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: 11.18.05
Date: Fri, 18 Nov 2005 14:24:19 -0800

RHIZOME DIGEST: November 18, 2005


1. Lauren Cornell: RHIZOMERS

2. Warren Sack: Job Posting: Assistant Professor of Critical Studies
3. Marisa Olson: : 2 posts: School of Art at Carnegie Mellon University
4. carlos rosas: Job Posting: Assistant/Associate Professor of New Media Art
5. Mark Tribe: Call for Graduate Applications: Computing Culture Group AT
MIT Media Lab
6. Laura Kissel: jobs in new media at University of South Carolina

7. Carlos Katastrofsky: tagged exhibition - net/art?

8. Will Pappenheimer: Synthesis and Distribution: Experiments in
9. Edward Picot: Unanswered Questions
10. Anette - Radiator Festival: Radiator Artists¹ Commissions & Events

11. Lev Manovich, mez, Michael Szpakowski, Dirk Vekemans: Remix and

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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 18, 2005 11:25 AM


This went out in Net Art News today - but, in case you missed it, I just
wanted to point to the flash animation that YOUNG-HAE CHANG HEAVY
INDUSTRIES made in support of the Community Campaign. I asked them if they
might be able to provide a statement of some sort on why Rhizome was
important to them, and they came back with this piece full of quotes from
fictional people all over the world that riff on RAW, Net Art News and
other Rhiz elements.

Its quite witty, especially considering it is a fundraising effort, I just
thought I'd share it..



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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: Warren Sack <wsack AT>
Date: Nov 13, 2005 11:00 PM
Subject: Job Posting: Assistant Professor of Critical Studies

Note that the deadline is approaching: The deadline is this Friday,
November 18th.

Position: Assistant Professor in Critical Studies
Institution: University of California - Film & Digital Media Department
Location: Santa Cruz, California
Application deadline: 11/18/2005

If you are interested in more information about the job do not reply to
me; rather please email film AT

The Film and Digital Media Department, University of California, Santa
Cruz, invites applications for a tenure-track position in critical
studies. Applicants with a scholarly emphasis in international film and/or
media are especially desirable; candidates with expertise in other areas
of film, television and/or digital media theory and/or history are also
invited to apply. Requires Ph.D. in relevant field of study, with
demonstrated potential for excellence in innovative research and for
excellence in university teaching.

Please refer to the complete job announcement and application requirements

Candidates should submit letter of application, curriculum vitae, writing
samples, syllabi from courses previously taught, three confidential
letters of recommendation, and summary of past student evaluations, if
available, to Search Committee, Film & Digital Media Department,
University of California, 1156 High Street, Santa Cruz, CA 95064. Refer to
provision #700-06. Postmark deadline: November 18, 2005; position open
until filled. UCSC is an EEO/AA Employer.

Enclose a self-addressed, stamped envelope if you desire writing samples
returned at the end of this recruitment.

Questions regarding the department or position may be addressed to
film AT Further information about the department is available at

Contact Information:

Job code: #700-06
E-mail: film AT
Web Site:
Search Committee
Film & Digital Media
UC Santa Cruz
1156 High Street
Santa Cruz, CA 95064

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From: Marisa Olson <marisa AT>
Date: Nov 15, 2005 3:09 PM
Subject: 2 posts: School of Art at Carnegie Mellon University

Two posts available in the School of Art at Carnegie Mellon.University:
One in Art in Context/Public Art; the other in Electronic and Time Based
Art. Please circulate.

Art in Context/Public Art - Carnegie Mellon University School of Art
Tenure track or Visiting Faculty Position Beginning August 2006

The School of Art at Carnegie Mellon University is seeking to fill one
tenure-track or one two-year visiting artist position (with possible
renewal) with an emphasis on creative practice that expands the context
for art and engages the public beyond traditional venues. Seeking broad
approach that may include interdisciplinary, collaborative, tactical,
interventionist and other models of artmaking. Candidates with conceptual
strengths, contextual sensibilities, and/or a multidisciplinary
orientation are sought to work with a dynamic faculty team and energetic,
motivated students in innovative BFA and MFA programs. Teach project-based
undergraduate and graduate courses in which students research, interact
with and respond to organizations, sites, and/or audiences in a variety of
diverse communities, sites and contexts. Artists with additional
experience in other visual media or visual culture history/theory also
encouraged to apply.

Salary and benefits competitive. Start August 2006. Advanced degree or
equivalent. College-level teaching experience beyond graduate
assistantships required or equivalent professional experience.

Programmatic information at> Include letter
of application with teaching philosophy, CV, names/addresses/ telephone
numbers of 3 references (no recommendation letters). Up to 20 examples of
creative work, documented through slides or digital media. Documentation
of time-based or interactive media should include navigation directions,
if applicable, and should not exceed ten minutes total viewing time. For
specific submission guidelines for electronic work, visit: Documentation of student work only
at interview stage. Minorities encouraged to apply. AA. EOE. WMA. SASE.

All applications should be postmarked by January 7, 2006 and mailed to:
Art in Context Search, School of Art, CFA 300, Carnegie Mellon University,
Pittsburgh, PA 15213-3890.

Electronic and Time-Based Art - Carnegie Mellon University School of Art
Tenure track or Two-year Visiting Faculty Position
Beginning August 2006

The School of Art at Carnegie Mellon University is seeking to fill one
tenure-track or two-year (with possible renewal) visiting artist position
in its Electronic Time Based Art Area. Candidates with conceptual
strengths, contextual sensibilities, and/or a multidisciplinary
orientation are sought to work with a dynamic faculty team within an
established electronic time based area in the School of Art. Emphasis on
creative practice in technology-based art with experience in one or more
of the following areas: digital multimedia, Internet-based interactive
and/or virtual environments, performance, interactive audio, motion
capture, telepresence, computer vision, artificial life or biotechnology,
robotics, or programming for electronic art. Potential for collaboration
with the School of Computer Science, the Entertainment Technology Center
and/or other divisions on campus.

Artists with a significant track record in digital/electronic media who
are qualified for joint appointments with computer sciences, natural
sciences or engineering will also be considered.

Those with additional experience in other visual media or critical theory
are also encouraged to apply.

Salary and benefits competitive. Start August 2006. Advanced degree or
equivalent. College-level teaching experience beyond graduate
assistantships required or equivalent professional experience.

Programmatic information at Include letter
of application with teaching philosophy, CV, names/addresses/ telephone
numbers of 3 references (no recommendation letters). Up to 20 examples of
creative work, documented through slides or digital media. Documentation
of time-based or interactive media should include navigation directions,
if applicable, and should not exceed ten minutes total viewing time. For
specific submission guidelines for electronic work, visit: Documentation of student work
only at interview stage. Minorities encouraged to apply. AA. EOE. WMA.

All applications should be postmarked by January 7, 2006 and mailed to:
ETB Search, School of Art, CFA 300, Carnegie Mellon University,
Pittsburgh, PA 15213-3890.

Hilary Robinson
Stanley and Marcia Gumberg Dean,
College of Fine Arts
Carnegie Mellon University
Pittsburgh, PA

hr AT

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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: carlos rosas <rosasstudio AT>
Date: Nov 15, 2005 5:04 PM
Subject: Job Posting: Assistant/Associate Professor of New Media Art

We are in the process of a new media search at Penn State: see description


New Media Art, Early Career Position
The Pennsylvania State University
State College, Pennsylvania

NEW MEDIA ARTIST - Assistant Professor or untenured Associate Professor.
This is a permanent, tenure-track position.

Qualifications: Graduate degree and at least two years of college-level
teaching experience beyond graduate assistantship. Demonstrated commitment
to research and professional activity at the national and international
level. Outstanding teacher of new media studio art courses. In addition to
experience with digital media, the successful candidate should possess
knowledge of contemporary art, theory and criticism as it relates to new
media art practice.

Responsibilities: Teach undergraduate and graduate new media courses.
Provide leadership in curriculum development for the new media area of
concentration in the Penn State School of Visual Arts. Active
participation in undergraduate and graduate programs across disciplines,
plus other school duties.

The New Media Art area of concentration in the Penn State School of Visual
Arts (SoVA) includes creative 2d, 3d, and 4d work in Net art, sound,
video, interactivity, gaming, multimedia, installation, activism/tactical
media, robotics, haptic environments, open source, hybridity, transmedia,
wireless art, nomadic work, motion graphics, animation, and technological
and cultural interfaced performance.

Starting Date: AUGUST 2006

Salary: Commensurate with qualifications and experience.

Application Deadline: Screening will begin on January 5, 2006 and will
continue until a suitable candidate is identified.

Application Procedure: Applicants should submit a letter addressing her or
his qualifications relative to the responsibilities specified above; a
current vitae; artist statement; video, DVD, CD-ROM, or other appropriate
media; and the name, address, email, and phone number of four (4)
references. Please submit materials to: New Media Search committee c/o Dr.
Charles Garoian, Director, PENN STATE School of Visual Arts, Position
#W005-34, 210 Patterson Building, University Park, PA 16802.

Please include a self-addressed, stamped envelope for the return of your

Penn State is committed to affirmative action, equal opportunity, and the
diversity of its workforce.


Carlos Rosas
Associate Professor, Head New Media Art
New Media Search Committee Chair
Studio Program Head (interim)
School of Visual Arts (SoVA)
The Pennsylvania State University
University Park, PA 16802
email: crosas AT


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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: Mark Tribe <mark.tribe AT>
Date: Nov 17, 2005 8:28 PM
Subject: Call for Graduate Applications: Computing Culture Group AT MIT
Media Lab

Call for Graduate Applications

Computing Culture Group
MIT Media Lab

The Computing Culture Group at the MIT Media Lab is an Art and Technology
research group focused on embedding poetic and political considerations in
the development of new technologies. Research projects have ranged from
technologies to confront a changing U.S. Government (OpenGIA, txtMob) and
right wing anti-immigrant fascist groups (Freedom Flies), to complications
of gender and control in domestic appliances (Blendie), and techniques for
creating electronic instruments in a post-oil apocalypse (Synth From
Nothin'). Our mission is to refigure what engineering means, how it
happens, and what it produces. Drawing on fields from the humanities, like
Science and Technology Studies, we create new technologies that function
as instances of material power, but also as exemplars of what future goals
engineering should pursue. Our page may be found at

We are currently accepting applications to the Master?s in Media Arts and
Sciences graduate program. The MAS is a two-year program, during which a
student spends half their time on course work and the other half on their
directed art research. Tuition is fully funded, and students receive a
significant stipend to live on. The program and funding are open to
students of any nationality.

Students may be trained in either art or science and/or engineering, but
should show crossover. For instance, an art student should be an
accomplished programmer, have machining skills, or be able to design and
fabricate electronics. An engineering students should have done several
art projects, worked with a professional artist, or shown their ability to
author radical or unexpected technologies. More information on the MAS
program may be found at [].

Information about the process is available at
[] and application forms may be
obtained from the MIT Graduate Admissions office
[]. Applicants must indicate on the
application form (question #2) the department of Media Arts and Sciences
-- we are a separate program and not part of another department at MIT.
"Area of research interest" should indicate Chris Csikszentmihályi
(Computing Culture) as well as two other research groups. Application or
admissions questions may be directed to Media Arts & Sciences (e-mail:
mas AT, tel: (+1 617 253-5114).

Completed applications must be submitted by December 15th for the
following Fall semester. The principal components of an application are:
academic transcript(s), the applicant's statement of objectives, a
portfolio, and three letters of recommendation. GREs are not required.
International applicants are required to submit an official copy of their
TOEFL scores to MIT. The MIT institution code for TOEFL scores is 3514.
The Media Lab does not have its own department number. Scores should be
sent to MIT Graduate Admissions, department code 99. The Program in Media,
Arts & Sciences requires a minimum TOEFL score of 600 (paper-based) or 250

Computing Culture also requires the submission of a portfolio of relevant
work. Portfolios should be web-based, but DVD, CD, and other formats are
accepted. Any additional materials should be sent to the MAS program, not
directly to Chris Csikszentmihalyi.

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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: Laura Kissel <laura AT>
Date: Nov 18, 2005 4:23 AM
Subject: jobs in new media at University of South Carolina

Assistant Professor of New Media Design

The University of South Carolina invites applications for an Assistant
Professor of New Media Design, tenure-track, in the Department of Art. We
seek a cutting-edge new media artist with creative research in digital/new
media, including computer animation, motion graphics, web design, and/or
other aspects of digital media production. Teaching duties include courses
in digital media production and design. The successful candidate will
bridge the disciplines of graphic design and media production. The ideal
candidate might also bring expertise in traditional media production
(film, video, audio) or print-based communication (typography,
theoretical, and practical design and graphic design history).
Qualifications include an MFA or Ph.D. in digital media (or equivalent)
with demonstrated excellence in research and teaching.

We welcome online applications at (requisition
number 041247) but also request hard copies be sent to: New Media
Production/Design Search Committee, Department of Art, University of South
Carolina, Columbia, SC 29208. Please include: a letter of application,
CV, work samples (DVD, CD), artist statement (include summary of current
research), brief statement of teaching philosophy, examples of student
work, transcripts, and three letters of recommendation. Inquiries can be
directed to the search chair, Laura Kissel, at laura AT We will
begin reviewing applications on November 15 and continue until the
position is filled. The University of South Carolina is an Affirmative
Action/Equal Opportunity Institution. Women and minorities are encouraged
to apply.


Assistant Professor of New Media Studies

The University of South Carolina invites applications for an Assistant
Professor of New Media Studies. This is a tenure-track appointment shared
jointly between the Film Studies Program and the Media Arts area of the
Department of Art. We seek a cutting-edge scholar of new/digital media
and culture. Teaching duties include relevant courses in media theory,
criticism, and /or history at both the graduate and undergraduate levels.
An ideal candidate might also bring expertise in television studies, film
studies, global media, and/or media production (new and/or traditional).
Qualifications include a Ph.D. in media studies (or equivalent) with
demonstrated excellence in research and teaching.

We welcome online applications at (requisition
number 041248) but also request hard copies be sent to: New Media Studies
Search Committee, Department of Art, University of South Carolina,
Columbia, SC 29208. Please include: a letter of application, CV, writing
sample (no more than 30 pp.), official transcripts, and three letters of
recommendation. Inquiries can be directed to the search chair, Ina Hark,
at hark AT We will begin reviewing applications on November 15, 2005
and will continue until the position is filled. The University of South
Carolina is an Affirmative Action/Equal Opportunity Institution. Women
and minorities are encouraged to apply.

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From: michael kargl <carlos.katastrofsky AT>
Date: Nov 17, 2005 2:45 PM
Subject: tagged exhibition - net/art?

tagged exhibition - net/art?
i'm currently experimenting with - tags. the idea is to make
an exhibition which can be seen in various layers thanks to tagging...
have a look:
this project is a work in progress and started recently after a discussion
about curating with marisa s. olson and luís silva here:
and while reading the comments on rhizome about lev manovich's article
"Remix and Remixability"...
by now it's just a concept/ sketch, but:
comments are always welcome!

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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: Will Pappenheimer <wpappenheimer AT>
Date: Nov 13, 2005 11:10 PM
Subject: Synthesis and Distribution: Experiments in Collaboration

Pace Digital Gallery is pleased to present new media work from:

Synthesis and Distribution: Experiments in Collaboration

Curated by:
Will Pappenheimer, Artist, Pace University
Ron Janowich, Artist, New York, University of Florida
Merijn van der Heijden, Artist, Ohio State University,

Notions of synthesis and distribution in collaboration represent a coming
together of separate identities into a new and highly invigorating
investigation. As a pre-requisite, participants must question or set aside
familiar rules and tools to open up a particular problem in art and visual
language from different perspectives. The process is likely to encompass
dialogue, brainstorming, overlay, distribution, collective practices,
geography, hybridization, network activities, and new forms of cooperative
invention. This way of working is not necessarily shaped by personal
language or personal concerns. It can be understood as a third language.
It is a way of working that is based on mutual respect, risk-taking and
expansive inquiry that allows a team or group to venture into new and
unknown directions.

?Synthesis and Distribution: Experiments in Collaboration? is an
concurrent series of exhibitions featuring the unexpected results of
artistic and interdisciplinary collaboration. The artists, writers and
thinkers were invited based on their willingness to explore and transform
each other?s work. They may have already established an existing
collaborative body of work or they may be encouraged to uncover this
latent interest within the purview of this exhibition.

Artists from over five countries will exhibit work in new media,
photography, painting, drawing, sculpture, video, digital printing, and
musical performance. Interdisciplinary collaborations will include visual
arts, musical performance, criticism, writing, architecture and the social
sciences. They will be exhibited simultaneously in all three of Pace
University?s Fine Arts Galleries.

Pace Digital Gallery, Opening Nov. 15?Dec. 16th, 6-8pm
163 Williams St., New York, NY 10038
Live Performance of Four Wheel Drift (remix)

Julie Andreyev and Four Wheel Drift
Lynn Cazabon and Hasan Elahl
Michael Mandiberg and Julia Steinmetz
Jillian Mcdonald, Kelty McKinnon and Beckley Roberts
John Miller and Takuji Kogo
Sal Randolph and Glowlab

Peter Fingestin Gallery, Opening Sat., Nov. 5 ? Dec. 1
Pace Plaza, New York, NY 10038
Gallery Hours, Mon-Sun 1-4pm

Robin Hill and Stephen Kaltenbach
Las Hermanas Iglesias
Laura Lisbon and Suzanne Silver
Merijn van der Heijden and Ron Janowich
Mary Carlson and Jenne Silverthorn and Nica de la Torre
Mia Brownell and Martin Kruck
Barbara Ciurej and Lindsay Lochman
Will Pappenheimer & Gregory Ulmer
Aura Rosenberg, Jane Dickson, and "Who am I?" artists
Robin Tewes and Mark Tansey
Art Clay and Participants
Angie Drakoupolis and Daniel Hill
Lauren Garber and Tate Bunker and Neill Elliott
Charlie Ahearn and Colette
Kristin Lucas and FACT

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From: Edward Picot <edwardpicot AT>
Date: Nov 17, 2005 9:58 AM
Subject: Unanswered Questions

New on The Hyperliterature Exchange for November 2005: Edward Picot
reviews "Inanimate Alice", a new media fiction from Kate Pullinger and
Babel, and "Aftershocks", a new media murder documentary from Martha Deed.

"Both 'Inanimate Alice' and 'Aftershocks' use unanswered questions as a
technique for capturing our attention. They exploit the fact that when
things are left unresolved, we feel more obliged to read on, in search of
a resolution. But both stories go further than simply arousing our

To read the whole review, go to .

The Hyperliterature Exchange is an online directory and review of new
media literature for sale on the Web. More than 120 works are now listed.
Please visit and browse at .

- Edward Picot
personal website -

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From: Anette - Radiator Festival <anette AT>
Date: Nov 18, 2005 2:09 AM
Subject: Radiator Artists¹ Commissions & Events

New Website released today - go to for full
listings, updates and ticket prices.

Radiator, the East Midlands' Festival for New Technology Art, is pleased
to announce its upcoming events for 2005 featuring current innovative
artistic approaches in the digital arts field. Themed around location and
navigation, of city streets and the artform itself, this year's programme
includes five commissions from internationally acclaimed artists and many
more events.

Radiator Artists? Commissions


Simon Heijdens
Mon 28 Nov - Sat 10 Dec 3.30pm until late

Tree - a large scale interactive projection. The tree is growing in
Nottingham. Discover it yourself or collect a map from Broadway. The
branches and leaves move slightly, with an intensity that depends on
actual wind gusts. Its leaves are sensitive to sound. When there is a peak
in the volume level, from a shouting passer-by or car horn, a leaf will
break off the branch. Throughout the evening the tree will become barer
and barer, thus creating an ongoing image of human activity.

?Ere Be Dragons

Active Ingredient
Galleries of Justice
Thu 1 Dec 10am - 3pm / 7pm - 9pm
Fri 2 Dec 10am - 3pm
Sat 3 Dec 11am - 4pm
Sun 4 Dec 11am - 4pm
£3.50 (£2.50 concessions)

'Ere be Dragons - new interactive game by Nottingham-based digital artists
Active ingredient. 'Ere Be Dragons maps unknown territories, controlled by
the heart beat of the players as they walk around Nottingham City Centre
and resulting in an interactive installation. Active Ingredient have
discovered that by plugging people's heart rate into a pocket PC they can
see into people's inner world. The longer you stay in this world, the more
likely you are to find something out there.

Nowhere Plains

Alistair Gentry
Big Screen, Castle Green, Nottingham Castle
Broadway Café Bar
Thu 1 Dec 7pm - 7.30pm
Fri 2 Dec 6.30pm - 7pm
Sat 3 Dec 6.30pm - 7pm
Sun 4 Dec 6.30pm - 7.30pm

Nowhere Plains - a live Mars landing projected large at Nottingham Castle.
Nowhere Plains is a literal translation of the Latin name Utopia Planitia,
which was the site of the Viking 2 probe's landing on Mars in 1976. Now,
Alistair Gentry is going on a utopian journey to Nowhere, culminating in
being the first human being to land on Mars, broadcast live from Utopia.

Our House

Daniel Belasco Rogers (plan b)
Broadway Cinema
Thu 1 Dec - Fri 2 Dec 11am - 7pm
Sat 3 Dec - Sun 4 Dec 12pm - 7pm
£3.50 (£2.50 concessions)

Our House - a ghosting of the artist's childhood home onto Broadway using
the latest audio technology. Our House will trace the 1930s semi-detached
house Daniel Belasco Roger's grew up in onto the new media centre. Old
family photographs yield details of carpet or wallpaper. Hear the voices
of those who have lived there, the taps running, the fridge and the creak
on the tenth step of the staircase.


Stephanie Rothenberg and Elyce Semenec
Angel Row Gallery and Surface Gallery
Thu 1 Dec 1pm - 3pm / 3pm - 5pm / 6pm - 8pm
Fri 2 Dec 1pm - 3pm / 3pm - 5pm / 6pm - 8pm
Sat 3 Dec 11am - 1pm / 1pm - 3pm / 3pm - 5pm
Sun 4 Dec 12pm - 2pm / 2pm - 4pm

Sub/Merg/Ency - a unique underwater installation by Stephanie Rothenberg
and Elyce Semenec from New York. Collecting and creating objects at Angel
Row Gallery to be distributed at the bottom of the pool at Surface
Gallery, Rothenberg and Semenec invite participation, both live and
online, in helping to create sub/merg/ency.

Artists? Talk

Broadway, Mezzanine
Fri 2 Dec 8.30pm - 10pm

Radiator 05 has commissioned five new pieces of work. In this informal
gathering you can find out more about the commissioned artists, their way
of working, their background and their source of inspiration.

Radiator 2005 Events


Caroline Locke
Malt Cross
Sun 27 Nov 1pm (UK) / 10pm (AUS)
Mon 28 Nov 10pm (UK) / 7am (Tue 28 - AUS)
£3.50 (£2.50 concessions)

A live webcast of sound from the other side of the world to the surface of
water. The innovative concept of Hydrophonics stems from Locke's
fascination with technology, waterflow, the idea of 'seeing sound', of
visualising kinetic energy and exploring different approaches to the 'live
event'. Locke has worked with musicians to compose music based on the
sight of the composition, rather than the sound of it, and developed new
designs for water tanks and speaker systems.

Life: A User's Manual

Michelle Teran
City Walk
Sat 3 - Sun 4 Dec, 4pm - 5pm
£4.50 (£3.50 concessions)

Moving through the city streets with a video scanner reveals a hidden
layer of personal fragments and stories broadcast by the private owners of
surveillance cameras. Incognito and with participants in tow, Michelle
Teran takes to Nottingham's streets with her ever-vigilant wireless
surveillance camera scanner and broadcasts unseen live images from the
city. Please collect ticket and meeting point details from Broadway Box
Office at least one hour before the city walk.

Txt Adventure

Chris Evans
Broadway Café Bar
Sat 3 Dec 12pm - 10pm

Text Adventures were as close to novels as computer games ever came. Txt
adventure is played by text message - players text their commands to the
number on screen. These are sent to a mobile phone connected to the
computer running the projection. The computer then enters the commands
into an emulated version of the game, and displays the game's output on a
big shared screen.


Sat 3 Dec 12pm - 7pm

Moving image meets holiday making inside Bathysphere's Nanoplex, the
region's first mobile new media centre hidden inside a family caravan.
Bathysphere, Leicester's leading new media and electronic music moguls,
have converted the six berth family caravan into a state of the art micro
sized cinema venue. A tiny venue for big ideas, the Nanoplex is designed
to showcase ground breaking visuals and sounds at events and festivals
around Europe.

Radiator is supported by Arts Council England, EM Media, UK Film Council
Lottery Funded and Awards for All.

If you have received this message involuntarily and would like to prevent
any such future postings of Radiator or Trampoline events and
opportunities, please send a return mail with the words "remove me" in the
subject line. Thank You!

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From: Lev Manovich <manovich AT>, <netwurker AT>,
Michael Szpakowski <szpako AT>, Dirk Vekemans <dv AT>
Date: Nov 16 - 17, 2005
Subject: Remix and Remixability

+Lev Manovich <manovich AT> posted:+

Remix and Remixability

The dramatic increase in quantity of information greatly speeded up by
Internet has been accompanied by another fundamental development. Imagine
water running down a mountain. If the quantity of water keeps continuously
increasing, it will find numerous new paths and these paths will keep
getting wider. Something similar is happening as the amount of information
keeps growing - except these paths are also all connected to each other
and they go in all directions; up, down, sideways. Here are some of these
new paths which facilitate movement of information between people, listed
in no particular order: SMS, forward and redirect function in email
clients, mailing lists, Web links, RSS, blogs, social bookmarking,
tagging, publishing (as in publishing one¹s playlist on a web site),
peer-to-peer networks, Web services, Firewire, Bluetooth. These paths
stimulate people to draw information from all kinds of sources into their
own space, remix and make it available to others, as well as to
collaborate or at least play on a common information platform (Wikipedia,
Flickr). Barb Dybwad introduces a nice term ³collaborative remixability¹²
to talk about this process: ³I think the most interesting aspects of Web
2.0 are new tools that explore the continuum between the personal and the
social, and tools that are endowed with a certain flexibility and
modularity which enables collaborative remixability ? a transformative
process in which the information and media we¹ve organized and shared can
be recombined and built on to create new forms, concepts, ideas, mashups
and services.² [1]

If a traditional twentieth century model of cultural communication
described movement of information in one direction from a source to a
receiver, now the reception point is just a temporary station on
information¹s path. If we compare information or media object with a
train, then each receiver can be compared to a train station. Information
arrives, gets remixed with other information, and then the new package
travels to other destination where the process is repeated.

We can find precedents for this ³remixability² ­ for instance in modern
electronic music where remix has become the key method since the 1980s.
More generally, most human cultures developed by borrowing and reworking
forms and styles from other cultures; the resulting ³remixes² were to be
incorporated into other cultures. Ancient Rome remixed Ancient Greece;
Renaissance remixed antiquity; nineteenth century European architecture
remixed many historical periods including the Renaissance; and today
graphic and fashion designers remix together numerous historical and local
cultural forms, from Japanese Manga to traditional Indian clothing. At
first glance it may seem that this traditional cultural remixability is
quite different from ³vernacular² remixability made possible by the
computer-based techniques described above. Clearly, a professional
designer working on a poster or a professional musician working on a new
mix is different from somebody who is writing a blog entry or publishing
her bookmarks.

But this is a wrong view. The two kinds of remixability are part of the
same continuum. For the designer and musician (to continue with the sample
example) are equally affected by the same computer technologies. Design
software and music composition software make the technical operation of
remixing very easy; the Internet greatly increases the ease of locating
and reusing material from other periods, artists, designers, and so on.
Even more importantly, since every company and freelance professionals in
all cultural fields, from motion graphics to architecture to fine art,
publish documentation of their projects on their Web sites, everybody can
keep up with what everybody else is doing. Therefore, although the speed
with which a new original architectural solution starts showing up in
projects of other architects and architectural students is much slower
than the speed with which an interesting blog entry gets referenced in
other blogs, the difference is quantitative than qualitative. Similarly,
when H&M or Gap can ³reverse engineer² the latest fashion collection by a
high-end design label in only a few weeks, this is part of the same new
logic of speeded up cultural remixability enabled by computers. In short,
a person simply copying parts of a message into the new email she is
writing, and the largest media and consumer company recycling designs of
other companies are doing the same thing ­ they practice remixability.

The remixability does not require modularity - but it greatly benefits
from it. Although precedents of remixing in music can be found earlier, it
was the introduction of multi-track mixers that made remixing a standard
practice. With each element of a song ­ vocals, drums, etc. ­ available
for separate manipulation, it became possible to ?re-mix¹ the song: change
the volume of some tracks or substitute new tracks for the old ounces.
According to the book DJ Culture by Ulf Poscardt, first disco remixes were
made in 1972 by DJ Tom Moulton. As Poscard points out, they ³Moulton
sought above all a different weighting of the various soundtracks, and
worked the rhythmic elements of the disco songs even more clearly and
powerfully?Moulton used the various elements of the sixteen or twenty-four
track master tapes and remixed them.²[2]

In most cultural fields today we have a clear-cut separation between
libraries of elements designed to be sampled ­ stock photos, graphic
backgrounds, music, software libraries ­ and the cultural objects that
incorporate these elements. For instance, a graphic design may use
photographs that the designer bought from a photo stock house. But this
fact is not advertised; similarly, the fact that this design (if it is
successful) will be inevitably copied and sampled by other designers is
not openly acknowledged by the design field. The only fields where
sampling and remixing are done openly are music and computer programming,
where developers rely on software libraries in writing new software.

Will the separation between libraries of samples and ³authentic² cultural
works blur in the future? Will the future cultural forms be deliberately
made from discrete samples designed to be copied and incorporated into
other projects? It is interesting to imagine a cultural ecology where all
kinds of cultural objects regardless of the medium or material are made
from Lego-like building blocks. The blocks come with complete information
necessary to easily copy and paste them in a new object ­ either by a
human or machine. A block knows how to couple with other blocks ­ and it
even can modify itself to enable such coupling. The block can also tell
the designer and the user about its cultural history ­ the sequence of
historical borrowings which led to the present form. And if original Lego
(or a typical twentieth century housing project) contains only a few kinds
of blocks that make all objects one can design with Lego rather similar in
appearance, computers can keep track of unlimited number of different
blocks. At least, they can already keep track of all the possible samples
we can pick from all cultural objects available today.

The standard twentieth century notion of cultural modularity involved
artists, designers or architects making finished works from the small
vocabulary of elemental shapes, or other modules. The scenario I am
entertaining proposes a very different kind of modularity that may appear
like a contradiction in terms. It is modularity without a priori defined
vocabulary. In this scenario, any well-defined part of any finished
cultural object can automatically become a building block for new objects
in the same medium. Parts can even ?publish¹ themselves and other
cultural objects can ³subscribe² to them the way you subscribe now to RSS
feeds or podcasts.

When we think of modularity today, we assume that a number of objects that
can be created in a modular system is limited. Indeed, if we are building
these objects from a very small set of blocks, there are a limited number
of ways in which these blocks can go together. (Although as the relative
physical size of the blocks in relation to the finished object get
smaller, the number of different objects which can be built increases:
think IKEA modular bookcase versus a Lego set.) However, in my scenario
modularity does not involve any reduction in the number of forms that can
be created. On the contrary, if the blocks themselves are created using
one of many already developed computer designed methods (such as
parametric design), every time they are used again they can modify
themselves automatically to assure that they look different. In other
words, if pre-computer modularity leads to repetition and reduction,
post-computer modularity can produce unlimited diversity.

I think that such ³real-time² or ³on-demand² modularity can only be
imagined today after online stores such as Amazon, blog indexing services
such as Technorati, and architectural projects such as Yokohama
International Port Terminal by Foreign Office Architects and Walt Disney
Concert Hall in Los Angeles by Frank Gehry visibly demonstrated that we
can develop hardware and software to coordinate massive numbers of
cultural objects and their building blocks: books, bog entries,
construction parts. But whether we will ever have such a cultural ecology
is not important. We often look at the present by placing it within long
historical trajectories. But I believe that we can also productively use
a different, complementary method. We can imagine what will happen if the
contemporary techno-cultural conditions which are already firmly
established are pushed to their logical limit. In other words, rather than
placing the present in the context of the past, we can look at it in the
context of a logically possible future. This ³look from the future²
approach may illuminate the present in a way not possible if we only ³look
from the past.² The sketch of logically possible cultural ecology I just
made is a little experiment in this method: futurology or science fiction
as a method of contemporary cultural analysis.

So what else can we see today if we will look at it from this logically
possible future of complete remixability and universal modularity? If my
scenario sketched above looks like a ³cultural science fiction,² consider
the process that is already happening on the one end of remixability
continuum. Although strictly speaking it does not involve increasing
modularity to help remixability, ultimately its logic is the same: helping
cultural bits move around more easily. I am talking about a move in
Internet culture today from intricately packaged and highly designed
³information objects² which are hard to take apart ­ such as web sites
made in Flash ­ to ³strait² information: ASCII text files, feeds of RSS
feeds, blog entries, SMS messages. As Richard MacManus and Joshua Porter
put it, ³Enter Web 2.0, a vision of the Web in which information is broken
up into ³microcontent² units that can be distributed over dozens of
domains. The Web of documents has morphed into a Web of data. We are no
longer just looking to the same old sources for information. Now we¹re
looking to a new set of tools to aggregate and remix microcontent in new
and useful ways.²[3] And it is much easier to ³aggregate and remix
microcontent² if it is not locked by a design. Strait ASCII file, a JPEG,
a map, a sound or video file can move around the Web and enter into
user-defined remixes such as a set of RSS feeds; cultural objects where
the parts are locked together (such as Flash interface) cant. In short, in
the era of Web 2.0, ³information wants to be ASCII.²[4]

If we approach the present from the perspective of a potential future of
³ultimate modularity / remixability,² we can see other incremental steps
towards this future which are already occurring. For instance, Orange
<> (an animation studio n Amsterdam) has setup a team of
artists and developers around the world to collaborate on an animated
short film; the studio plans to release all of their production files, 3D
models, textures, and animation as Creative Commons open content on a
extended edition DVD.

Creative Commons offers a special set of Sampling Licenses which ³let
artists and authors invite other people to use a part of their work and
make it new.²[5] Flickr offers multiple tools to combine multiple photos
(not broken into parts ­ at least so far) together: tags, sets, groups,
Organizr. Flickr interface thus position each photo within multiple
³mixes.² Flickr also offers ³notes² which allows the users to assign short
notes to individual parts of a photograph. To add a note to a photo posted
on Flickr, you draw a rectangle on any part of the phone and then attach
some text to it. A number of notes can be attached to the same photo. I
read this feature as another a sign of modularity/remixability mentality,
as it encourages users to mentally break a photo into separate parts. In
other words, ³notes² break a single media object ­ a photograph ­ into

In a similar fashion, the common interface of DVDs breaks a film into
chapters. Media players such as iPod and online media stores such as
iTunes break music CDs into separate tracks ­ making a track into a new
basic unit of musical culture. In all these examples, what was previously
a single coherent cultural object is broken into separate blocks that can
be accessed individually. In other words, if ³information wants to be
ASCII,² ³contents wants to be granular.² And culture as a whole? Culture
has always been about remixability ­ but now this remixability s available
to all participants of Internet culture.

Since the introduction of first Kodak camera, ³users² had tools to create
massive amounts of vernacular media. Later they were given amateur film
cameras, tape recorders, video recorders...But the fact that people had
access to "tools of media production" for as long as the professional
media creators until recently did not seem to play a big role: the
amateur¹ and professional¹ media pools did not mix. Professional
photographs traveled between photographer¹s darkroom and newspaper editor;
private pictures of a wedding traveled between members of the family. But
the emergence of multiple and interlinked paths which encourage media
objects to easily travel between web sites, recording and display devices,
hard drives, and people changes things. Remixability becomes practically a
built-in feature of digital networked media universe. In a nutshell, what
maybe more important than the introduction of a video iPod, a consumer HD
camera, Flickr, or yet another exiting new device or service is how easy
it is for media objects to travel between all these devices and services -
which now all become just temporary stations in media¹s Brownian motion.

October 2005


[1] ³Approaching a definition of Web 2.0,² The Social Software Weblog
<>, accessed October 28, 2005.

[2] Ulf Poschardt, DJ Culture, trans. Shaun Whiteside (London: Quartet
Books Ltd, 1998), 123.

[3] ³Web 2.0 Design: Bootstrapping the Social Web,² Digital Web Magazine <>, accessed October 28,

[4] Modern information environment is characterized by a constant tension
between the desires to ³package² information (Flash design for instance)
and strip it from all packaging so it can travel easier between different
media and sites.

[5], accessed October 31, 2005.

+netwurker AT replied:+

> Lev Manovich
> Remix and Remixability


>Date: Tue, 16 Oct 2001 02:55:07 +0000
>To: poetics, rhizome, spectre
>From: "l][m][att][r][ice" <netwurker AT>
>Subject: _This Cybagenic Lattice_

. ..
. . . . ..

A c][r][][ab-like][yst][al][ repeating. . .
. .

In disarray, a molten swathe of n.ter.face][s][ts
mimic simul.crated spaces.
In describing, yr structure is musty,
n.distinguishable from the
a graphic urn of
circuitry rust.

In b.tween][ning][, pat.turns of repetition
][like looped n.testinal lattice][
is in ][& of][ IT.s][h][ell.f
][the uni.f][r][ied cell][.

. ..
. . . . ..
. . .A most fungalmental repetition property. . .
. . . . .
. ..
. . . . ..
. ... .
.. .

This Cyb.age.nic Lattice in its
][& of IT.self][ ubersymmetry.
We n.itially shrink ourselves ][in][2 3 di][ce][mensions.
4 ][si][m.plicity, 3 types r coded:


. .Replification.

. . .Helix.

.C.quential: U perceive & reproduce via regular successions. No gaps
allowed. No m.maginative rigor. U may ][& will][ b visualized like this. U
represent a sell][out][.F - the human unit of repeditive n.elasticity.

[4 e.e.g, u r 1 of the sell.Fs. if u look out, u c the same reflective
sell.Fs AT 0, 90, 180, & 270 d.grees because a c.quential repeats itself AT
predicable ][culturally-d.][greed n.tervals.

. .Replification: U repeat consistently. U r not able 2 distinguish
successive patternings ][ AT 0 and 180 cultural d.gree][d][s][. U find
replification easier than advancing. U m.ulate. U ][re][produce as if it
were progressive.

. . .Helix: U spiral and poll][inate][ute. c.oiled
c][ultural][entrics reorder & re.route. U burn the sell.F. c][h][ells
can traverse the vir][mens][t][r][ually & geocentrically g][l][athered.

. ..
. . . . ..

If the helix s.][c][el][l][ves were seen in ultradimensions, they would
completely fill the Cybagenic & Ge][c][o.d.fined Lattrix.
. . . . ..
. ..


>Date: Tue, 16 Oct 2001 05:12:17 +0000
>To: 7-11, audiovision, beatrice, convergence, fibreculture, florian
>From: "l][m][att][r][ice" <netwurker AT>
>Subject: _This Cybagenic Lattice_ [translation]

_This Cybagenic Lattice_ [interlingual rendition].

Imagine a crab-like information retrieval moment. Envisage datacyst
crystals reiterated through electroid transmissions. Think the design
disarray of dimension facets gone molten, of interfaces constructed to
mimic simulcrated non-geodefined spaces. In this projected conception your
fantasized structure is, however, musty and indistinguishable from a
traditionally masticated mass. You end up conceptualising a representation
akin to a graphic urn of earthed circuitry rust.

+Michael Szpakowski <szpako AT> replied:+

Yes - this seems on the nail, if a tad schematic. The potential to express
large amounts of different stuff in ones and zeros, so sound and image and
text and procedure confront one another as *equals* and moreover in some
sense the *same coinage* seems to me also to be behind/parallel to a
general renewal of interest in the gesamkunstwerke, and this not only in
the networked world. But the elephant in the room here is the massive
amount of stuff (ie. most stuff) not yet (and probably never) reducible
to, and exchangeable in, this coinage.

The difference between an image of a painting and that painting's surface
and presence (& I'm not talking *aura* here, just the fact of that raised
and lumpy surface),or the distance between the wonderfully accurate Strad
sample called in by an extremely nuanced Sibelius file compared to a
performance by a human on a real Strad,or smell,or taste,or dance... I'm
not dissing the virtual, I love it; also I'm not setting up a simple
human/machine opposition - those networks and channels are, of
course,chock full of humanity. There's just a further dialectic at work...

+Dirk Vekemans <dv AT> replied:+

A very impressive synthesis of the dominant view. I've admired and enjoyed
'The Language of New Media" because of it's power of synthesis and
clarification too. Here, however, in the field of what you rightly call
info-aesthetics, i think the picture is very restrictive and when it's put
like this, backed by the power of your authority, i fear it may become
normative. It already is, in many ways.

Mez's reaction to this is perfectly clear, i think. It's amazing how fast
and accurate she can produce these things. I feel that if you're missing
the point of what the Poetics of New Media could be (too, besides what you
make of it here and although the description you give here goes for most
of what's being produced), she's bang on to it and putting it to good use.

There are suggested paths in your own work too,however, indications that
you choose to neglect here, they seem overriden by the methods of the
power grid now. It's a pity, somehow. Don't think the world needs more of
this modular function N=new function(newnewnewnew newness=new
newnewnewnew()){it=N;N(it);}. It tends to get blown away by the
hurricanes caused by the continuous postponement of urgently needed
action partly generated by it. If there's a futuristic science quality in
the model you're describing it might be that of how to let things slip
into oblivion efficiently. Unintended, sure, and i might be the fool to
read it in it, but that's what it spells for me.

It's a very usefull text, though, your quality of writing, the clarity is
a commendable achievement in our dark age and it deserves better than
these hasty remarks or those beneath. Not that i'd get near your clarity
or Mez's accuracy, but i might be temted to give it a serious go anyway,
if i can find some time, later. I might not be able to, but information

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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN:
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