated/ For more information please contact: Kevin McGarry, Rhizome.org Phone: 212.219.1288 X220 Email: kevin AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 5.27.05 From: Annie Abrahams <aabrahams AT bram.org> Subject: Why rock?+"Yes", no. release+10 onlone selections Together with Clément Charmet we made the webshow "Why rock?" for turbulence.org http://turbulence.org/curators/rock/rock.htm The show presents sound works by net artists with real or supposed rock affinities. Alan Sondheim and Frédéric Madre both wrote a text for the show. We also made a special french version of the show for panoplie.org http://www.panoplie.org/rock Together with Jan de Weille we released a 4 tracks EP : "Yes", no. on Tomtipunkrecords http://www.tomtipunkrecords.net/index_ttr.php?Releases I selected 10 sites for netartreview's new monthly feature: ::NET.TEN:: \\Online Selections// http://www.netartreview.net/monthly/0505.1.html Please have a look. Annie Abrahams + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 5.22.05 From: Kenneth Jones <kennethleejones AT comcast.net> Subject: Digital Arts/Interactive Media 1 Year Appointment-Harford Community College, Bel Air Maryland DATE OF NOTICE: March 29, 2005 http://www.harford.edu/Department/HumanRes/JobsFolder/Art_VisualComm_Faculty _TermAppt.htm RESPONSIBILITIES: This is a ten-month position scheduled to begin August 15, 2005 (subject to available funding). The instructor will be responsible for teaching a variety of art and visual communication courses, including computer graphics, multimedia, animation, design for the web, and possibly 2D design, 3D design, and/or color theory. Duties include, but are not limited to: developing and/or revising curriculum as appropriate, advising students, supervision of the MAC Lab, and other duties as assigned. REQUIREMENTS: Master of Fine Arts degree in Digital Arts, New Media, Graphic Design or related discipline and college-level teaching experience required. An equivalent combination of education and professional experience may be considered. Mastery of print, multimedia and web publishing applications, interactive media, and digital imaging curricula including, but not limited to, Photoshop, Illustrator, QuarkXPress, Director, Flash, Dreamweaver, After Effects, and Final Cut Pro is essential. Proficiency with 2D animation and/or 3D Modeling and Animation preferred. Additional skills necessary require a demonstrated expertise of print and web page design, typography, digital imaging, multimedia authoring, and digital video. Knowledge in the history of digital media and electronic culture is preferred. Professional level knowledge of Macintosh OS X and software and hardware troubleshooting, some knowledge of networking and network file management are required skills. ADDITIONAL REQUIREMENTS: Submit 20 examples of your work and 10-20 examples of your students' work (slides, CD, DVD, or URL). If you would like your submissions returned to you, please include a self-addressed stamped envelope. Include a cover letter or statement outlining how each qualification listed above is met, resume or curriculum vitae, and copies of graduate transcripts (official transcripts will be required if appointed to the position). TO APPLY (choose one of the following options): Download and print the EMPLOYMENT APPLICATION from our website www.harford.edu (Adobe Acrobat Reader required), call the HCC Job Line at 410-836-4202 (toll-free 877-239-2636), OR send an e-mail request (include name, address, & position of interest) to agillesp AT harford.edu or vstaley AT harford.edu. RESUMES ARE ENCOURAGED BUT WILL NOT BE ACCEPTED IN LIEU OF AN EMPLOYMENT APPLICATION. « Only candidates receiving further consideration will be contacted. « For best consideration, the completed application materials, signed in all areas, should be returned by May 30, 2005 to: Human Resources Harford Community College 401 Thomas Run Road Bel Air, Maryland 21015-1698 « Incomplete applications will not be accepted or reviewed. « + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 5.24.05 From: Kevin McGarry <kevin AT rhizome.org> Subject: FW: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts Curator ------ Forwarded Message From: Beryl Graham <beryl.graham AT SUNDERLAND.AC.UK> Reply-To: Beryl Graham <beryl.graham AT SUNDERLAND.AC.UK> Date: Tue, 24 May 2005 14:05:27 +0100 To: NEW-MEDIA-CURATING AT JISCMAIL.AC.UK Subject: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts Curator Peterborough Digital Arts Curator Salary £20,295 - £21,654 pa Reference PCC C3115 Location Peterborough Hours 37 hours per week Closing Date 14 June 2005 set your inspiration free Does the idea of creativity, experimentation and exciting development appeal to you? Yes? Then read on. Peterborough Digital Art Gallery is based in the city centre and holds regular new media exhibitions, residencies and supporting programmes which promote, inform and encourage understanding of and participation in new media/digital arts. We are seeking an inspired individual with experience of curating new media/digital arts. Since its launch in April 2003 Peterborough Digital Arts has worked with and exhibited many artists that include Diane Maclean, Simon Poulter and Fred Drummond. We have also partnered such diverse galleries as the Macdonald Stewart Art Centre in Canada and Royal Pump Rooms Leamington Spa. Peterborough Digital Arts has produced Sequences , currently touring venues throughout the UK. Our partner arts organisations include PVA Medialab, Film and Video Umbrella and Arts Council England, East. This is a full time position. Reporting to the Media Development Coordinator you will be generating an exciting and innovative programme. You will possess the skills to convey your passion of new media to a range of diverse audiences. Working within the Arts Team, you will be developing programming ideas, commissioning artists and delivering across a range of exhibition platforms. Job packs and application forms can be downloaded from http://peterborough.jobsgopublic.com/ or by emailing jobs AT peterborough.gov.uk. To request a pack to be posted, please telephone: (01733) 742644, 742645, (24 hour Answerphone) quoting job reference above. Please return completed applications to: Recruitment Team, Human Resources, Peterborough City Council, Bayard Place, Broadway, Peterborough PE1 1FF or email them to the address shown above. Peterborough City Council is strongly committed to taking a lead role in the elimination of discrimination and the promotion of equality in employment and welcomes job applications from all parts of the community. The city council's equal opportunities policy is based on the principle that people are not discriminated against on the basis of race, religion, ethnic origin, nationality, age, gender, sexual orientation, disability or marital status. ------------------------------------------------------------------- Beryl Graham, Professor of New Media Art School of Arts, Design, Media and Culture, University of Sunderland Tel: +44 191 515 2896 beryl.graham AT sunderland.ac.uk CRUMB web resource for new media art curators http://www.crumbweb.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire http://rhizome.org/hosting/ Reliable, robust hosting plans from $65 per year. 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! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 5.28.05 From: Brooke Singer <brooke AT bsing.net> Subject: Job: New Media Tech AT SUNY Purchase We are looking for a New Media Tech at SUNY Purchase. To find out about the program, please visit http://www.purchase.edu/academics/interdisc/new_media.asp. Feel free to contact me with any questions. Please circulate. Sincerely, Brooke Singer brooke AT bsing.net Job Description and Application Information: New Media Computer Technician - $40k deadline: July 1, 2005. Position to be filled by August 15th 2005 Purchase College/State University of New York seeks to hire an experienced computer technician to serve the New Media Program. Requirements: The successful applicant will have at least a bachelor's degree, solid computer skills, including experience in video post-production and server administration, and the ability to communicate and work with faculty, student and technical staff. Primary duties expected of the successful applicant include: 1. Maintain, administer, backup and supervise: A 24 seat PC computer lab Adobe CS, Macromedia Flash and Dreamweaver, Java, MIDI and more A 12 seat PC video editing/3D computer lab. A Cross platform research lab of 4 workstations running appropriate software for student and faculty projects Web servers used for class and program support. 2. Consult with the department faculty and participate in the planning, designing and equipping of the new digital media facilities as well as develop long range resource upgrade strategies. 3. Work collaboratively with faculty and staff to devise and support the successful implementation of technology in the classroom, including managing the allocation of server space. 4. Identify, train and supervise College Lab Assistants and student assistants appointed to the areas and facilities, which utilize computers and digital technology systems. 5. Help plan and then manage anticipated new technologies. Future capabilities could include running streaming audio and video and supporting peer-to-peer applications. 6. In addition to above technical responsibilities, the person would be available during specified hours to help students with video post-production and senior projects as well as mentor student technical workers. Secondary duties include working with the Natural Sciences Computer Engineer on joint networking and computing efforts. As the facilities evolve, there is a requirement as well as opportunity for continual learning and professional growth. Send a letter describing qualifications and experience with a current résumé and names of three references to: Barbara Gianoplus c/o New Media Tech Support Human Resources Office Purchase College Purchase, NY 10577 human.resources AT purchase.edu Women and minority applicants are encouraged to apply. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions http://rhizome.org/art/exhibition/ Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. http://rhizome.org/art/exhibition/city/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 5.29.05 From: Helen Varley Jamieson <helen AT creative-catalyst.com> Subject: How re:mote am I? How remote am I? What does it mean to be remote in an electronic art world? This was one of the questions posed by re:mote (http://www.remote.org.nz), a gathering of digital artists and theorists in Auckland, Aotearoa (the Maori name for New Zealand) on 19 March 2005. Held in a geographically remote country, the event was an opportunity for local wired artists to meet face-to-face as well as an invitation to ponder the meaning of "remote" in the 21st century. Re:mote was an event by and for artists, organised by r a d i o q u a l i a (http://www.radioqualia.va.com.au/) and ((ethermap (http://www.ethermap.org/). The first in a series of one-day experimental festivals, it was run "on the smell of an oily rag" (as we say here) and made possible in part by Adam Hyde's residency at the University of Waikato. Questions posed by the organisers included: are there 'centres' and 'peripheries' within a world increasingly bridged, criss-crossed and mapped by digital technologies? Can technologically mediated communication ever be a substitute for face-to-face dialogue? Is geographical isolation a factor in contemporary art production? Is remote a relative concept? Fourteen presentations from new media art practitioners and theorists in Europe, Japan, Australia and New Zealand were squeezed into eight hours and ranged from a cosy midnight feast in Finland to a glimpse of the expansive Antarctic wilderness, and from musings on information from outer space to the virtual escape of a death row prisoner. Various methods were employed to connect remote (as opposed to re:mote) participants with those at the Auckland venue - the Elam School of Fine Arts lecture theatre. A live MP3 audio stream enabled the off-site audience to hear everything from the venue, and they could communicate through a text chat which was also used to convey an impression of what they couldn't see. QuickTime, Skype, IRC, iChatAV, iVisit and the Palace were among the applications used in different presentations. The international speakers were scheduled first to accommodate their time zones, with Steve Kovats and Graham Smith from Rotterdam kicking things off. Visible via web cam, their presentation nicely illustrated their discussion on how telecommunication transforms the concept of distance from space to time. They were in the dark of Friday night, while we in Auckland were well into a sunny Saturday. Also still in Friday night and dressed in her best pyjamas, Sophea Lerner (an Australian new media theorist and artist currently studying in Helsinki) tucked into a midnight feast while elaborating on the promises and assumptions of remote communication. She proposed that the most interesting thing about a remote location is not the remoteness, but the location. This contrasted with the previous presentation's focus on time as the distancing element rather than space or location. Any location, whether it's the heart of a teeming metropolis or an empty beach in southern Aotearoa, can be remote when you're outside it, rendering it exotic, intriguing and desirable. It's the differences, rather than distances, that make a "remote" location interesting - and the unexpected similarities. Lerner also addressed the concept of peripherality and how one can experience being peripheral in many different places, depending on one's perspective of the "centre". Finland may appear peripheral to Europe, but from the New Zealand perspective it's almost in the middle of that centre. Contemporary politics place Europe and North America in the centre, but as the power balance shifts that centre may relocate to Asia or even cyberspace. Today's technologies release us from the geographical definition of centre, creating globally dispersed "peripheral centres" and "central peripheries". Technology has penetrated even the periphery of Antarctica, as shown by Phil Dadson's presentation about his recent artist's residency there. A looping video of his shadow crunching across the endless white landscape, broken only by the bones of some unfortunate beast, removed not only all sense of place but also time. The simple act of filming his shadow on the ice placed Dadson at the centre of a peripheral environment. Japanese radio pioneer and artist Tetsuo Kogawa spoke about technology and the body and gave a history of Mini FM, a project which aimed to tactically deregulate the Japanese airwaves by teaching people how to create and broadcast from their own free radio stations. During the 1970s and 80s, Kogawa held radio parties in Tokyo apartments where he taught people to build transmitters, broadcasting from the domestic periphery to the centre of the airwaves. Footage from these events reveal the political act of taking ones own space on the airwaves as also entertaining and community-building. His goal was to use radio technology not as a substitute for face-to-face communication but as a means to bring people together and to propose political and social alternatives. During re:mote, Kogawa also gave an audio performance and the following day led a mini FM transmitter building workshop. Pre-recorded appearances were made by New Zealander Sally Jane Norman, who has lived in Europe since the 1970s, and Zina Kaye from Australia, who discussed her project "The Line Ahead", which gathers data from airports to create LED signs in a gallery. Sally Jane Norman began with pre-internet architectures of performance, asking how physical gesture can invest digital space, and described the remote manipulation of space probes as "advanced puppeteering". Achieving physicality within digital spaces alters the concept of remoteness; how remote am I if, from Aotearoa/New Zealand, I can physically move an object on the moon? Both air and space travel create bridges between centres and peripheries, destroying the relative remoteness of New Zealand in the space of a few hours and offering instead the greater remoteness of outer space. The trials and tribulations of remote collaboration were addressed by a number of presenters including myself, Zina Kaye and Trudy Lane. Zina had encountered some difficulties in working with technicians located elsewhere, while Trudy's ongoing collaboration with mi2 in Zagreb (on the online magazine ART-e-FACT) works smoothly. Physically meeting your remote collaborators may make some things easier, but it's also possible to work successfully without meeting, as demonstrated by Avatar Body Collision. This work was presented by Leena Saarinen (in Finland), Vicki Smith (in NZ's South Island) and myself at the venue. Our greatest difficulty is in finding times when the four of us can be online together for rehearsals, but the advantages are many. We taste each others' geographical and social locations and are telematically transported from our peripheral homes to the centres of arts festivals and conferences. Returning to one of the questions posed by re:mote - Can technologically mediated communication ever be a substitute for face-to-face dialogue? - during four years of artistic collaboration, Leena Saarinen and I have never met, so technologically mediated communication is an excellent and necessary substitute for face-to-face. Our "remote" relationship is as real and valuable as if we had met, so how remote are we? The variety of local presentations given during the afternoon illustrated the diversity of concepts of "remote": a web site about a fictional nation state; universal nomadism and the generic city; "glocalisation"; and a multi-locational artistic picnic were among the projects discussed (for more information on all presentations see www.remote.org.nz). While these presenters were all New Zealanders living in New Zealand, their presentations had connections all over the globe - Lithuania, Croatia, Amsterdam, the USA. As an artist in the electronic world, living in an isolated location doesn't mean that your work must be of that location. There will always be some degree of local perspective, but sources and context are often global; this combination of local and global is "glocalisation". Live improvised audio performances were given by Tennis (London) in the morning, and at the end of the day by Tetsuo Kogawa, Adam Hyde and Adam Willetts. Tennis (Ben Edwards and Doug Benford) performed with a web cam showing them seated at their computers. As our off-site audience could only hear the audio stream, I provided them with a commentary of what we could see on the screen in the IRC chat. This created another level to the performance, and an extrapolation of remoteness: I was interpreting and relaying my visual observation of an audio performance back to a twice-removed audience, some of whom were in the same country as the performers and on the other side of the world from me. For the Auckland audience in the same room as me, I and my commentary became a part of the performance as well - yet the performers themselves were not aware of this. Thus at least three different performances were taking place: the audio performance given by Tennis; the sound, text and images experienced in the venue in Auckland; and the online version, consisting of sound and text. Reading the chat log several weeks after the event, the remoteness doubles again - comments on now unheard sounds and descriptions of vanished images are like shadows cast by an invisible body. This fascinating unplanned metamorphosis was a result of the event and our various layers of remotenesses. A briefer but related "performance" had occurred earlier in the day when Adam Hyde and James Stevens were speaking over Skype, but James had left his computer speakers on, generating an echo loop that took on an unstoppable life of its own. My personal experience of re:mote was bound up with the technologies, both in my presentation (using the Palace and iVisit) and in my role at the keyboard as a "chat wrangler", delivering commentary to the off-site audience. The off-site audience's responses to my descriptions of the visuals and the audio stream they were hearing are preserved in the chat log and offer a surreal perspective on the day. Once again, re:mote was answering its own questions, as the chat substituted face-to-face communication reasonably effectively and rolled our individual peripheries into the centre. As someone who communicates and collaborates remotely on a daily basis, I always value the opportunity to work and collaborate in the same physical space with others. Creating such gatherings in far off places like Aotearoa/New Zealand is especially important, as sometimes we're so busy worrying about what's going on in the rest of the world that we overlook the wealth of activity happening locally. How remote are we when we know what our colleagues in New York, Amsterdam or Belgrade are doing but we don't know what's going on in Dunedin or Wanganui? Our perceived remoteness is embedded in the identity of the people of this small, distant and relatively insignificant country, and fuels a need to be a part of the wider world to counter this feeling of isolation. Yet one of the ideas that came through strongly during re:mote was the possibility to feel peripheral in any situation, and the individual relativity of a myriad of centres and peripheries which are now becoming bridged, mapped and interconnected by digital technologies. Congratulations and thanks to Adam Hyde, Honor Harger, Adam Willetts and Zita Joyce for making re:mote happen; it was an intense, enjoyable and thought-provoking day. The second re:mote has just taken place, in Regina, Canada - unfortunately I was "remote" in the sense of being offline while on holiday so I was unable to attend, but I'm told it went well. Documentation of both events should soon be online at www.remote.org.nz, and I'm looking forward to re:mote 3. http://www.remote.org.nz http://www.soilmedia.org/remote/ http://www.radioqualia.va.com.au/ http://www.ethermap.org/ -- ____________________________________________________________ helen varley jamieson: creative catalyst helen AT creative-catalyst.com http://www.creative-catalyst.com http://www.avatarbodycollision.org http://www.writerfind.com/hjamieson.htm ____________________________________________________________ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 22. 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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