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: 8.22.05
From: digest@rhizome.org (RHIZOME)
Date: Mon, 22 Aug 2005 01:46:11 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: August 22, 2005

Content:

+announcement+
1. Jessica Ivins: Mediatopia.2 fresh!
2. Michael Szpakowski: NET:REALITY exhibition

+opportunity+
3. bryan chung: Faculty position in the School of Creative Media, City
University of Hong Kong
4. Julie Andreyev: INTERACTIVE FUTURES 06: Audio Visions (Victoria,
Canada) (9/23/05; 1/26/06-1/29/06)
5. juha huuskonen: PikseliÄHKY // PixelACHE // Mal au Pixel 2006 - Call
for Projects!
6. andrew bucksbarg: Faculty Positions

+work+
7. Lucia Leao <!--<INPUT TYPE=: Hermenetka (2005)

+comment+
8. Jim Andrews: Jared Tarbell's online generative art

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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 Lauren Cornell at LaurenCornell AT Rhizome.org

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1.

From: Jessica Ivins <jessica AT rhizome.org>
Date: Aug 17, 2005 6:09 AM
Subject: Mediatopia.2 fresh!

http://mediatopia.net

Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by
a diverse group of neoteric artists, creatives and thinkers. Their fresh,
networked interfaces look to a variety of means to utilize the internet,
as playground, platform or paintbrush. Mediatopia.net is a recurring
network mediated culture space for art, technology and writing. We still
believe in networked culture. Mediatopia.net

Jessica Ivins
Carlos Katastrofsky
Michael Takeo Magruder
Jillian Mcdonald
Mike Mike
Carrie Paterson
Christina Ray and Dave Mandl
Geoffrey Thomas
Lara Bank
Aerostatic and Andrew Bucksbarg

Produced by Adhocarts.org, a non-profit arts organization
Curated by Lara Bank and Andrew Bucksbarg

----

FOR IMMEDIATE RELEASE

August 10th, 2005

Mediatopia.2 fresh!
http://www.mediatopia.net

Artists create art in cyberspace, but can you hang it on a wall?

Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by
a diverse group of neoteric artists, creatives and thinkers. Their fresh,
networked interfaces look to a variety of means to utilize the Internet,
both as creative medium and as a channel to share and distribute their
output. The Internet, with its network functionality and potential for
user interaction, is their creative playground: a form to manipulate and
a means of social or political expression. Mediatopia.2 fresh! is a
net-based opportunity for artists to gain exposure for their culture work.
Mediatopia.2 fresh! is produced by Adhocarts.org, a non-profit media-arts
organization. Lara Bank and Andrew Bucksbarg worked together to curate a
program from recent work submitted internationally that uses the Internet
as a playground, platform or paintbrush.

Jessica Ivins?s Retrotype historically traces female representation in
video games through an interface that allows the participant to
personalize and question the object of their gaze. Do you live in East
L.A. and long to live closer to celebrities in a gated community? Carlos
Katastrofsky performs Neighborhood and Area Research for you, so you can
discover who your IP address neighbors are in cyberspace. On the
Internet, distance is collapsed as ideologues are brought closer together.
Michael Takeo Magruder?s <event>, is an abstract filtering of headline
news that reevaluates and deprograms information by re-visualizing it into
a Buddhist-like flow. Jillian McDonald?s interface art, Stand By Your
Guns, blends our compulsion toward spectacle with elements of broadcast
media, game play, the celebrity, masculinity and the gun. What could be
more powerful? Take the complex genetic mixture and dispersion of
humanity over time and location, composite this and then make an ideal
copy. Mike Mike?s commerce-like site asks us is this The Face of
Tomorrow? Carrie Paterson?s Everywhere at Once, and Not Just Once creates
a twisted, fictional blog that chronicles the experiences of a girl in a
boarding school- ?reader discretion advised.? Psychogeography seeks to
understand how our physical environment affects our emotions and behavior.
One Block Radius by Christina Ray and Dave Mandl is an obsessive
documentation of a city block in Manhattan that creates a detailed archive
of the area, blending media interface, database, surveillance and real
reality programming. Geoffrey Thomas?s quiet, contemplative works use
game-like, animated environments and narrative to exemplify and make sense
of moments of loneliness, loss and the tension between passionate response
and the cool, scientific analysis in relations. The curators, both
artists in their own right, include samples of their own work on the site
as well.

Together these disparate works signify the production, both singularly and
collaboratively, of persons whose concerns go beyond the instance of
capital and reach outward to the cultural center of what digital media can
mean for human expression and communication. Their work is a mirror
before us that traces both our success and failure: together and separate
in the network. These words may wish to provide an overview or
representation of their work, but fail to provide the one thing these
artists considered as they created their work- your interaction. This
interaction forms a means to destabilize the relation of the author or
creator, bringing in the user as an active director or participant in the
process.

Artist?s work created for the Internet poses problems for persons, museums
or galleries who would collect and display it. Internet Art is not easily
installed in these traditional spaces, and although digital information
does not degrade, the technology that expresses it is constantly changing
and upgrading. Software evolves, computers and their operating systems
change, as well as progressive modifications to the human-computer
interface, making it difficult to collect and archive this kind of work.
Net-based art is ephemeral under these circumstances.

Artists who create ?net.art,? have another problem at hand as well. How
do you create value for something that is distributed on a network and
available to anyone with a computer and connection? Historically, most
art, aside from live performance, is based upon its being a one-of-a-kind
object that maintains or even gains value as a collected piece. This
makes raising funds for or selling this work a difficult proposition.
Rachel Greene, author of Internet Art, writes, ?Internet Art has less to
do with objects of social prestige, and little, at least currently, to do
with the cosmopolitan art businesses that thrive in New York, Cologne,
London and other culture capitals.? These limitations have given artists
who work with the Internet a kind of freedom and revelry of exploration,
as well as a particular tool for cultural and institutional critique.
Many artists see the Internet as a cause to really challenge fundamental
elements of humanity: identity, methods of communication, technology,
politics and the institution. These artists understand that people
expanded by the Internet all over the world, are brought together in
cyberspace.

The Internet was launched in 1989 by the British scientist Tim
Berners-Lee. As the use of the Internet grew, so did a community of
artists who began to utilize it as a creative medium by the mid 1990s.
Some of the early practitioners of Internet Art were Post-Communist East
Europeans and organizations like the Ljudmila Media Center in Slovenia,
supported by George Soros?s Open Society Institute. Much of the practice
of Internet Art also saw support in media arts festivals in Europe during
this time. Internet Art has grown over the years as the Internet has seen
increased use and is now getting more recognition from the traditional
formats of museums and galleries.

Artists will continue to participate in the social uses of new technology.
They will take part in future network technologies and cultures, where
the Internet will be augmented by shared virtual space. People on the
network will come together in synthetic worlds to create, communicate and
recreate. This is already occurring in online multi-player games and
environments like Second Life (http://secondlife.com), which include their
own economies. Objects and land can be bought and sold and complex social
transactions take place in these ephemeral, digital realms that exist on
servers. Some artists, such as Chris Burke, are hacking online multi-user
games for other purposes, such as a talk show in game space
(http://www.thisspartanlife.com).

Artists have a long history of socially relevant communication from within
the culture they are steeped. Mediatopia.net and its supporting
organization, Adhocarts, offer perspective to this process in the
continually shifting phenomena of cyberspace. Mediatopia.net is produced
by Adhocarts (http://adhocarts.org), which sponsors a variety of
expressions that fall on the lines of interconnecting disciplines,
theories, technologies and cultures. Adhocarts.org is a non-profit
collaboration supporting arts and culture by producing avenues for
creative expression and thought both online and off. Adhocarts.org was
founded in 2000 and exists as a catalyst for work that uses technology and
hypermedia, such as net.art, installation, digital video, writing and live
art.

We still believe in net-based culture. Mediatopia.net

Press contact:
Andrew Bucksbarg
Assistant Professor of Telecommunications
Indiana University
1229 East Seventh Street
Bloomington, Indiana 47405-5501 USA

812-219-5310
Abucksba AT indiana.edu


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2.

From: Michael Szpakowski <szpako AT yahoo.com>
Date: Aug 21, 2005 12:54 PM
Subject: NET:REALITY exhibition

HI
below is a press release for a show some of us are in
here in the UK. After 20/21 it tours round the UK
pretty much until 2007. Hope some of you can make it
or at least check out the site.
best
michael


NET:REALITY
: : : : :
Artwork by: Simon Biggs, Glorious Ninth, Neil Jenkins,
Jess Loseby, Michael Takeo Magruder, Stanza and
Michael Szpakowski
: : : : :
Blurring the boundaries between the tangible gallery
and the transitory Internet, Net:Reality merges the
ethereal notions of cyber space with the aesthetics of
a physical exhibition. Seven leading UK artists
engaged in Internet and New Media practice have been
commissioned to create artworks that simultaneously
exist virtually and physically.
Rather than having a 'theme' for the artworks, the
common denominator is the media itself and the
unifying connections between the web (Net) and the
physical (Reality) elements of the compositions. The
artists in Net:Reality have each interpreted and
implemented the amorphous relationships between these
distinct spaces to create an exhibition of artworks
diverse in concepts and aesthetics - harnessing the
Internet and the gallery environment to investigate
subjects ranging from emerging technologies to social
science.
: : : : :
Off-line until 29 October 2005 at:

20-21 Visual Arts Centre
Church Square, Scunthorpe DN15 6TB, UK
open: Tues.-Sat., 10am-5pm
telephone: +44 (0)1724 297070

On-line permanently at:

www.net-reality.org
: : : : :
Net:Reality is supported by Arts Council England and
curated by Michael Takeo Magruder in partnership with
20-21 Visual Arts Centre, Scunthorpe and Q Arts,
Derby. The exhibition was generated from an idea by
Michael Takeo Magruder and Jess Loseby.

for further information contact:

Michael Takeo Magruder

www.takeo.org

email:
m AT takeo.org or mtakeomagruder AT yahoo.com


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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/

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3.

From: bryan chung <chungbwc AT gmail.com>
Date: Aug 15, 2005 4:05 PM
Subject: Faculty position in the School of Creative Media, City University
of Hong Kong

Position for Associate Professor/Assistant Professor in New Media and
Interactivity, School of Creative Media

City University of Hong Kong is one of eight higher education institutions
directly funded by the Government of the Hong Kong Special Administrative
Region through the University Grants Committee (Hong Kong). It aims to
become one of the leading universities in the Asia-Pacific region through
excellence in teaching and research. In two studies, City University of
Hong Kong is ranked among the top 200 universities in the world, and among
the top ten universities in the Greater China region. The mission of the
University is to nurture and develop the talents of students and to create
applicable knowledge in order to support social and economic advancement.
The student population is approximately 23,000 enrolled in over 100
programmes at the associate degree, undergraduate and postgraduate levels.
The medium of instruction is English.

The University invites applications and nominations for the post of
Associate Professor/Assistant Professor in New Media and Interactivity.


The School was founded in 1998, and since then has developed strengths in
media/cultural studies, video production, computer animation and computer
graphics. It offers an exciting multi-disciplinary research and teaching
environment in which technical and creative faculty collaborate on a
variety of projects. Its current priority is to expand and consolidate
the digital media emphasis, including computer graphics, computer
animation, multimedia and interaction. There are several openings and
appointees are expected to undertake teaching and research in the areas of
new media and interactivity.

The qualified candidate is expected to work within a wide spectrum of new
media and technological platforms. He/She should demonstrate competence
in adopting a cross-disciplinary approach in teaching and research in
order to contribute creatively and professionally in the School, and for
the benefit of the community and the industries.

Areas of focus

Interactive media design and production
Interaction design, ergonomics, human cognition,usability
Game design, production, distribution
Multimedia performance, entertainment design
Pervasive computing, mixed reality, locative media, embedded computing

Courses to be taught

Basic electronics for art students
Mathematics and physics for interactive media
Object-oriented programming for art students
Theories of interactivity
Physical and embedded computing
Pervasive computing
User research in technology deployment
Kinetic and interactive typography
Show control and entertainment design
Game design and production
Image processing, theories and applications
Mixed reality applications
Mobile and locative applications
Spatial design and virtual environment
Network based media
Information design and visualization

Duties
The appointed faculty is required to teach 5 courses in an academic year.
He/She is also expected to actively work on research projects which can
produce professional, scholarly and creative outputs. Administrative work
related to admissions, student matters, facilities, curriculum, industry
liaison, etc. will be assigned to the appointee according to his/her
expertise and experience.

Requirements
The qualified candidate should possess a PhD/MFA or equivalent in the
School?s areas of focus. Teaching experience at university level is
essential. A strong and well presented portfolio that can demonstrate the
candidate?s skills and knowledge in the subject areas is required.
Successful candidates are expected to have proven track records of
strength in the areas of focus, which can be in the form of publication,
exhibition records, product development, clients? reference, etc.

Salary and Conditions of Service

Salary offered will be highly competitive and commensurate with
qualifications and experience.

Appointment will be on a fixed-term gratuity-bearing contract. Fringe
benefits include annual leave, medical and dental schemes, and housing
benefits where applicable.

Information and Application

Further information about the posts and the University is available at
http://www.cityu.edu.hk, or from the Human Resources Office, City
University of Hong Kong, Tat Chee Avenue, Kowloon, Hong Kong [Fax : (852)
2788 1154 or (852) 2788 9334/E-mail: hrojob AT cityu.edu.hk]. Please send
your application enclosing a current C.V. to the Human Resources Office.
Please quote the reference of the post in the application and on the
envelope.

The University reserves the right to consider nominations, and to fill or
not to fill the position.


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Rhizome.org 2005-2006 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 2005-2006 Rhizome Commissions, eleven artists/groups were selected
to create original works of net art.

http://rhizome.org/commissions/

The Rhizome Commissions Program is made possible by support from the
Jerome Foundation in celebration of the Jerome Hill Centennial, the
Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and
the New York City Department of Cultural Affairs. Additional support has
been provided by members of the Rhizome community.

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4.

From: Julie Andreyev <lic AT telus.net>
Date: Aug 15, 2005 4:01 PM
Subject: INTERACTIVE FUTURES 06: Audio Visions (Victoria, Canada)
(9/23/05; 1/26/06-1/29/06)


INTERACTIVE FUTURES 06: Audio Visions
Victoria Independent Film and Video Festival - http://www.vifvf.com/
Co-sponsored by Open Space Artist-Run Centre - http://www.openspace.ca/
Parallel event ? Digital Art Weeks, Summer 2006, Swiss Federal Institute
of Technology ? http://www.jg.inf.ethz.ch/Group/Front
Conference hotel - Laurel Point Inn - http://www.laurelpoint.com/
Victoria, British Columbia, Canada, Thurs Jan. 26 - Sun. Jan. 29, 2006.

CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS

INTERACTIVE FUTURES is a forum for showing recent tendencies in new media
art as well as a conference for exploring issues related to technology.
The theme of this year's event is Audio Visions. IF06 will explore new
forms of audio-based media art from a diverse body of artists, theorists,
and sound practitioners. Sound poetry, web-based audio and multimedia,
mobile audio performance, new forms of music theatre, synaesthetic
performance, hybrid forms, sound-based installation, video and sound, and
environmental sound are all of interest to Audio Visions.

The proliferation of audio technologies, audio-visual collaboration, and
hybrid forms of live performance in the new millennium is striking. Audio
artists are exploring the areas of mobility, virtuality, performance, and
audience interaction from an experimental point-of-view. Audio Visions
invites scholars, sound-artists, and performers of all stripes to submit
paper, panel, performance or installation proposals in one of the three
following categories.

1. "Sound and Vision" lecture and panel series - Scholars, artists,
and practitioners working in audio or audio-visual-based new media are
encouraged to submit proposals for IF06. We are interested in a broad
range of audio including: computational, interactive or generative audio;
the creation of digital audio tools; synchronization between sound and
visuals; performative art that explores language, voice and body;
streaming radio and mobile sound works. Presentations should be, in part,
demonstrative. We recognize that sound art is evolving and that categories
have become increasingly irrelevant - we encourage proposals that push the
boundaries of the traditional conference paper.

2. "Earshot" performance series ? "Earshot" is seeking experimental
audio-based performances that challenge assumptions about audio forms and
performance conventions. Avant-garde, post-avant-garde, techno,
electro-acoustic, synaesthetic production, liminal art and hybrid
performance are all within our desired range. "Earshot" is primarily
interested in new types of electronic audio-visual performance as well as
models for audience participation in sound works. "Earshot" will run
performances at Open Space for each night of IF06.

3. "Tangible Frequencies" installations ? We are interested in audio
installation works that consider site, space, vision, volume and
perception and how physical location 'matters' to the reception of audio
frequencies. IF06 has identified areas within Open Space Gallery to
function as controlled locations for sound installations.* We welcome
proposals that respond to the particular characteristics of these
locations through their acknowledgement of private and/or public space and
use. Installations may provide audio continuity to the existing locations,
or respond as intervention and critique.

INTERACTIVE FUTURES is part of the Victoria Independent Film and Video
Festival and applicants are encouraged to check the Festival website for
more information on the broader program.

CONFIRMED SPEAKERS / ARTISTS

? Greg Hermanovic of Derivative software is a visionary
software-engineer involved in the creation of real-time visual tools. In
2003 he received an Academy Award for the pioneering of modeling in the
film industry with PRISMS and Houdini. Greg coordinated the realtime
animation at SIGGRAPH 98's Interactive Dance Club, and directed special
effects for Michael Snow's Corpus Callosum. Derivative?s Touch software, a
range of tactile interfaces, brings advanced realtime animation tools to a
diverse cross-section of artists, including Richie Hawtin and Rush. Greg
will perform live visuals with Toronto-based DJ Tom Kuo.
? Tom Kuo uses a grounding in techno to pursue a varied range of
precise electronic strains. Tom was recently named one of Toronto?s Top
Ten DJs by NOW magazine.
? Atau Tanaka is known for his work in interactive music, including
performances with biosignal gesture systems. He has conducted research at
IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His
work with sensor-based musical instruments and network audio installations
have received prizes and support from Ars Electronica, the Fraunhofer
Institute, the Japan Foundation, and the Daniel Langlois Foundation. His
current research at Sony CSL Paris focuses on harnessing collective
musical creativity on mobile devices.
? Jürg Gutknecht is a computer scientist with a passion for new
hybrid art forms. He has actively participated in culturally-oriented
"wearable computing" projects, including "Instant Gain in Grace" (motion
tracking of a Butoh dancer), "Going Publik" (distributed orchestra based
on mobile electronic scoring), and "On the Sixth Day" (multi-channel video
system for interactive storytelling). Together with Sound Artist, Art
Clay, he organizes the Digital Art Weeks which offers performances and
provides courses in the areas of computer-aided art and music.
? Art Clay is a specialist in the performance of self-created works
with the use of inter-media, and has appeared at international festivals.
Recently, his work has focused on large-scale performative music-theater
works and public art spectacles using mobile devices.
? Jim Andrews publishes vispo.com. It is the centre of his work as a
visual poet, audio artist, programmer, and critic. His work in interactive
audio and word-based web media has been published and shown widely in such
venues as rhizome.org, turbulence.org, and the trAce Online Writing
Centre. Since 1999, he has been creating interactive audio at
vispo.com/vismu.

SUBMISSION GUIDELINES

INTERACTIVE FUTURES is interested in artistic and theoretical work that
relates to audio performance, production and hybrid forms.

? Papers, Panels, and Presentations can include DVDs, audio CDs,
video tapes, games, web-sites, etc. and should be 45-minutes in length.
? Proposed artwork for exhibition may take the form of performances
("Earshot"), installations ("Tangible Frequencies"), or audio-related
screenings ("Earshot" or "Tangible Frequencies").
? Applications should not exceed 500 words. Applicants should
indicate one of the three festival categories in the subject of the
message. Please include a 200 word max bio.
? All proposals must be submitted in text only format either as an
attachment or within the body of the email message.
? Please present examples of your work as a URL to a web-site.
? If your presentation requires specific technologies please
describe your needs in detail.

Proposals should be submitted electronically to ONE of the following persons:

? "Sound and Vision" lecture and panel series - Randy Adams
runran AT runran.net
? "Earshot" performance series - Steve Gibson sgibson AT finearts.uvic.ca
? "Tangible Frequencies" installations - Julie Andreyev lic AT telus.net

* SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO ?TANGIBLE FREQUENCIES?:

Open Space has the following areas available to install sound installations:

? Parallel gallery (opens onto the street)
? Bathrooms (2)
? Back Stairs (opens onto the back alley)
? Main gallery (low volume or headphones only)

A floor plan for Open Space can be downloaded at
http://www.openspace.ca/img/floorplan.pdf

Please indicate a preference for one of the above areas in your proposal.
Artists should keep in mind that Open Space is a shared space and
therefore low volume will be required. Other venues may be organized by
special arrangement if louder volume is required.

FUNDING

INTERACTIVE FUTURES does not have funding for travel or accommodation.
Presenters and artists are expected to apply for travel funding from their
home institutions and/or granting bodies. INTERACTIVE FUTURES is applying
for funding for performance and installation artists exhibiting at Open
Space. If this funding is obtained, performance and installation artists
will receive a modest fee according to CARFAC (http://www.carfac.ca/)
regulations.

All presenters and artists will be given a pass to all INTERACTIVE FUTURES
events and will have access to the ?Hospitality Suite? at the Festival
hotel (food and drinks). All presenters and artists will be eligible for
the conference rate at Festival Hotels (between $40-110 per night).

DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005.

Notification of acceptance of proposals will be sent out on or before
October 7, 2005.

EQUIPMENT ACCESS

Laurel Point Inn ? Presentations

The following equipment will be made available for all presenters:

? Mac computer with Monitor, keyboard, DVD/CD-ROM drive.
? Data/Video Projector.
? VHS Player.
? Sound system with amp and two speakers.
? Wireless high-speed internet access.

Open Space ? Performances and Installations

The following equipment is available for artists at Open Space. Artists
should be aware that equipment will have to be shared and therefore should
not propose to use all of the below devices simultaneously. Installations
and performances should be easy to set-up and take down. Wherever possible
artists should apply their own technology.

? 2 Data/Video Projectors.
? VHS Player.
? DVD Player.
? 3-4 Macintosh computers.
? Sound system with amp, 16-channel mixing board, mics, and four
speakers.
? Cable modem internet connection.

For a full list of resources available at Open Space go to:
http://www.openspace.ca/space/resources.htm

CONTACTS:

Victoria Independent Film and Video Festival Director:
Kathy Kay director AT vifvf.com

INTERACTIVE FUTURES Co-Curators:
Steve Gibson sgibson AT finearts.uvic.ca
Julie Andreyev lic AT telus.net

INTERACTIVE FUTURES Paper Editor:
Randy Adams runran AT runran.net

OPEN SPACE New Music:
Tina Pearson newmusic AT openspace.ca

Victoria Independent Film and Video Festival:
Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada.
Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada.
Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival AT vifvf.com

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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
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5.

From: juha huuskonen <juhuu AT juhuu.nu>
Date: Aug 15, 2005 4:09 PM
Subject: PikseliÄHKY // PixelACHE // Mal au Pixel 2006 - Call for Projects!


CALL FOR PROJECTS - Deadline 10 September 2005!

- - -

PikseliÄHKY // PixelACHE // Mal au Pixel 2006
Festival of electronic art and subcultures
Helsinki & Paris, April 2006
www.pixelache.ac

* The Dot Org Boom continues (Le Boom DotOrg!) *

PixelACHE will continue as an annual festival but we have decided
to focus on one theme in two consecutive festival editions, over a
time period of two years.

PixelACHE 2006 will thus continue exploring the PixelACHE 2005
theme: The Dot Org Boom, the non-profit grassroot new media revolution.
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.

In addition to projects related to The Dot Org Boom,
we are also looking for projects from following areas:

* Experimental interaction and electronics
* VJ culture and audiovisual performances
* Grassroot networks and politics of media / technology
* Experimental games and gaming experience

The submitted projects don't have to be existing pieces of work,
we are also looking for interesting prototypes and project concepts.
The call for proposals is open for everyone: artists and designers,
researchers and engineers, architects and activists, amateurs and
professionals, etc.

- - -

* Mal au Pixel 2006 - Bienvenue à Paris! *

PixelACHE festival is based in Helsinki but has so far traveled to
New York, Montreal and Stockholm. PixelACHE 2006 will add
one more destination to the list - Paris!

The confirmed collaborators for Mal au Pixel 2006 are Mains d'Ouvres,
Confluences with AVRIL.DOT Festival and Ars Longa. PixelACHE in
Helsinki is organised together with Kiasma Museum of Contemporary
Art and several other collaborators.

PikseliÄHKY // PixelACHE // Mal au Pixel events have been
initiated and are coordinated by Piknik Frequency, a non-profit
media culture organisation (www.piknik.org).

- - -

* Project submission *

Instructions and submission form for PixelACHE 2006 are available
on the PixelACHE website, www.pixelache.ac/2006/call. From the
site you can also find plenty of documentation from previous events,
photos, videos, etc....

>>> The deadline for submissions is 10 September 2005!

NOTICE! If you have sent a proposal in October 2004 (for PixelACHE
2005 & 2006), your proposal is still valid and in consideration for
PixelACHE 2006. Updated versions of project descriptions are welcome.

- - -

See you next spring in Helsinki or Paris! :)


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6.

From: andrew bucksbarg <andrew AT adhocarts.org>
Date: Aug 18, 2005 10:23 PM
Subject: Faculty Positions

Two Faculty Positions
Department of Telecommunications
Indiana University, Bloomington

Indiana University?s Department of Telecommunications seeks two new
tenure-track Assistant Professors. Applicants should hold the Ph.D.,
M.F.A, L.L.M. or other appropriate terminal degree and present a promising
program of either (1) scholarly research using social scientific, legal,
or historical methods related to electronic media / communications or (2)
creative activity in interactive new media. Promising candidates must
also be able to teach effectively in one or more of the department?s
undergraduate areas of concentration: Media and Society, Design and
Production or Industry and Management. Graduate teaching is also
possible.

We offer a B.A. in Telecommunications as well as M.A., M.S. and Ph.D.
degrees. Undergraduates can also pursue certificates in New Media and
Interactive Storytelling and in Game Studies. There are established M.A.
and M.S. programs in Immersive Mediated Environments (MIME). Joint M.S. /
M.B.A. and M.S. / J.D. degrees are offered in conjunction with the Schools
of Business and Law. Our Institute for Communication Research offers
support for faculty research including assistance with stimulus
design/creation and data collection using an array of methodologies
(psychophysiology, focus groups, personal interviews, and
computer-assisted survey/experiment administration). We also have digital
audio, video and multimedia production technologies. Salaries, fringe
benefits and research and teaching opportunities are consistent with peer
Research I institutions.

Current research faculty include experts in media psychology and
sociology, media economics, political communication, organizational
communication, digital games, and media law, policy and technology.
Creative faculty emphasize digital and analog media production and digital
gaming and interactive storytelling. While we especially seek people in
law and policy, management, media psychology, interactive storytelling,
game design, 3D modeling, and international communications, our overall
objective is to attract the best applicants in the field, regardless of
interests, who either enhance current strengths or extend our reach. More
about the positions, the department, and our faculty and programs can be
found at http://www.indiana.edu/~telecom/. and
http://www.indiana.edu/~icr/index.htm.

Applicants should submit (1) a cover letter summarizing their
qualifications for the position and explaining how they will add to,
supplement or complement existing department strengths, (2) a current
vita, (3) selected research publications and/or a portfolio documenting
recent creative work (as applicable), and (4) evidence of effective
teaching. Three letters of recommendation should be submitted directly by
recommenders.

Direct questions and applications to Professor Walter Gantz, Chair,
Department of Telecommunications, Radio-TV Center, 1229 E. 7th Street,
Bloomington, IN 47405-5501. Professor Gantz can be reached by phone at
(812) 855-1621, fax at (812) 855-7955 or via e-mail at gantz AT indiana.edu.

Start date is August 15, 2006. Review of applications will begin October
21, 2005 and will continue until the positions are filled.

Indiana University is an Equal Opportunity / Affirmative Action Employer.
We strongly encourage applications from women and minority candidates as
well as from two-career couples.


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Refresh! The First International Conference on the histories of media art,
science, and technology.
Hosted by the Banff New Media Institute, Leonardo/ISAST, and the Database
for Virtual Art.
September 28-October 1, 2005

The Banff Centre, Banff, Alberta, Canada

For info. and to register
Visit: www.banffcentre.ca/bnmi <http://www.banffcentre.ca/bnmi>
E-mail: luke_heemsbergen AT banffcentre.ca
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7.

From: Lucia Leao <!--<INPUT TYPE= <lucia.leao AT gmail.com>
Date: Aug 18, 2005 10:50 PM
Subject: Hermenetka (2005)

Hermenetka (2005)
www.hermenetka.org

Hermenetka is a project of Net Art that generates fortuitous cartographies
from search engines in data bases. The starting point of the Hermenetka
project is the Mediterranean view as spiritual scenery of thoughts, as
method and search of knowledge. Hermenetka is an acronym formed from the
association of Hermes, Greek god of communication and exchange; Net, from
Internet and "Ka", a very complex part of the symbolism in ancient
Egyptian mythology, Ka represents the consciousness and the guide of the
invisible world, the kingdom of the dead. In contemporary era, the
metaphor of the "sea between territories" (Mediterranean) embodies in the
flows and the exchanges of cyberspace. The proposal of the Hermenetka is
to generate plural cartographies of the seas of data that populate the
quotidian of the cyberculture. The project is constituted by two types of
mappings. In the first one, it is possible to generate a map in real time
from topics that gravitate around the concept of th!
e Mediterranean. The second possibility consists in answering the
question "What is the Mediterranean for you?". In this case, your reply
triggers a research in cyberspace for images and texts that will compose
a unique map. The aesthetics project associates remixing, transparencies
and revisits the watercolor techniques and collage practices of Robert
Rauschemberg. In both cases, the image is generated at random and
composed of different sizes and levels of transparent overlaying of
images and texts.

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9.

From: Jim Andrews <jim AT vispo.com>
Date: Aug 21, 2005 1:11 PM
Subject: Jared Tarbell's online generative art

Here is some unusually good generative visual art available for viewing on
the Net: http://www.complexification.net/gallery . This is work by Jared
Tarbell of New Mexico. I find this work quite exciting. Many of you have
probably seen this work before. I have too, but only tonight have something
to say about it.

What I like about it is the fusion of algorithm and art. Of course there is
much generative algorithmic visual art, but this work is rather
distinguished in its particular fusion.

For instance, Box.Fitting.Img is both beautiful visually and, also, the work
grows from an algorithm that one may easily infer from watching the piece.
It starts with 5 boxes. The color of the boxes is determined by the color of
the pixel of an underlying, invisible image. Though as the piece grows, one
gets other indications of the underlying image. In any case, a box grows
until it touches another box. Then it stops growing and other boxes start
growing in the interstices remaining.

Very simple algorithm. Plain to see. But brilliantly so, really, and unusual
in its visual results.

And much of his work is this way: the algorithms are evident if you watch
closely. They are simple but often generative of unusual results. And his
sense of color and shape is finely drawn. No clumsy grab bag goin on here.
The sense of composition is fascinating. Composition within a pseudo-random
generative process.

Another wonderful part of the work is that all the source code is available
to view. It's all done in a language called Processing invented not too long
ago by Casey Reas and Ben Fry. Java based. Some other strong work is
emerging from this language such as Martin Wattenberg's, and Marek Walczak's
"Thinking Machine" at http://www.turbulence.org/spotlight/thinking , which
we have discussed a bit on the list.

In Tarbell's work we see the strong abstract quality of generative computer
visuals. Strong abstract and dynamic properties/mode/process/aesthetic. Also
we see the value of the source code to the artist-programmer community.

Another *very* strong site by Tarbell is http://levitated.net/daily .

ja
http://vispo.com


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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.

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN:
1525-9110. Volume 10, number 33. Article submissions to list AT rhizome.org
are encouraged. Submissions should relate to the theme of new media art
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Digest, please contact info AT rhizome.org.

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Subscribers to Rhizome Digest are subject to the terms set out in the
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