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: 9.30.05
Date: Fri, 30 Sep 2005 09:18:52 -0700

RHIZOME DIGEST: September 30, 2005


1. Francis Hwang: Rhizome seeks Design and Production Intern

2. Jess Loseby: disturb.the.peace "angry women" - open call

3. stoffel AT argosfestival 2005
4. Trebor: *Anyone Can Edit*: Understanding the Produser
5. jillian mcdonald: Jody Zellen at Pace Digital Gallery
6. Marjan van Mourik: CULTURETV
7. marc garrett: Low-fi gets physical at Stills

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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 for
more information or contact Lauren Cornell at LaurenCornell AT

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From: Francis Hwang <francis AT>
Date: Sep 27, 2005 10:58 AM
Subject: Rhizome seeks Design and Production Intern

Rhizome is looking for a Design and Production Intern for the Fall 2005
session. The intern will assist the Director of Technology with tasks such
as editing HTML pages, graphics production, and implementation of major
design projects. In addition, there will also be opportunities to do
self-directed work in fields such as website design, information
architecture, and usability.

We are looking for a responsible individual with a strong interest in new
media and new media art, and an eagerness to learn about cutting-edge
technologies and ideas by putting them into practice. The internship will
involve a number of specific web-technologies, including: standards-based
HTML, CSS, Javascript and AJAX, FTP, and Photoshop. The ideal candidate
will have experience with some or all of these technologies.

To apply, email your detailed cover letter and resume to Francis Hwang at
francis AT

Hours: 10 hours per week, scheduling flexible
Dates: October 10 - December 16, 2005 (flexible)
Notes: On-site, unpaid

Francis Hwang
Director of Technology
phone: 212-219-1288x202
AIM: francisrhizome
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From: Jess Loseby <jess AT>
Date: Sep 26, 2005 8:06 AM
Subject: disturb.the.peace "angry women" - open call

disturb.the.peace "angry women" - open call

"Whoa! Why does this word carry so much weight, and why do these women
want to distance themselves so far from this word?" Once I had received a
similar response from three other women, as though anger was un-cool, or
un-sexy, I started thinking of the "Angry Young Men" of the fifties and
sixties-the amorphous James Dean types whose anger was sexy, because anger
is one of the sanctioned responses that men have, and women don't. No man
would protest being featured in a book called Angry Young Men, do you

[Interview with Andrea Juno, Ed of "angry women" (Juno Books, 1992)]

Disturb.the.Peace [angry woman] will be aimed at creating a collaborative
net-based installation with the core concept of the visual portrait of
feminine anger. The net offers a canvas for self-portraiture and
self-documentary, which both men and woman users and artists have used to
explore the many eclectic thematics that make up contemporary
However, anger - that non P.C, emotional serpent - still remains visually
elusive. Emails are full of bile, blogs map outpourings of rage and
disgust, newsgroups simmer over with adversary and cutting one-liners but
not, apparently, visual artworks...? Can anger be beautiful? Can rage be
aesthetic? In popular culture there are a range of angry babes to pick:
from girl-power to the Powerpuff girls but

"...their popularity may not reflect a dramatic shift in our society's
view of gender roles, but rather our inability to stomach female anger
unless it's sugar-coated in cuteness and scored with a pervasively chirpy,
non-threatening tone."

[Powerpuff Girls to the Rescue: Heather Havrilesky, Salon. Posted July 5,


D/tP is a call to women artists to visually explore the face of [their]
anger. It will make no apologies for being a call predominantly for female
work. Male submissions will not be excluded from open submissions but must
demonstrate that they are either a) in collaboration with a female or b)
make significant comment or exploration on a visual expression of female
anger beyond (what Jess Loseby) judges to be a stereotypical portrayal. It
will be possible to submit work anonymously or through androgynous
pseudonyms. Beyond gender, all work submitted must meet the basic
requirements of thematic response and net usability to be included.


D/TP is a collaborative artwork. It is curated by Jess Loseby as lead
artist only through organisation and realisation of the concept in the
provistion of webspace. Artists are invited to add pages and use the
site/space as much or as little as they desire. Work will be open for free
submission. There will almost no curatorial control but preference is to
show work that not only visually explores anger but how that anger is
amplified and augmented by the Internet and net technology/software; Can
anger be interactive? Can anger be translocal? It is hoped that work that
will go beyond static imagery.

--------- [tech]

html, flash, streaming video - cross browser compatible - collaborating
artists choice


Please send work as a email attachment (under 3MB) or work URL with name,
url, email address and bio (150wds or under) to jess AT or
jess AT FTP details may be provided on request. All work will
be shown as "windows" within the overall site design unless specified. If
work is hosted on a url external to please provide a "close
window" button.

------- [end] ||

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Rhizome ArtBase Exhibitions

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.

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From: stoffel AT <stoffel AT>
Date: Sep 23, 2005 9:47 AM
Subject: argosfestival 2005

13.10.2005 - 22.10.2005

As in previous years the fifth edition of the argosfestival provides a
free port for a wide range of audiovisual art forms. It?s a wide work area
that is in constant evolution, subject to societal and technological
developments. The festival programme reflects this variability, going
beyond the traditional delineations between disciplines and media, and
offering a valuable perspective on numerous in-between spaces ? in cinema,
television, media art and visual art. Film, video, audio, installation and
means of performance nestle together in a wide variety of both Belgian and
international work.

The products of several generations, historical and new work, all
complement each other, creating breathing space for a multitude of
trajectories. Beyond the origin, language and context in which they were
realized, clear connections can be made in regards to formand content. The
search for new narrative environments and relations between (the
experience of) space and time; a resistance to conventional audiovisual
forms and (mass)media and the immaterial stream of images that overrun us
on both television and industrial cinema; a craving for adventure in
expression and perception, learning how to see and hear (all over again):
these are just some of the lines of flight which the programme traverses.

Four themed programmes form the backbone of the festival. In the
exhibition Multipistes Jean-Christophe Royoux focuses on a generation of
young French artists who propose post-cinematographic forms,
deconstructions or alterations of the familiar notions of projection and
identification. The works in the programme Black & White-outs also
question the basic conditions of cinema, by making radical choices for
monochrome images and exploring the physiological relationship between
hearing and seeing. Challenging and destabilizing the dominant position of
the image constitutes a directional guideline in the film and video
programme of Tanya Leighton, In the Poem About Love You Don?t Write the
Word Love, as well as in Inner & Outer Worlds curated by Herman
Asselberghs, which offers a selection of Belgian audiovisual essays.

A contrary and wayward attitude also applies to the work of two ?artists
in focus?. The digital preservation of the work of the Belgian audiovisual
artist Joëlle Tuerlinckx indirectly led to an appraisal which, spread out
over a myriad of spaces and programmes, will be presented throughout the
festival in various forms for your eyes and ears. A number of recent
landscape portraits by the American filmmaker James Benning are shown, in
which he goes on the lookout for the effects of duration on the perception
of space.

The adhesion of sound and image, hearing and seeing, is also explored in
real-time. Mikko Hynninen will make use of the inherent sound image of the
Kaaitheaterstudio?s as a resource for an in-situ performance, in which the
environment itself is considered as a virtual instrument. During the
closing night of this festival edition the collective of MIMEO and video
maker Kjell Bjørgeengen are on the lookout for colourful dialogue, amongst
musicians, between image and sound, analogue and digital, control and
coincidence. Furthermore, an international symposium on presenting media
art and the role of the curator in respect to that , co-organised by the
?Digital Platform? (IAK/IBK, support centres for the Visual and
audiovisual arts), will take place during the festival.

This wealth of approaches and use of media is also reflected in the
Belgian Focus segment, traditionally offering a selective outline of
recent domestic audiovisual artistic production. These are the
cross-pollinations and connections that are the elementary particles of
the argosfestival: stimulating a circulation of experiences and ideas,
creating a virtual network of ex- and impressions, physically unfolding as
well, over several locations in Brussels.

For further information please visit

or contact
stoffel AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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

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

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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From: Trebor <trebor AT>
Date: Sep 23, 2005 2:17 PM
Subject: *Anyone Can Edit*: Understanding the Produser

The Cultural Studies Concentration of Eugene Lang College
& the Institute for Distributed Creativity present:

*Anyone Can Edit*: Understanding the Produser
Dr Axel Bruns
Creative Industries Faculty
Queensland University of Technology

10.00AM-11.40AM Tuesday 11th October
room 215 in the Graduate Faculty Buiding
65 5th Avenue (between 14th and 13th sts)
New York, NY

Recent decades have seen the dual trend of growing digitization of
content, and of increasing availability of sophisticated tools for
creating, manipulating, publishing, and disseminating that content.
Advertising campaigns openly encourage users to ?Rip. Mix. Burn.? and to
share the fruits of their individual or collaborative efforts with the
rest of the world. The Internet has smashed the distribution bottleneck of
older media, and the dominance of the traditional producer > publisher >
distributor value chain has weakened. Marshall McLuhan?s dictum
?everyone?s a publisher? is on the verge of becoming a reality * and more
to the point, as the Wikipedia proudly proclaims, ?anyone can edit.?

The effect of these changes is not simply more (and more informed)
consumption, however * we are not turning into Alvin Toffler?s
?prosumers?: consumers with an almost professional level of knowledge
about what they consume, but consumers nonetheless. Instead, the networked
and hypermediated persona that emerges is a very different beast: users
are becoming active producers of content in a variety of open and
collaborative environments. Whether it is as members of the distributed
development and testing community for open source software projects, as
authors, editors, and fact-checkers for one of the multi-lingual Wikipedia
sites, as reporters, commentators, and pundits in open news publications
ranging from South Korean citizen news site OhmyNews to tech-nerd haven
Slashdot, or as global explorers and annotators for Google Earth, they are
no longer producers or consumers, publishers or audiences, but both at the
same time. They are not prosumers, but user-producers: produsers.

While born perhaps out of a collaborative, open source ideology, produsing
is now increasingly recognized as both a challenge and an opportunity by
business and governments alike. For example, the Sims range of games
relies overwhelmingly on its users as content produsers * 90% of content
in The Sims itself is contributed by user-produsers. Similarly,
Brisbane-based games company Auran has established a community of
produsers around its popular train simulator Trainz, with some 200,000
?assets? (locomotives, carriages, scenery and other elements) prodused so
far. BBC News Online and other agencies now regularly call for their users
to send in camera phone footage of unfolding events. And
even sees a whole ?Generation C? of produsers emerging before our very

More broadly, the Chinese government is in the process of initiating a
shift in its economic focus from ?made in China? to ?created in China?,
aiming to turn the country from the world?s factory to the world?s ideas
generator. This shift, with its strong links to the recognition by
European and Australian governments of the creative industries as a key
economic driver, also builds on the move from users to produsers * it
seeks to harness collaborative, grassroots creativity as a means of
generating new ideas and new content (while at the same time attempting to
maintain state control of the process).

So who are these produsers * and how will they fare in the light of
increasing business and government involvement? As economic interests
begin to explore ways to generate revenue from produsage, will they
undermine its collaborative foundations, and will they reintroduce a
regime of stricter intellectual property licensing? Or can the grassroots
movement of produsers effect lasting change in our engagement with
content, establishing a solid foothold for creative commons and other
alternative IP licensing systems, and developing an equitable approach to
relationships between the produser community and commercial partners?


Dr Axel Bruns
Creative Industries Faculty
Queensland University of Technology
Brisbane, Australia
a.bruns AT

Axel is currently researcher-in-residence at the Institute for Distributed
Creativity. He teaches and conducts research about online publishing,
electronic creative writing, online communities and popular music in the
Creative Industries Faculty at Queensland University of Technology in
Brisbane, Australia. He is the author of Gatewatching: Collaborative
Online News Production (New York: Peter Lang, 2005), and a founding editor
of the online academic publications M/C * Media and Culture
<> and dotlit: The Online Journal of
Creative Writing <>.

He is currently preparing Uses of Blogs (with Joanne Jacobs), an edited
collection of scholarly work examining the range of current approaches to
blogging (forthcoming from Peter Lang in 2006). More information about
this book and other research projects and publications can be found in his
blog at

Eugene Lang College The New School for Liberal Arts

The Institute for Distributed Creativity

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From: jillian mcdonald <jmcdonald AT>
Date: Sep 26, 2005 3:27 PM
Subject: Jody Zellen at Pace Digital Gallery

Pace Digital Gallery is pleased to present:
Jody Zellen, "Trigger", a site-specific installation.
October 18 - November 8, 2005
163 William Street, between Beekman and Ann
New York, NY
Please join us at the opening reception Tuesday, October 18th, 6 - 8pm.

details, including map and directions:

for info contact directors Jillian Mcdonald and Francis T Marchese
digitalgallery AT

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From: Marjan van Mourik <webmaster AT>
Date: Sep 27, 2005 10:07 AM

- We resdesigned the newsletter and our website!. We took your comments
seriously, so it is now much easier to navigate. No new browser window
opens if you look for any information. It will all enter next to the

- Fourteen New Global Anchors Enhance OOH! TV's Robust Entertainment
Catalogue; Mobile Distribution of a Diverse Group of Content Providers
Creates New Entertainment Options for the Mobile Market. And one of these
Content providers will be CULTURETV. Looking beyond traditional access via
the web, OOH! TV has secured agreements to broadcast these channels over
digital signage and Wi-Fi networks that represent nearly 1500 locations,
such as airports, cafes, hotels, universities, malls, and other high
traffic public venues in the US. The online television network will launch
the beta version in October 2005 .

- 'Russian POP ART part II, Moscow, Information / Transformation
-EXTRACity (Antwerp) (B) and MONOPOLIS-Antwerp Witte de With, Rotterdam
(NL) , are the exhibitions which we have for you on video.

- About the new videart. This week we present a short intro of the
documentary '7 Sons' by Florian Thalofer and Mahmoud Hamdy. ?Sheik Suellim
has seven sons? Maher says proudly. ?Seven Sons, and not one daughter?? I
wonder. ?Seven sons,? Maher replies, ?and further more six daugthers.?
Florian Thalhofer from Berlin and Mahmoud Hamdy from Cairo met the
Bedouins in the Sinai, close to the territories occupied by Israel. Berlin
meets Cairo meets the Beguines - inclusive a sharia-court-case. [7sons]
was made in summer 2003 with the support of the Goethe-Institute, Cairo.

'Space Invaders' by Marina Zurkow.
?THE SPACE INVADERS? is a composite of live action footage and 2D
character animation, redolent of vaudeville sketches, early cartoon
pranks, and Grand Guignol?s shock theater.

Enjoy our program and don't forget to subscribe to enter the Video on
demand page, there you can even watch more videos on the time it suits

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Rhizome Members can purchase the new monograph on Thomson & Craighead,
Minigraph 7, for a discounted rate: £10.80 which is 10% off £12.00 regular
price plus free p+p for single orders in UK and Europe.

thomson & craighead
Minigraph 7
Essays by Michael Archer and Julian Stallabrass
Jon Thomson and Alison Craighead ¹s extraordinarily varied, almost
unclassifiable artworks combine conceptual flair with sophisticated
technical innovation. Encompassing works for the web alongside a host of
other new media interventions, this book ? the first monographic survey of
the artists¹ work ? highlights a number of impressive installation and
internet-based pieces which use digital technology to echo the
art-historical tradition of the ready-made.

Part-supported by CARTE, University of Westminster.

Published by Film and Video Umbrella
52 Bermondsey Street London SE1 3UD
Tel: 020 7407 7755
Fax:020 7407 7766

To order, Rhizome Members should write Lindsay Evans at Film/ Video Umbrella
directly and use the reference ³Rhizome T + C² in the subject line.

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From: marc garrett <marc.garrett AT>
Date: Sep 28, 2005 1:01 PM
Subject: Low-fi gets physical at Stills

*Low-fi gets physical at Stills*

Article written about the Low-fi exhibition can viewed at Mazine
Written by Marc Garrett and Ruth Catlow (from

low-fi exhibiton at Stills, Edinburgh, UK.
Mauricio Arango, Cavan Convery, James Coupe, UK Museum of Ordure,
radarboy, Kate Rich
6th August - 1st October

The Stills Gallery:

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the New Museum of Contemporary Art.

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

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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN:
1525-9110. Volume 10, number 39. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

To unsubscribe from this list, visit
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