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: 11.11.05
Date: Fri, 11 Nov 2005 17:08:55 -0800

RHIZOME DIGEST: November 11, 2005


1. Lauren Cornell: Hello/ rhizome upcoming

2. Charlie Breindahl: Artifact - a new journal from Routledge
3. Doug Easterly: enure Track Position in Film - Syracuse University

4. t.whid: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances?

5. tom holley: Ultrasound Festival 2005
6. Greg Smith: 01: digital detritus
7. nat muller: INFRActures exhibition project [V2_, 2-18 Dec]
8. Christiane Paul: jihui Digital Salon presents Cory Arcangel -- Thurs.
Nov. 17, 6-8 PM
9. marc garrett: nza: Abuse of the Public Domain AT HTTP Gallery

10. carlos katastrofsky, judsoN, Regina Pinto, patrick lichty, Luís da
Silva, Lee Wells, G.H. Hovagimyan, Rob Myers, Jim Andrews, t.whid, Pall
Thayer, Geert Dekkers: 10 questions a net.artist has to be aware of

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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: Lauren Cornell <laurencornell AT>
Date: Nov 11, 2005 12:15 PM
Subject: Hello/ rhizome upcoming


It's been just over 5 months since I started with Rhizome, and I thought
it was time to share some ideas and priorities that the Rhizome staff has

First, it¹s important to say that all our plans have formed with the work,
commentary and criticism of the Rhizome Community in mind. One of the most
significant challenges that Rhizome, as a community-based organization,
faces is how to make the relationship between the Rhizome staff and the
broader base of participants and members meaningful. At the moment, we see
our task as synthesizing feedback, and working to enhance the programs and
services we offer. We are open to exploring other structures of project
responsibility and administration in the future.

Below, I lay out several upcoming projects to elicit any thoughts or
questions you might have, and just for your information. A couple of them
will call on your collaboration and insight; all of them relate to overall
improvements of our existing services and online infrastructure.

1) New site design. We are currently in the process of developing and
implementing a new design for I initiated the new design
because I felt the current one had become, over the course of the three
years since it was launched, difficult to navigate and overburdened with
information. The new site will aim to be more clear, easier to use for
our current constituency and hopefully more straightforward for people who
new to Rhizome. With our new membership policy in place, our site traffic
has increased dramatically and we¹d like the new visitors to our site to

Another important goal of the new site is to make important Rhizome
features more prominent. By important features, I mean our online
discussions, member art work, membership, the archives, exhibitions, etc.
Rhizome has changed
over the years, added programs, developed earned income initiatives and
switched membership policies; this new structure needs to breathe better
through the design.

We have hired a designer and graduate student at MIT, Sarah Dunbar, to do
the re-design. She has been tremendously generous with her time, given
the extremely limited resources and budget we were able to put towards the
project. We expect it to be launched mid-December, but I¹ll write out
when we've confirmed a date.

2) Advanced Search. We are currently in the planning stages of
significant improvements to our advanced search, both the tools and the
results. Francis made some initial fixes to it late summer. More thorough
improvements are
slated on our tech timeline to begin after the new site Keep in mind, our
tech department is a very busy department of one: Francis.

3) Metadata Project. Our current system of metadata was created (by
previous Rhizome staff Mark Tribe, Alex Galloway and Jennifer Crowe)
around 1999 when the ArtBase was launched. Understandably, the new media
art field
has shifted since then: tools, programs and concepts have developed, and
the keywords that index our archive need to address this. This, plus the
frequent comments and inquiries on the part of the artists associated with
the ArtBase or Rhizome, are the impetus for the Metadata Project, through
which we hope to generate a new set of terms that will specifically
address the works in the ArtBase, and on a broader level, be available to
other art organizations and archives interested in the preservation of new

We¹d like to involve the Rhizome Community in this project, and also
representatives from other organizations. The project will start with a
blog on our new site which will be a forum for an open conversation on
relevant keywords, and for debate over slight terminological differences
that hold significance: such as ?sound¹ vs. ?audio¹. Rick Rinehart,
Director of Digital Art at the Berkeley Art Museum, has agreed to blog, as
has Marisa, I will too. (If anyone else would like to get involved in the
blog, please contact me directly. Thanks. ) After this initial
conversation, we are hoping to convene artists and staff of other
organizations to synthesize the open conversation, and set the terms. For
the blog and for these summary conversations, we would like to involve
people with knowledge of new media, and also experience with archives or
new media preservation. As a slight disclaimer, I understand that a
process addressing taxonomy and tagging could take so many different
forms, but we think this process is best to deal with the ArtBase, and the
limited resources financial and human we can realistically put towards
the project.

These are a few headlines on our organizational horizon. Other upcoming
projects include improvements to our Member Directory (more details to
come), and our tenth anniversary program in Fall 2006 which we are
envisioning as a festival of exhibitions, performances and events that
will be based in New York and also take place in other cities around the
U.S. and internationally, and hopefully be a wide-ranging and diverse
celebration of new media. We are looking to partner with other
organizations for this, so please get in touch with me and Marisa -
marisa AT - if you are interested in exploring possibilities for

Wow, this letter has gone on. I appreciate your reading, and any comments
you might have. For those, who have contributed during the Campaign,
thank you so much. I assure you every contribution is being put towards
efforts to build a stronger, more effective Rhizome.


Lauren Cornell
Executive Director,
New Museum of Contemporary Art
210 Eleventh Ave, NYC, NY 10001

tel. 212.219.1222 X 208
fax. 212.431.5328
ema. laurencornell AT

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Please Support Rhizome!
Rhizome launched its membership drive, the Community Campaign, on
September 19th. The campaign is incredibly important to Rhizome's
survival and growth over the next year, and we sincerely hope that you
will help us meet our goal of $25,000 by December 1st by becoming a
Member or making a donation today! This targeted amount will go into
strengthening our current programs, and seeding our energy into new
initiatives. Higher-level donors are thanked on our support page and have
an opportunity to secure limited-edition works by Cory Arcangel, Lew
Baldwin, and MTAA. This is a very exciting time for the organization, and
a great time to get involved. Thank you for your ongoing support.

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From: Charlie Breindahl <charlie.breindahl AT>
Date: Nov 6, 2005 1:42 PM
Subject: Artifact - a new journal from Routledge


Artifact - a new journal from Routledge

Artifact is a new international, peer-reviewed academic journal treating
the impact of computerization on design.


The computer has had a profound impact on the look, feel, and function of
our everyday world. As a tool, the computer has become indispensable for
the design professional, profoundly changing the design process. As a
design material, the computer is extremely versatile, enabling intelligent
objects and processes. As a medium, the computer transforms our
understanding and stores our experiences. The combined impact of these
forces is changing the relations between humans and our technology in
unprecedented ways.

Artifact does not draw an artificial line of demarcation between the
virtual and the physical. It strives to illuminate the problems and
possibilities in their interaction. The journal does not frame digital
design as a design discipline such as industrial design or graphic
communication. The unique role of the computer as tool,
material, and medium, makes digital design an integrated element of almost
any design project today, with designers in all fields and disciplines
using digital design in some way.

Artifact assumes an open position. The journal strives to promote
transdisciplinary design research. It will not create or maintain
disciplinary boundaries. Rather, Artifact will encourage
cross-fertilization, interconnections, and crossbreeding among different
scientific disciplines, the design industry, and the arts.


The journal appears in both a print version and a digital version. The
journal is published using a 'Web first' concept. Each issue is first
published on the web. The year's issues are gathered together into a full
paper volume published at the end of the year. In some cases, web
technology will mean that the web version supports special interactive
features and links that can only appear in the print volume as
illustrations and references.


We welcome contributions which seek to understand and reflect the
different aspects and impacts of virtuality within the field of design
from theoretical or applied perspectives. Artifact brings contributions in
the form of academic articles, book reviews, design case post mortems, and
design company profiles.

To point to possible directions, we have selected themes for the first
four issues of Artifact:

- Volume 1, issue 1: What is an artifact?

- Volume 1, issue 2: Soft artifacts. Tracing 'soft movements' in several
creative domains, notably architecture and
digital film.

- Volume 1, issue 3: The third place? The ontological status of objects
and events in computer games.

- Volume 1, issue 4: Digital design processes. What impact has digital
technology had on the design process?

The themes are not meant to be exhaustive. We hope they will trigger ideas
and encourage submissions from a range of

Deadline for the first issue of Artifact is 18 November. Articles will be
published 1 March 2006. However, contributions addressing the theme of the
first issue may be published on-line at a later date and appear in the
print volume.

Please send submissions and queries by e-mail to Ida Engholm at

<ida.engholm AT>

or to Charlie Breindahl at

<hitch AT>.

Articles should be sent as attachments in Microsoft Word .doc format or as
PDF files. Please send articles with a cover letter containing full author
information. Articles should be prepared for double-blind review using
anonymous format and full references in APA style. In addition, we welcome
suggestions for design case post mortems, book reviews and designer


Charlie Breindahl
External Lecturer
University of Copenhagen + IT University of Copenhagen

Ida Engholm
Associate Professor
Center for Design Research
Royal Academy of Fine Arts, School of Architecture

Judith Gregory
Faculty of Design
Institute of Design
Illinois Institute of Technology

Erik Stolterman
Director, Human-Computer Interaction Design
Professor of Informatics
Indiana University School of Informatics


Thomas Binder
Center for Design Research
Royal Academy of Fine Arts, School of Architecture

Jeanette Blomberg
Director of Experience Modelling
Professor of Human Work Science
University of Karlskrona/Ronneby

David Durling
Professor of Design
Director of the Advanced Research Institute
Middlesex University

Lars Dybdahl
Associate Professor
The Department of Art History
University of Copenhagen

Pelle Ehn
School of Arts and Communication
Malmö University

Ken Friedman
Professor of Leadership and Strategic Design
Norwegian School of Management and Denmark's Design School
Norway and Denmark

Susan M. Hagan
Postdoctoral Fellow
Carnegie Mellon University

Marius Hartmann, Ph.D.
Danish Broadcasting Corporation

Steve Jones
Professor and Head
Department of Communication
University of Illinois at Chicago

Klaus Krippendorff
Gregory Bateson Term Professor
University of Pennsylvania

Lev Manovich
Professor of Visual Arts
University of California, San Diego +
Director, Lab for Cultural Analysis
California Institute for Telecommunications and Information Technology

Bonnie Nardi
Associate Professor
School of Information and Computer Science
University of California, Irvine

Jannie Nielsen
Department of Informatics
Copenhagen Business School

Christiane Paul
New Media Curator
Whitney Museum of American Art
New York

Martin Pingel
Technological Coordinator
Denmark's Design School

Sharon Poggenpohl
Institute of Design
Illinois Institute of Technology

Johan Redström
Research Director, studio Design Göteborg
Interactive Institute

Michael Schmidt
Createch Director
k10k and Cuban Council

Lisbeth Thorlacius
Associate Professor
Department of Communication, Journalism, and Computer Science
Roskilde University

Wendy Siuyi Wong
Department of Design
Faculty of Fine Arts
York University

Kristoffer Åberg
Senior Interaction Designer
Sony Ericsson

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From: Doug Easterly <playfight AT>
Date: Nov 6, 2005 1:35 PM
Subject: Tenure Track Position in Film - Syracuse University

The Film Program in the Department of Transmedia, College of Visual and
Performing Arts, Syracuse University is searching for a senior faculty in
film, Associate or Full Professor. Tenure is possible for highly qualified
candidate. Salary will be commensurate with experience and professional

Applicant should have a well established record of excellence in teaching
and production and exhibition of creative filmmaking. We are looking for a
person able to teach all aspects of 16mm, super 16mm and digital
filmmaking as well as some areas within history/theory/criticism.
Collegiality and collaboration is critical in a department that includes
video, computer art, and photography and encourages cross discipline

Applicant should send a letter of intent, full CV, tape or DVD of creative
work (full works, not sample reels), several course syllabi, and names of
references and a SASE to:

Film Search Committee, Syracuse University, Department of Transmedia, 102
Shaffer Art Building, Syracuse, NY 13244-1210.

Deadline: December 15, 2005.

Syracuse University is an affirmative action/equal opportunity employer.
Women and minorities are encouraged to apply.

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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: t.whid <twhid AT>
Date: Nov 9, 2005 9:23 AM
Subject: MTAA?s ?10 Pre-Rejected, Pre-Approved Performances?

Hi Rhizome,

Tell Us What To Do!

MTAA's "10 Pre-Rejected, Pre-Approved Performances"
( is a project that allows you, the
dirty mob of the unwashed Internet public, to decide what performance we
do for an upcoming show!

Break down the clean, white walls of the rarified New York gallery world
by telling us, MTAA, the elitist NYC net art snobs, what to do (via a
simple on-line form)!

It's fun! Go there now and vote!

It's easy! Go there now and vote!

It's anti-establishment! Go there now and vote!

You get to pick from a selection of 10 titles and descriptions. Your
choice is the performance we'll complete! The curator of the show and
gallery directors have already agreed! The best part? All these ideas have
already been rejected by other curators! Haha!

MTAA's "10 Pre-Rejected, Pre-Approved Performances" will be exhibited at
Artists Space ( in a show entitled "We Are
All Together: Media(ted) Performance" curated by Marisa Olson
(, which is in turn part of Empty Space With
Exciting Events (
current_exhibition_bottom.html) which is itself presented in partnership
with Performa '05 The Performance Biennial (
(Damn the NYC gallery world is complicated ? it's like a mystery wrapped
in an enigma then slathered with special confusion sauce.)


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

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: tom holley <tomholley AT>
Date: Nov 7, 2005 2:35 PM
Subject: Ultrasound Festival 2005

Ultrasound 2005

Mon 21 - Sat 26 Nov 2005
The Media Centre and Bates Mill

Ultrasound 2005 presents a diverse programme of live performances,
installations, workshop and talks by UK and international artists working
in new interdisciplinary ways across the interrelated fields of new media,
contemporary electronic music, software production, new technologies and
audiovisual performance.

We are pleased to announce the 'Finnish Partition' of the festival,
programmed in collaboration with Helsinki based artist, organiser and
curator Juha Huuskonen. The 'Finnish Partition' represents a cross-section
of the new and emerging creative talent practising media arts in Finland
today, supported by established names such as Pan Sonic.

The festival takes place at The Media Centre and Bates Mill, two
contrasting venues. The Media Centre is home to over 60 creative
industries enterprises, while Bates Mill is a traditional Mill complex
just outside Huddersfield town centre. The performances at Bates Mill are
located in the old 'Blending Shed' a 5,000 sq ft industrial space.

Ultrasound Outline Programme:

Live Performances
Pan Sonic [Finland]

Grey Zone [Finland]

Memnon [Finland]

Sue Costabile [USA]

AGF [Germany]

Aymeric Mansoux [France]

O Samuli A [Finland]

Marloes de Valk [Holland]

Owl Project [UK]

Jaap Blonk [Holland]

Golan Levin [USA]

Zachary Lieberman [USA]

The World of PIKU [Finland]

Pardon Kimura [Japan]

The Sancho Plan [UK]

by Jan Robert Leegte and Edo Paulus [Holland]

Kick Ass Kung-Fu
by Perttu Hämäläinen, Mikko Lindholm, Ari Nykänen [Finland]

A Modular Electronic Game Prototype
by Tuomo Tammenpää & Daniel Blackburn [Finland / UK]

Open software / open hardware
TileToy is an open project. Both the source code and the hardware will be
made available via open licenses. The aim of TileToy is not just to create
something that we ourselves can use to create interesting games and demos
for, but as a platform that anyone can use to create unique content.
Making the software open will allow people to create their own
applications and games and feed these back into the community to spark
further innovation. The open hardware will also allow people to make their
own TileToys cheaply without paying a third party potentially leading to
new projects that branch off to make new versions of TileToy based on the
original hardware.

Further additions to the programme will be announced soon. Please visit
the website or sign up to the electronic mailing list.

Tel: +44 [0]870 990 5007
Email: info AT

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Support Rhizome: buy a hosting plan from BroadSpire

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.

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From: Greg Smith <smith AT>
Date: Nov 8, 2005 5:36 AM
Subject: 01: digital detritus

Announcing the launch of

Vague Terrain is a new quarterly web-journal showcasing work from various
Canadian and International artists, musicians, and writers. Our intent is
to stake a unique claim which will sample the focus and methodologies of
academic and art journals while commissioning parallel excursions in the
sonic realm. The first issue of Vague Terrain is now online and features
contributions related to the theme of "digital detritus" from: des
cailloux et du carbone, greg lynn form, intercom, kero, liav koren, willy
le maitre & eric rosenzveig, neil hennessy, robin armstrong, tasman
richardson, tony scott (aka beflix), and tomas jirku.

This notice serves as a statement of intent. We plan on carving out a
unique niche for ourselves not only on the net, but through a series of
upcoming Toronto based, immersive electronic music showcases which will
feature a blend of aural and visual work in a live environment. We hope to
provide a platform through which established and emerging artists can
promote their work online, and stimulating event-spaces where mediums and
disciplines intersect.

Greg Smith
greg AT

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From: nat muller <nat AT>
Date: Nov 9, 2005 7:03 AM
Subject: INFRActures exhibition project [V2_, 2-18 Dec]

[apologies for cross-posting]

INFRActures: Translations between the Sonic, Spatial and Temporal

Date: Friday 2 to Sunday 18 December 2005
Opening hours: 11:00?18:00 hrs (Thu to Sun)
Location: V2_, Eendrachtsstraat 10, Rotterdam
Admission: 2,50 euro
Tel. + 31 10 206 72 72

INFRActures is an exhibition project transcending the sensory perceptible
at the convergences of sound art and architecture. Artists Edwin van der
Heide, Cevdet Erek, and STEALTH.[u]ltd have been commissioned to
create four new works which make tangible what is not registered by our
senses within an urban environment, such as ultra-
and infra-sonics, and different perceptions of time and spatiality. Cities
as Rotterdam and Istanbul make up the source material and points of
departure for the installations, which are interactive in character and
allow for a participative and layered audiovisual experience.

* Edwin van der Heide: Sound/Light/Street
* STEALTH.[u]ltd: Street/Appropriation/Struggle
* Cevdet Erek: Avluda | In The Courtyard
* TICS [THIS INAUDIBLE CITY SOUNDS: Reading through Pamuk's

Curator: Nat Muller in collaboration with Stephen Kovats

INFRActures has been made possible with the support of ThuisKopie Fonds,
Stichting Cultuurfonds van de Bank Nederlandse Gemeenten, VSBfonds and
Prins Bernhard Cultuurfonds Rotterdam.


TANGENT_FRACTURE (INFRActures vernissage)

Date: Thursday 1 December 2005, 17:00-19:30 hrs
Location: V2_, Eendrachtsstraat 10, Rotterdam
Admission: free

The exhibition is inaugurated by an opening intervention of artist and
architect Kyong Park, and framed by two live sound performances of sound
artist Cevdet Erek and media artist, taking you beyond the
boundaries of the audible. The INFRActures vernissage is the first in
V2_'s new series of monthly TANGENTS live and interactive streamed events.


laurie halsey brown: beingthere.v2.r'dam.05

Date: Sunday 18 December 2005, 15:00-17:00 hrs
Location: V2_, Eendrachtsstraat 10, Rotterdam
Admission: 5 euro (seating limited!)

Many Rotterdam architects tend to leave the city due to a shortage of
local projects. Rotterdam profiles itself as a city of architecture but
how does this image chime with everyday reality? Artist laurie halsey
brown organizes during the finissage weekend of INFRActures a bus tour
through the city that includes an onboard experimental documentary of
local architects discussing the validity of the city?s slogan ?The City of
Architecture?, with stops at several sites built by local architects and
access to a public intervention project placed throughout the city.
The tour begins and ends at V2_

V2_, Institute for the Unstable Media
Eendrachtsstraat 10, NL-3012 XL Rotterdam
PO Box 19049, NL-3001 BA Rotterdam, NL
Tel + 31 10 206 72 72 | Fax + 31 10 206 72 71
E-mail info AT | URL

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Submit to a Rhizome Commissioned Art Project!
Panel Junction is a project co-produced by media artist Andy Deck and many
volunteers. It combines the graphic novel with forms of shared authorship
that are unique to the Internet. Contributions from visitors become
material and base imagery for the narrative of the novel, which will
culminate in a free document good for online viewing and printing on any
standard inket printer. All images and text contributed to the project
will remain free for non-commercial use with attribution under a Creative
Commons license. Panel Junction received and 05-06 Commission.
Check it out, here:

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From: Christiane Paul <Christiane_Paul AT>
Date: Nov 10, 2005 9:48 AM
Subject: jihui Digital Salon presents Cory Arcangel -- Thurs. Nov. 17, 6-8 PM

jihui Digital Salon
in cooperation with The Project Room AT Chelsea Art Museum
Cory Arcangel

Thursday Nov. 17, 2005 - 6-8 PM
Chelsea Art Museum, 3rd Floor
556 West 22nd Street
New York, NY 10011

Cory Arcangel will be discussing his recent works and collaborations, as
well as future projects, including the music group Van Led, a
self-produced version of MTV cribz, and various assorted computer hacks.
His presentation will include topics as varied as Simon and Garfunkel,
google, Biggie Smalls, AOL IM, and homemade video games.

Cory Arcangel is a computer artist, performer, and curator who lives and
works in Brooklyn. His work centers on his love of personal computers and
the Internet. He is a member of the artist groups BEIGE and R.S.G. His
work has been shown in the 2004 Whitney Biennial; The Guggenheim Museum,
New York; the Museum of Modern Art, New York; the Migros Museum in Zurich;
and Team and Deitch galleries in New York. Except for gallery
installations, most of his projects can be downloaded with source code
from his website

jihui (the meeting point), a self-regulated digital salon, invites all
interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT |
THE PROJECT ROOM is a special projects and education program at the
Chelsea Art Museum that brings together international artists, curators,
cultural, educational and corporate organizations.

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From: marc garrett <marc.garrett AT>
Date: Nov 11, 2005 12:48 PM
Subject: Stanza: Abuse of the Public Domain AT HTTP Gallery

HTTP Press Release.

Abuse of the Public Domain.

Private View Thursday 8th December 7-9pm
9th December 2005- 23rd January 2006

HTTP presents Abuse of the Public Domain, the first solo show of networked
media art by Stanza.

This exhibition features two large video projections, which use live
real-time data from CCTV cameras sited in two cities, London and New York.
Security tracking data is Stanza's chosen medium for these process-led

You are my subject uses data from a single fixed camera in New York,
focusing on subjects as they pass below it. Authenticity [Trying to
imagine the world from everyone elses? perspective, all at once] draws its
imagery from cameras all over London. Other works can be viewed in a web
browser via the Internet and turn us all into voyeurs of eerie 'parallel

?CCTV systems are everywhere in the public domain. Millions of hours worth
of data are recorded every day by these cameras. We are all unwitting bit
part actors, in the filming of our own lives. Usually we cannot watch. The
results are not collected for broadcast back to the public. Rather they
are monitored, filtered, distributed and archived without our knowledge or
permission. The city has millions of CCTV cameras. One can take the sounds
and images off live web streams to offer them back to the public for new
interpretations of the city. In essence the city of London can be imagined
as the biggest TV station in existence.?

About Stanza:
Stanza is a London-based artist, who specialises in net art, multimedia,
and electronic sounds. His award winning online projects have been invited
for exhibition in digital festivals around the world, and Stanza also
travels extensively to present his net art, lecturing and giving
performances of his audiovisual interactions. His works explore artistic
and technical opportunities to enable new aesthetic perspectives,
experiences and perceptions within the context of architecture, data
spaces and online environments.

Videoformes Multimedia First prize France 2005, Netsa Dreamtime 2004, Art
In Motion V.First prize USA 2004, Vidalife 6.0 first prize 2003,
Fififestival Grand Prize France 2003, New Forms Net Art Prize Canada 2003,
Fluxus Online first prize Brasil 2002, SeNef Online Grand Prix Korea 2002,
Links first prize Porto 2001, Videobrasil Sao Paulo 2001
first prize, Cynet art 2000 first prize, Dresden. Stanza: Abuse of the
Public Domain AT HTTP Gallery. For more information and images, please
contact Stéphanie Delcroix, stephanie AT or 0207 700 7859.
Open Friday to Sunday 12noon-5pm.

HTTP [House of Technologically Termed Praxis] is one of London's foremost
galleries dedicated to showing net art, new media and sound art. HTTP was
opened on the initiative of Furtherfield ( in
the vibrant and culturally diverse Green Lanes area of North London. HTTP
works with a wide range of artists and audiences to explore the potential
of current network technology and to promote distributed creativity. HTTP
is supported by Arts Council of England. Furtherfield is an online
platform for the creation, promotion and criticism of net art, new media
and sound art.

Getting to HTTP://
Tube: Manor House
Buses: 341, 141
Train: Haringey Green Lanes.

Past Exhibitions at HTTP:

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


Date: 07-11 Nov 2005
From: carlos katastrofsky <carlos.katastrofsky AT>, judsoN
<office AT>, Regina Pinto <reginapinto AT>,
patrick lichty <voyd AT>, Luís da Silva <silva.luis AT>, Lee
Wells <lee AT>, G.H. Hovagimyan <ghh AT>, Rob Myers
<rob AT>, Jim Andrews <jim AT>, t.whid <twhid AT>,
Pall Thayer <p_thay AT>, Geert Dekkers <geert AT>
Subject: 10 questions a net.artist has to be aware of

+ carlos katastrofsky posted: +

1) what is it?
2) why is it art?
3) is programming art?
4) why are you doing that?
5) who is paying for such a s**t ?
6) do you make a lot of money with your art?
7) are you famous?
8) what are you talking about?
9) are you a hacker ? (read: are you a criminal/ terrorist?)
10) have you ever had sex?

+ judsoN replied: +

seems like your kidding, but kinda not kidding. seriously, i actually
don't think any of these questions should be answered until AFTER several
years of making "". like kids discouraging themselves by saying
"this finger painting is bad". practice and you get better. don't
discourage practicing. computers and the web are just more
materials to get used to. and so few appear used to them even still.

but the need to put it out there is really dubious.

the litmus test questions are really: why distribute it? what is there to
gain from this particular piece for not only the artist, but the audience?
would my grandmother enjoy this or ask "what is it"? if not her, are
they people who think like me/have the same perspectives/assumptions or an
audience of people outside my supportive club?

everything has a target audience, whether we intend it or not. so the
first thing we learn is that that audience doesn't have to be OURSELVES.
and then we practice, we gradually learn to identify, listen. understand
that audience. i'm still on that path, but far further than i was 5 years
ago. i've been learning for 10+ years now,
and it never ends.

and it's a good challenge to work within, that non practicing
"net.artists" generally don't sympathize or "get" the web/computers.
people should feel free to experiment and play, without all this
encouragement to show everyone. when everyone is fluent in programming
(just the words you type to tell those grey boxes you sit with ever day
what you want from them), people will "get" more. those people should
play too, without the goal of being "an artist".

instead, all too often "net.artists" go for the easy option and pick an
ideal audience, often pretty much just themselves. finding words for and
about the art is counter-productive. never mind what it is, if eventually
you are going to make things people are interested in.

+ Regina Pinto noted: +


Read the article:

"The Web.Artist Craft: some considerations" at:

and browser at: to visit a
work in progress about this subject.

+ patrick lichty replied: +

Interesting questions, but almost too much like a net.chainmail.
Here goes:

1) what is it?
Depends on your context, the way you look at it, etc.
I can only go half way on this - the rest is up to you.

2) why is it art?
To paraphrase Cage, "What else would it be?"

3) is programming art?
Some programming is art, but not all art is programming.

4) why are you doing that?
Because I can't see myself doing many other things with such conviction.

5) who is paying for such a s**t ?
The two asterisks leave open a lot of words. Shit, Shot, Slut, Shut,
Slot, Scot, Spot (my favorite), Spit, Spat, Scat...
I am - as usual.

6) do you make a lot of money with your art?
Occasionally, but not lately.

7) are you famous?
Sometimes, but a lot of people don't realize it's me.

8) what are you talking about?
Again, depends on the context. Futures of grad students, synnoetics,
codes and deconstruction, transhumanism, Spinach pie, djembe drumming,
multiple human/machine languages, culture jamming, VJ culture, my cat's
illness, and so on.

What are you talking about in asking this?

9) are you a hacker ? (read: are you a criminal/ terrorist?)
Would I really tell you if I were? Not the best question.
Also, hacking is not necessarily criminal. Look at

10) have you ever had sex?
Sure, after I quite my job at Wal-Mart as a stock boy, dropped my Ritchie
book on C programming, and quit the Star Trek club...

Another odd question. Why should I say so?
Ask my wife. She's the best judge of this.

+ Luís da Silva responded: +

Why should a net artist be awareof these questions?

I think I am missing the point


+ carlos katastrofsky replied: +

this was a kind of an emotional statement, partly to the readers, partly
to myself. sometimes i'm missing questions that people on the street would
ask, so i asked myself which questions this could be and which clichés are
around this type of art...
so, to me it's like this:
1, 2, 4, 5, 6, 7, 8 are standard questions about works from the art - field
3, 9, 10 are more related to net (or even web-) art.
(two notes:
9) i personally don't think a hacker is a criminal - far away from that.
but normally for most of the people it's like hacker = cracker = bad = ...
10) deals with the "nerd" - clichè: people sitting in front of their
computers with no contacts to the "real" world)
(surely these 10 questions are not enough, but it was just a momentary

and, yes: judsoN, i think you said much of what i am not able to say this
way (my english, writing skills...)

thanks for reacting!

+ Lee Wells replied: +

Is it just as nerdy to be a painter or writer that locks themselves up in
their studio.

The internet also does add up to some very personal sexual experiences.

+ judsoN replied: +

we need a lot more people making computer art. most computer art is
pretty bad. if you think about all the bob rosses and weekend nature
water colorists most paintings are pretty bad too. but that's how the
world is and that's cool. too much emphasis on quality is just
discouraging. being bad is fine. however, there are so many painters
that if even 5% are good, that's still a huge number. if 5% of
net.artists are good that might be someone's little toe. more artists
have more art to take as an example. the quality of the art doesn't
matter. simply more examples will be helpful to us all.


would it be more or less effective of a piece if you did it in a language
of your choice?

open to list:

not that these very questions don't occur to many of us along the way in
our development. but the vast majority of folks (a few of whom
considering themselves have never actually gotten very
deep into the process of creating computer art. they can (rightly so)
barely imagine it. whereas we all can pretty well imagine how we
bring in what we see, experiences and translate them into graphics on
paper, canvas, etc. we can easily relate to what makes a michaelangelo
sculpture impressive. many can further appreciate the conceptual leaps of
a given contemporary artist, as beyond the obvious but a culmination of
extensive thought. they just imagine typing code (hitting keys is hardly
impressive), but not the logic puzzles doing it (hitting keys is merely a
vehicle to get to the logic of how to say things literally and
explicitly); but appreciation for these logic puzzles only comes with

how many curators can make an ball on the screen move in a circle using
only text? now, how many get exactly why deciding what a machine's
favorite color is beyond what can be coded? how many see exactly why
animating how birds fly in flocks with no leader, is a challenge to make
code-able? the creativity comes from pushing the border of what is
code-able and what is not. but if a person has no clear notion of the
details of that border, they can only make a wild guess based on areas
they do know.

actually, "who is paying for it?" is a VERY important question. but
really it is for the person on the road to making a career of art.
wondering, after years of steady playing, if they should call it a hobby
or commit effort to another side of the work. but it's important because
someone out there has to be convinced of the value or potential value of a
piece. the proposal is really not the art, it is the marketing for the
art. concepts that are related to art like a dense smoke and fire. fire
is generally accompanied by smoke, but the reverse is hardly a given.
smoke obscures seeing anything, particularly finding the fire. all
language distorts and obscures all art (but some artists are after just

the folks who write the check, may not (and often don't) have much
exposure to computer art compared to other traditional forms, they tend
to see CA as a variant of visual art that can be summed up in a still
image, slide or even video, audio art that is represent-able with a linear
recording, or conceptual art, that can be summed up in
verbiage. so, in a round about way of applying a different perspective to
your question, often the road to answering "who pays?" is a different, but
tangentally related skill, than creating it. like smoke and fire.

asking if is programmed, is actually like asking if the winner of
the kentucky derby rode a living horse. i guess there's always the remote
possibility that all the other horses died on the track too. but silly to
consider. not programming seems silly too. programming is simply the way
to talk to one kind of machine. few other machines
react much when you talk to them. you CAN have a computer and choose to
use it as a door stop. but at these prices, i can recommend a far cheaper
alternative. i can't recommend a better machine for reacting to what you
tell it.

it's not that computers should be programmed on at all, but that
programming has to be on a computer, and computers are expensive. so if
you aren't programming, there are better ways to spend your money/time
than a computer. if you want to do something that involves interactivity,
auto-generation, extensive calculating, dynamically unpredictable
graphics, i can recommend these machines.

unfortunately, with, many people have IP accounts, but do not take
much advantage of what they can do with them. the gap is probably as
wide, if not wider. but folks seem even more content with their lack of
use. for most, the extent seems to be choosing whether or not to "skip
intro" on a flash animation or hyperlinks that simply are the equivalent
of page turning. blogs primarily used to simply make our most trivial
diary blather public. seems like an enormous waste. but technology seems
to promote throwing away cash.

+ G.H. Hovagimyan replied: +

Computer programing and art are two different methods of thinking and
perception. When you write a program you already know what the result
will be. Art doesn't function in the same way. Often an artist uses
chance and accidents to create new ways of thinking and perception. Art is
an ongoing cultural discussion. Computer art, digital art etc. needs to
engage in the larger cultural discourse.
Your statements about "good or bad" painting/computer art begs the
question who is the judge? Usually in a larger cultural discourse there is
an ongoing debate about what constitutes "good" art.
I find the insistence by some in the digital art realm that only people
who know programming are truly digital artists to be rather narrow minded.
The "who signs the checks" question is really amusing. Think about what
the support structures are for art. You have collectors, museums, and
governments. You can add the University and Academic realm as a support
structure for art. Right now digital art has the most support from the
Academic structure. In other words you get a teaching job.
Once the novelty of using computers in art works wears off (which it has )
the question becomes how does digital art challenge and advance the art
discourse. That's a much larger dscussion than whether someone knows
programming or how a computer repaints a screen.

+ Rob Myers replied: +

> Computer programing and art are two different methods of thinking
> and perception.

Unless you are creating a program to make art. Painting and art are two
different modes of thinking and perception. Otherwise every wall is a

> When you write a program you already know what the result will be.

Even for a functional program like Emacs this is not the case. And for art
hacking it may certainly not be the case. Software may, and often will, be
unexpected. Only corporate managerialism prevents this.

> Art doesn't function in the same way.

It depends what kind of art.

> Often an artist uses chance and accidents to create new ways of
> thinking and perception.

This is the same as programming. A complex program will make demands and
afford possibilities during development that could not be predicted.

> Art is an ongoing cultural discussion.

As is computing. If there are domains outside cultural discussion, this
would be a very interesting phenomenon.

> Computer art, digital art etc. needs to engage in the larger
> cultural discourse.

The larger "discourse" needs to take notice of computer/digital culture
*and its content*.

> Your statements about "good or bad" painting/computer art begs the
> question who is the judge?

Why? If standards are established, any competent individual can judge.
Unless we are assuming an institutional theory of art, in which case
computing can simply be nominated as art.

> Usually in a larger cultural discourse there is an ongoing debate
> about what constitutes "good" art.

Yes, the market demands this. If each season doesn't bring new fashions,
sales will drop.

> I find the insistence by some in the digital art realm that only
> people who know programming are truly digital artists to be rather
> narrow minded.

Why? If someone who did not know about the support structures of art made
pronouncements on support structures their ignorance would not be a badge
of honor.

> The "who signs the checks" question is really amusing. Think about
> what the support structures are for art. You have collectors,
> museums, and governments. You can add the University and Academic
> realm as a support structure for art. Right now digital art has the
> most support from the Academic structure. In other words you get a
> teaching job.

This puts digital art on a par with science, literature and "critical"
"discourse". Hardly a bad thing.

> Once the novelty of using computers in art works wears off (which
> it has ) the question becomes how does digital art challenge and
> advance the art discourse.

For people who are interested in "challenge, "discourse" and "advance".
But there are more serious concerns for an art that regards itself as not
simply a lackspace for the projection of the critical/market ego into.

> That's a much larger dscussion than whether someone knows
> programming or how a computer repaints a screen.

But it is a different discussion. I can't decide whether trying to bring
art computing to its heel is parochial or imperialistic.

+ Jim Andrews replied: +

> Computer programing and art are two different methods of thinking
> and perception.

You're very quick to drive a wedge between programming and art.

> When you write a program you already know what
> the result will be.

I have hundreds of files that consist of experiments in programming like i
have hundreds of files that consist in experiments in writing. Far fewer
finished pieces of each. When you read a published piece of writing or a
published work of computer art, you can be fooled that the author knew
what the result would be and just sat down and wrote it out, but that's
not the way it proceeds. Much changes in the writing. This is true in art
and programming. Unless, of course, it's someone else's idea that they
just want written out. Imagine if it were typical that the artist just
worked on the conceptual level and gave the painter or the musician or
whomever instructions on what they wanted. Here, make a piece with these
qualities and properties. The results would be pretty boring.

> Art doesn't function in the same way. Often
> an artist uses chance and accidents to create new ways of
> thinking and perception.

So does an artist-programmer.

> Art is an ongoing cultural discussion.

Yes it is.

> Computer art, digital art etc. needs to engage in the larger
> cultural discourse.


> Your statements about "good or bad" painting/computer art begs
> the question who is the judge? Usually in a larger cultural
> discourse there is an ongoing debate about what constitutes "good" art.
> I find the insistence by some in the digital art realm that only
> people who know programming are truly digital artists to be
> rather narrow minded.

I don't know any artist-programmers who believe that. But the good digital
artists who aren't programmers understand that the art of programming is
very important in works that involve programming, and they do not try to
relegate it to a technician position but, instead, work with the
programmers as artists. If they don't, that arrogance will get them
nowhere. It certainly won't allow the production of significant art. If
the programmer is indeed an artist, not simply a technician, then you can
see how that would go. Basically nowhere slowly. If the programmer is a
technician, it goes nowhere quickly.

> The "who signs the checks" question is really amusing. Think
> about what the support structures are for art. You have
> collectors, museums, and governments. You can add the University
> and Academic realm as a support structure for art. Right now
> digital art has the most support from the Academic structure. In
> other words you get a teaching job.

I think I'm missing your point. Are you saying artists should get jobs
teaching? To be able to sign the checks?

> Once the novelty of using computers in art works wears off (which
> it has ) the question becomes how does digital art challenge and
> advance the art discourse. That's a much larger dscussion than
> whether someone knows programming or how a computer repaints a screen.

Ah, well, nice to know what the question is. Thanks.

+ t.whid replied: +

re: need to know programming to be a digital artist?

This has been a discussion around here for a while. Here's a short post on
my blog from.. it's says august of this year, but that can't be right...
oh well the blog is f'd up:

In the post I argue that to make the analogy btw 'code' and 'paint' is
faulty. The real analogy is between 'code' and 'form', that is, knowing
programming as a digital artist is akin to knowing 2d formal theory as a
painter (color, shape, line etc).

Obviously a painter doesn't need to understand 2d form to be a painter (a
quick tour of Chelsea will prove that). One doesn't need to know it to be
a *good* painter either (Darger being a somewhat flawed example). One
doesn't need to know programming to be a digital artist. So the question
goes back to what GH said, look at a thing in a larger
discourse (not nm art, not digital art -- but art) and decide if you think
it's good.

But some types of work need programming skills by the artist and even the
audience. I think much net art, if you don't *really* understand how the
Internet works, you won't get. If part of the subject of the work is
computer languages, the Internet or if computation is part of the work the
audience won't understand it if they don't grasp certain concepts.

I think GH is arguing for a 'big tent' sort of philosophy -- include
everyone working in digital art? But that begs the question if we're
urging folks to remove nm art from the nm ghetto, then why would you want
to be in the tent at all?

On the other hand, there's nothing more annoying than having computer
programmers look at nm or software art and judge it using standards of
programming rather than look at it as art. For example, when Galloway
released Carnivore, it was slashdotted. Many of the geeks there judged it
by it's (to them) rather simple structure ('it's just a wrapper to some
tcp-ip sniffer tool, etc blah, blah, etc'). They obviously missed the

+ Pall Thayer replied: +

Digital art is an extremely broad term. It's a bit like saying that all
sculptors have to know how to carve stone or that all painters have to
know how to draw. However, although both of these statements sound quite
absurd, it is possible to find a tiny shimmering of truth in them. Both of
these things provide a fundamental understanding of the respective fields.
Call me old-school, but I still believe that drawing is a fundamental
artistic process and when I meet someone with a degree in visual arts who
has never drawn a nude or still life in an academic setting, I find that
absurd. To me it's like learning multiplication without learning addition
first. I'm not saying that to be an artist you have to be good at drawing,
just familiar with it as a process of visualizing things. In the same way,
I think that programming is a fundamental process in digital arts. You
don't have to be good at it, but it will give you added insight into how a
computer works. It tells you what's going on under the hood and the more
artists know about their medium, the more compelling the work is going to
be. Remember when various institutions were soliciting ideas from artists
for internet-based artwork? They always said that the artist wouldn't have
to produce the work, they could get a computer programmer to do that. The
artist just had to provide the idea. All of that work was garbage.
Something gets lost in the translation between artist and programmer. G.
H. Hovaginyam's statement, "Computer programing and art are two different
methods of thinking and perception." is right as long as your talking
about computer programming by a computer programmer and art by an artist.
But an artists methods of thinking and perception remain the same whether
he/she's painting, sculpting, writing or programming. So, no. A digital
artist doesn't need to know how to program. However, I think he/she would
only benefit from knowing about programming and the more the better.
However, if we change the discussion to programmed art, specifically. Then
yes, the artist needs to know how to program.

+ Jim Andrews replied: +

Computing is much more radical a departure from old media than is commonly
appreciated. There is no proof, and probably never will be, that there are
thought processes of which humans are capable and computers are not. So it
isn't simply a matter of the poem departing from the page (or the painting
from the canvas, etc) and taking on a slight change of properties owing to
a change in medium. It also involves the page departing from the poem, as
it were. The medium itself--computing--is as the stuff of the living. It
can reproduce or alter itself. It can change its own code. It can do
anything thinkable, can think anything thinkable and then some. Writing
poems on an animal is a vain and pointless exercise. This animal is a
language machine. Poetry and poetics, in such a situation, need take some
very lively turns. And analogies that basically preserve the notion that
computing is very like old media miss the radical departure. They just
miss it.

Digital art can be radically different from what has gone before.
Computing isn't simply an art medium but the protean itself. It is
possible to understand this without knowing how to program or knowing any
computer science. But to really act on it, the more you know, the better.

+ carlos katastrofsky replied: +

just a few notes on the comments to the "10 questions":
AT judsoN

> would it be more or less effective of a piece if you did it in a
language of your choice?

this is a bit difficult to answer for me. a piece of itself isn`t
more or less effective in different languages, unless it deals with the
additional layer of "language" itself. but language is a point in making
net - related art. to me its very important to discuss some pieces because
a kind of "audience" is always a part of it. either the people i discuss
with on different topics or the ones who look at my stuff and react upon
it. in this sense the language makes a piece more effective,because if i
do something in english more people react to it. i tried many times to
start discussions or presenting pieces on german (which is my native
language) mailinglists. the only answers came from a troll...
and, in fact, real >discussions< on these lists are generally very rare.

painting vs. coding

- is programming just a skill or an artistic process?
i think both is possible. i once got to know a sculptor who made exactly
the sculptures he had (eidetic) in mind/ planned. so sculpting was just a
tool to visualize his thoughts/ cocepts. on the other hand there are many
who use sculpting as a process. i think it's the same with programming, so
in my opinion the question if someone has to have programming skills or
not to be a "new media" - artist isn't the point. important is just the
quality of what he/ she does (and i don't think here in "good" or "bad" -


to me it's very interesting that most of the people here use the term
"art" for their work. i'm far from judging if something is actually art or
not, but why "art"? in my opinion the term itself focusses (strictly seen)
on something that began with the renaissance and ended in the 19th century
- l'art pour l'art. before this it was just an attribute of religion,
afterwards it's more a kind of discourse.

+ Geert Dekkers replied: +

I think "art" is just a name for a certain class of products. I do realize
that the word has been weighted by the romantic history of "art" -- and to
use this word still has a certain haughtiness about it. I hope -- for
myself -- to get rid of this weight, and just use the word as another
might use a word like "bookkeeping" or "construction work".

Furthermore, I think getting rid of the weight or content of the word
"art" could be an artistic project. Thoughout history we've seen this
"emptying out" happening time and time again. Examples? Perhaps not
Barnett Newman (see for a long list of my pre-suppositions
and preconceptions on this subject...). so much as a figure like Blinky
Palermo, assembling what may be called "dummy" abstract paintings.

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