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: 11.25.05
Date: Fri, 25 Nov 2005 14:30:25 -0800

RHIZOME DIGEST: November 25, 2005


1. Kenneth Fields: Musicacoustica 2006: Language
2. Liz Nofziger: Win a free subscription to Aspect Magazine!
3. Doug Easterly: Book Opportunity
4. Felicia Rice: Applications are now being accepted!
6. Sean Uyehara: Wireless Media call for entry San Francisco International
Film Festival

7. lduncalfe AT Processing Vision / Toby Collett
8. jillian mcdonald: New Data exhibition, New York
9. Rafael Lozano-Hemmer: 3 expos
10. Christiane Paul: FOLLOW THROUGH by Jennifer Crowe and Scott Paterson,
Whitney Museum
11. Susan Kennard: REFRESH! complete conference stream launched

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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: Kenneth Fields <ken AT>
Date: Nov 20, 2005 1:32 PM
Subject: Musicacoustica 2006: Language

The Electroacoustic Music Association of China (EMAC) and the China
Electronic Music Center (CEMC) based at the Central Conservatory of Music
in Beijing in a special cooperation with the Electroacoustic Music Studies
Network's (EMS) International Conference Series are pleased to announce
their annual festival:

Musicacoustica 2006: Language?October 22nd through 29th?Beijing, China

The week-long MusicAcoustica 2006 festival (22?29 October) will be focused
on the broad theme of Language. EMS06 papers, in more focused paper
sessions (from the 23rd to 26th), will concentrate on a crucial aspect of
language, namely terminology - see the full call for papers here: We consider this historical joint meeting
in Beijing as essentially an international summit on the coherence of
electroacoustic music terminology subject to the twisting and bending of
the field in its emerging global context. Music, sound installations and
workshops will further reflect on the theme in all its breadth and depth.

Chinese composers and academics come together once a year to plan future
directions for the development of computer music in China and to
learn/exchange with their international guests. This year the
Electroacoustic Music Studies Network (EMS) "an international team which
aims to encourage reflection on the better understanding of
electroacoustic music" will be our special guests at the festival. At the
same time, we invite a broad reflection on the theme from experts in
linguistics and music, ontology specification, semantic web, music
knowledge modeling and translation issues related to expert domain

A local motivation for the conference relates to problems in translation
of new terms (such as microsound or phonography) into Chinese. However, we
invite submissions from various perspectives derived from projects posing
new approaches to coherent structuring of specialized domain knowledges
(such as new media - translate smartmob into Chinese!) which have faced
problems with translation issues. The objective of this ?summit? is to
create a forum of sustained co-operation; an international effort towards
situating and translating electronic music concepts and terms within the
emerging semantic global village. Workshops and extended residencies are
invited in the days surrounding the conference.

Deadline for music proposals is May 1, 2006 - to be notified by June 1st.
Contact Kenneth Fields, below for more information. Register for
conference updates at: Detailed
registration information to follow in February of 2006.?Deadline for the
EMS papers proposals (abstracts and CV's) is February 26th, 2006. (see
paper call for details - above link).

Musicacoustica Organizing committee:
Zhang Xiaofu?President of EMAC;?Director of CEMC at China's Central
Conservatory of Music Beijing cemc AT

Kenneth Fields?Professor?CEMC at China's Central Conservatory of
Music?Also: Dept of Digital Art and Design, Peking
University?ken AT

Send materials (DVD, CD's) regarding festival to:

MusicAcoustic 2006 C/O?Zhang Xiaofu and Kenneth Fields?CEMC - China
Electronic Music Center?Central Conservatory of Music?43 BaoJia
Street?Beijing 100031 China,?Tel: 6642-5742

Electroacoustic Music Studies Network Organizers:
MTI (Leigh Landy, EARS ElectroAcoustic Resource Site, MTI Research Centre,
De Montfort University) INA/GRM (Daniel Teruggi) MINT (Marc Battier,
Musicologie, informatique et nouvelles technologies, OMF, Université de

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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: Liz Nofziger <liz AT>
Date: Nov 21, 2005 3:31 PM
Subject: Win a free subscription to Aspect Magazine!

Complete survey by 12/09/05 for a chance to win a one-year subscription to

ASPECT Magazine is conducting a survey to determine what you think of our
publication and new or experimental media art in general. We believe that
obtaining your views is critical to our ability to provide the best level
of products and services. Furthermore, your help will contribute to the
development of our educational services ?Educators Forum? on the Aspect

Your responses will be strictly confidential and only general results from
this research will be reported. No one other than research staff will know
individual answers to this questionnaire. If you have any questions
regarding this survey, please send an email to Michael Mittleman at
survey AT or 617-695-0500.
Respond by December 9, 2005 for a chance to win one of five free
subscriptions to be randomly selected from respondents.

ASPECT is a biannual DVD magazine of new media art. Each issue features
5-10 artists working in new or experimental media whose works are best
documented in video and/or sound. Each work can be viewed with or without
an additional commentator audio track. ASPECT has featured 33 artists and
collectives, including the work of MTAA, Jim Campbell, Tony Cokes, Noah
Wardrip-Fruin, and Denise Marika. Bill Arning, George Fifield, Marisa
Olson, and Christiane Paul are among the list of distinguished
commentators who have contributed to ASPECT.

Thank you for helping us in our efforts to make our products and services
better to meet your expectations.

Liz Nofziger
Assistant Editor
ASPECT Magazine

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From: Doug Easterly <playfight AT>
Date: Nov 22, 2005 8:29 AM
Subject: Book Opportunity

I am doing a book project with Thomson Press consisting of about 12-14
chapters, where each chapter will highlight an artist doing interesting
work with Flash. This is not to be a typical Flash book showcasing
technical gymnastics. While technical innovation is a plus, I hope to
highlight artists who are using Flash with provacative/critical content.

If you would like to participate, please send me an email with a url of
your work.


Doug Easterly
playfight AT
D o u g l a s E a s t e r l y
Assoc. Professor of Computer Art
Syracuse University / Transmedia

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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: Felicia Rice <fsrice AT>
Date: Nov 23, 2005 4:21 PM
Subject: Applications are now being accepted!

The Digital Arts and New Media MFA Program at University of California,
Santa Cruz serves as a center for innovation and exploration of digital
technologies in the arts. Faculty and students are drawn from a variety
of established disciplines including the arts, computer engineering, and
social sciences. The goal is to enlarge our collective imagination
through an investigation of the boundaries and possibilities of digital
arts and new media.

The Digital Arts and New Media MFA Program is now accepting applications
through February 1, 2006.

For more information:

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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: Christiane_Paul AT <Christiane_Paul AT>
Date: Nov 23, 2005 9:08 AM


We invite you to contribute to FlackAttack, a new magazine coming out of
The Port (, a community-driven space initiated by
Simon Goldin & Jakob Senneby inside the online 3D world Second Life
( The production process of Flack Attack will be
continually featured on artport (, the Whitney
Museum's portal to Internet Art, as a gate page during the month of
December 2005. Using The Port as a point of departure we are pursuing a
series of investigations into the potential of networked public spheres
and the organization of participatory production.

The production model of FlackAttack magazine is based on the wiki concept
and the workflow starts with the set-up of the wiki at

The theme of the first issue is "FlackAttack on Autonomy": Autonomy as a
complex concept in any governed situation. What does it mean to be
autonomous within predefined social codes? Does the notion of autonomy
contradict a common language and shared references?

In the specific case of online worlds the challenge is readily illustrated
by the fact that all interaction takes place inside someone else's
programmed code. But the same basic dilemma can be applied to any
institution we find ourselves in, be it a nation, a family or an economy.

The wiki is open to all, and we encourage a wide range of contributions on
the topic of autonomy: everything from the structural and analytical to
the personal and anecdotal.

Contributions can take the form of
+alterations / remixes of other contributions

Please submit your contributions between now and December19 at

==Editorial Meetings
An editorial office is being set up at The Port (inside the online world
Second Life). Open meetings for discussing and editing the wiki
contributions will be held at the office three times a week during
December. All final decisions about the magazine and what will be included
in the printed version will be made at the editorial meetings. The more
you engage, the more you will be able to influence the outcome.

The editorial office will also function as design studio, community
center, and place for further reflection.

The editorial meetings will take place every Tuesday, Thursday, and Sunday
in December, starting on Thursday, December 1 (editorial offices will be
closed on Sunday December 25). Meeting times will be as follows (depending
on your time zone):

Tuesdays (December 6, 13, 20, 27):
1 AM West Coast USA
4 AM East Coast USA
10 AM Central Europe
6 PM Japan

Thursdays (December 1, 8, 15, 22, 2):
5 PM West Coast USA
8 PM East Coast USA
Friday 1 AM UK
Friday 2 AM Central Europe
Friday 10 AM Japan

Sundays (December 4, 11, 18)
1 PM West Coast USA
4 PM East Coast USA
10 PM Central Europe
Monday 6 AM Japan

For those who will visit The Port and Second Life for the first time,
please proceed as follows: Go to to get a free
acount and a personal avatar (you need to give credit card details for
security). Simply follow the instructions, download the customized
software on your computer, and design your avatar. Allow yourself approx.
2 hours for this. Then click "Find" and search for "The Port" under
"Places" (checking the "include mature areas" box). Click "Teleport" and
you will arrive at The Port!

If you need help or have any questions when in Second Life, please send IM
(Instant Message) to VoyeurOne Baron or Sorgaard Jacques.

The process of working with Flack Attack will be continually mediated
through artport (, the Whitney Museum's portal
to Internet Art between 1 and 31 December.

By the end of December the first issue of Flack Attack will be published.
We are planning to distribute it as PDF and print-on-demand via artport.
(In addition, free printed copies might be distributed through the
bookstore of the Whitney Museum in New York).

Simon Goldin & Jakob Senneby, Initiators of The Port & Flack Attack

The Port:
Flack Attack:
Second Life:

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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: Marisa Olson <marisa AT>
Date: Nov 24, 2005 10:47 AM
Subject: Fwd: Wireless Media call for entry San Francisco International
Film Festival

---------- Forwarded message ----------
From: Sean Uyehara <suyehara AT>
Date: Nov 22, 2005 6:03 PM
Subject: [New Media Curating] Wireless Media call for entry San Francisco
International Film Festival

Please circulate to any you think might be interested.
Sean Uyehara

Wireless Media Call for Entries

This is an invitation to submit work to the San Francisco Film Society for
consideration to be included in the 49th San Francisco International Film
Festival taking place April 20 May 4, 2006. In specific, this call is for
a program that will focus on a series of visual works made by and/or for
wireless media devices and signals. Roughly this breaks down into three

1. Works made by mobile devices
2. Works made to be specifically viewed on mobile devices.
3. Works that use wireless signals a new aesthetic medium.

Submissions due: January 3, 2006
Final Decisions: February 17, 2006


Telephonic communication has always been a two-way street. You send
messages, you receive messages. Now, a myriad of wireless communications
devices also record and playback text messages, still images, sound and
video. But the transmission principle is the same. These recordings are
sent or received and cover distance. What¹s changed is the multi-use
functions of telecommunications hardware. Mobile devices have become
special tools for interacting with the mediated world. The question this
program will explore is how do these mobile devices enable new methods of
production, distribution and/or exhibition. We invite you to submit your
work to help us form an answer.

The San Francisco International Film Festival will present a multi-varied
program of ³mobiley² inspired work.

We especially encourage works that use mobile technologies, wireless
signals, text or animation as new type of recording tool or medium, and/or
articulate the difference and urgency of exhibiting on tiny, portable


If you have questions or would like more information, please email:
programming AT
Sean Uyehara
Programming Associate
suyehara AT
Direct 415.561.5011

San Francisco Film Society
Presenter of the 49th San Francisco International Film Festival, April
20-May 4, 2006
Enter your film at
Final film entry deadline, December 9, 2005
Final wireless media entry deadline, January 3, 2006

Interested in hearing about San Francisco Film Society screenings and
Sign up for our monthly enewsletter

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From: ld <lduncalfe AT>
Date: Nov 19, 2005 5:12 AM
Subject: Processing Vision / Toby Collett

"Processing Vision" / Toby Collett
OnLine & OnSite: Pioneer robot, video projections and web-based Flash stream

17 Nov - 10 Dec
Window OnSite
Foyer of the General Library Building
University of Auckland
Flash stream on Window website

With an eye for spatiality, a pioneer robot with sonar mounts from the
Auckland Robot Group is presented by Toby Collett, a PhD Engineering
student at the University of Auckland. The robot is the product of the
Group's research into robotic vision and navigation, and for the duration
of the exhibition has been set the task of roaming around inside Window
OnSite generating visual data that is presented on the front of the Window
structure via three projections. Glazing has been applied to the glass
front of Window OnSite to partially obscure our view of the robot and
prioritise the images it is creating, so as to play on a gulf between its
means of processing vision and ours. In addition, Window's two spaces have
been networked together with data being relayed to the Window website,
where a feed of the robot's spatial awareness of its physical environment
is mapped within segments of Window's website.

Essay "Processing the Robot" / by Luke Duncalfe:

Like the depressed Marvin from the Hitchhiker's Guide to the Galaxy to
Tony Oursler's screaming avatars, we recognise more of ourselves in the
disorders of behaviour than in any representation of personality
functioning as personality ought to. The pioneer robot by Toby Collett and
the Robot Group is prone to error and lapses of judgment, and its
perception is liable to exaggerate its position. Often the robot believes
it has passed through a wall as its systems of response misfire. If this
robot were a human it would be prone to hyperbole and fantasy.

I describe the robots that seem to understand this idea of errors and
lapses of judgment as aiding the replication of personality as hailing
from the paranoid android school of behavioural computing; they replicate
personality through the embracing of the nativity of their bugs, memory
leaks, and the poorly structured systems of their own code. They deny
themselves the perfection that their Turing-completeness holds to promise.

We have a history of creating avatars of ourselves through our
contemporary technology, though this is perhaps the first time that in
seeing ourselves reflected within error prone technology we are
identifying ourselves as being less than perfect. Once the operational
mechanics of our hearts and circulatory systems were conceptualised
through the mechanical workings of hydraulic clocks--you know, they both
tick and all so it's perfect--as one example1. And likewise, the BBC tends
these days to see ourselves as possessing neurological circuitry akin to
networked computing, with neurons being the equivalent of servers; the
synapses a kind of Internet. The paranoid android then rests alongside a
long history of our borrowing from mechanised automata in order to
discover selfhood, of a degree of self-understanding that it seems can
only be realised through looking to our artifacts, like an artist who
makes sense of their identity through self portrait.

Collett's robot crawls, surveys, guesses and responds as if possessing
some low-level intelligence, its dimensions make it the size of a child's
toy and we tend to view it as such. Its achievements seem endearing, and
its quirks make it all the more so. It feels deflationary to realise that
for all its displays of spatial recognition, decision-making, of being a
day-dreaming wanderer, it is numeric encoding that comprises its
?understanding?. Its task is mechanically analogous to, say, the banality
of word processing as far as a machine that has been set a computational
assignment is concerned. For example, one-tenth of a second of spatial and
motional awareness is logged thus:

#Position2D (4:0)
#xpos ypos theta speed sidespeed turn stall
2.698 4.153 4.67748 0.469 0 0.14 0

The spatial dimensions of the Window gallery are to the robot mere packets
of data to be processed; awareness to the robot is homogenous binary
whether it be colour, space, proximity, or the data structures of its own
historical ?memory?. This is what Manovich refers to when he describes
there being two discrete layers to human-computer interaction that
effectively exist in ultimate separation from the other.2 If we allow
ourselves to rationalise the mimicry of a behavioural machine as the
achievements of a machine solely within its own numerical representation
of physical dimensions then a degree of alienation occurs between a robot
and oneself; what seemed culturally affirmative becomes only affirmative
of the cultural-mechanical divide in the cognitive reality of the two.

Yet this exhibition has been named Processing Vision. A merely
metaphorical use of the word vision it seems at first given that vision to
a computer-driven robot is meaningless beyond providing it with feedback
to be harvested into binary, until one notes that the resultant vision
provided by the projections in Window OnSite and the paths mapped on the
pages of Window OnLine are not visions of sight but are in fact visions of
data. They are pie graphs, lines of sonar range, x and y pathways of
relayed spatial coordinates of Collett's robot in the gallery, which
provide insight into the processing means of the machine at the centre of
the spew of information.

In these visions the processing is made transparent: We can see this isn't
an avatar with human-equivalent faculties of sight but it is instead being
presented as a reaper of visual and spatial measurement from its trips
around Window OnSite from which it can respond. As curator, Stephen
Cleland has cast the robot as a topographical image-maker of the gallery.
Through reading this proxy of space on screen we experience the data
relationships of the gallery similar to how the robot does through its
instrumentation, a kind of augmented spatial reality like the sight of the
terminator robot of 1984 where graphical measurements and internal
processing flashed up like tool tips.

It could be suggested that this arrangement forms a bridge between
Manovich's division by which we can relate to the vision of the robot
through a data image devoid of a computationally-false version of
spatiality. Due to glazing being applied to the window structure to
obscure our view into the site, one understands the movements of the robot
through its own computational understanding of its encounter with its
environment. The priorities of Collett's robot are based on measurement
and so one interprets the projected and streamed corollaries of space on
what approximates the robot's own terms. Window's two exhibition spaces,
OnSite and OnLine, become screens to the robot's thinking and interfaces
from which to peer into the mechanics of robotic vision; the data sources
and data outposts of a paranoid android.

Written for Window, November 2005

1. Aram Vartanian, Man-Machine from the Greeks to the Computer,
2. Lev Manovich, The Language of New Media, p. 46

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From: jillian mcdonald <jmcdonald AT>
Date: Nov 20, 2005 5:33 PM
Subject: New Data exhibition, New York

Harvestworks Digital Media Arts Center & 3-Legged Dog Media & Theater Group

New Data - a digital media arts exhibition
November 17, 2005 - January 7, 2006
Installation is open Tue - Sat 1-6pm

15 Nassau Street AT Pine St. NYC
Lower Manhattan Cultural Council's new public programming venue

Using the internet, interactive installation, sound, film and video, the
artists in New Data make art by collecting data - literally and

Robert B. Lisek
David Stout
Zoe Beloff
Jillian McDonald
Marc Lafia
Terry Nauheim.

In addition, these artists present their work on Nov 19 (Lisek/Stout), Dec
3 (Beloff/McDonald), and Dec 10 (Lafia/Nauheim).

info: Carol Parkinson, Harvestworks
Tel: 212-431-1130
info AT

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From: Marisa Olson <marisa AT>
Date: Nov 22, 2005 12:03 PM
Subject: Rafael Lozano-Hemmer: 3 expos

---------- Forwarded message ----------
From: Rafael Lozano-Hemmer <rafael AT>
Date: Nov 21, 2005 4:31 PM
Subject: 3 expos
To: marisa AT

(Versión en español abajo)

Dear friends and colleagues, hope you are well, apologies for
cross-postings. Here are announcements for three large exhibitions that
are taking place in Switzerland, Britain and Germany before the end of the
year, --in case you are close to any of them and can see them live. If you
would rather not be notified in the future about my shows please let me
know at errafael AT

All the best,

Solo exhibition at Galerie Guy Bartschi, Geneva, Switzerland.
5 November 2005 to 14 January 2006
Exhibition featuring kinetic sculptures, video, photography and
interactive environments. A catalog is available with texts in English and
French. Includes the premiere of "Entanglement", an installation with two
neon signs that write emails to each other so that they are both
simultaneously on or off. NB: In early December, "Entanglement" will also
be shown at Art Basel Miami at OMR Gallery and at the transitio_mx
festival in Mexico City.

A large-scale public art commission for the East Midlands region in England.
25 November to 4 December 2005: Brayford Campus, Lincoln University
12 January to 22 January 2006: Humberstone Gate, Leicester
3 February to 12 February 2006: Market Square, Northampton
24 February to 5 March 2006: Market Place, Derby
17 March to 26 March 2006: Canal Side at Castle Wharf, Nottingham
Under Scan is an interactive video installation for public space. In the
piece, passers-by are detected by a computer tracking system that
activates video-portraits projected within their shadow on the ground.
Over one thousand uncensored portraits of local people are activated by
the shadows.

Installation at Postdamer Platz, Berlin, Germany
Presentation: 29 November 15:00 at Postdamer Platz 10
Show: 13 December 2005 to 8 January 2006
A matrix of 1,800 fluorescent lamps cover an eleven storey-high building
in Berlin, a creation of architects realities:united. On this facade will
be displayed 55 billion unique and grammatically correct questions, --a
new German version of the software "33 Questions per Minute". People will
be able to input their own questions by typing them in at an outdoor


Estimados amigos y colegas, espero que estén bien, disculpas por los
envios repetidos e impersonales. Aquí tienen la información de tres
exposiciones ambiciosas que se presentarán en Suiza, Gran Bretaña y
Alemania antes del fin de año, --por si acaso se encuentran cerca y pueden
verlas en vivo. Si en el futuro alguien prefiere no recibir notificaciones
sobre mi trabajo por favor escribirme a errafael AT

Saludos cordiales,

Exposición en la Galería Guy Bartschi, Ginebra, Suiza.
5 noviembre 2005 al 14 enero 2006
Exposición de esculturas cinéticas, video, fotografía y entornos
interactivos. Un catálogo con textos en inglés y francés está disponible.
La muestra incluye el estreno de "Entanglement" (Entrelazamiento), una
instalación de dos letreros de neón que se escriben email para mantenerse
siempre encendidos o apagados simultáneamente. Nota: A principios de
diciembre "Entanglement" se presentará en Art Basel Miami en la Galería
OMR y en el festival
transitio_mx en la Ciudad de México.

Una obra de arte público encargada por la región de East Midlands en

25 noviembre al 4 diciembre 2005: Brayford Campus, Universidad de Lincoln
12 enero al 22 enero 2006: Humberstone Gate, Leicester
3 febrero al 12 febrero 2006: Market Square, Northampton
24 febrero al 5 marzo 2006: Market Place, Derby
17 marzo al 26 marzo 2006: Castle Wharf, Nottingham
Under Scan es una instalación de video interactivo para espacio público.
En esta pieza los transeúntes son detectados por un sistema de vigilancia
computarizado que activa video-retratos proyectados dentro de su sombra en
el piso. Más de mil retratos de personas de la región, grabados sin
censura, son proyectados dentro de las sombras.

Instalación en Postdamer Platz, Berlín, Alemania
Presentación: 29 noviembre 15:00 en Postdamer Platz 10
Exposición: 13 diciembre 2005 al 8 enero 2006
Una matriz de 1,800 luces fluorescentes cubren un edificio de 11 pisos en
Berlín, una creación de los arquitectos realities:united. En esta
plataforma electrónica se mostrarán 55 mil millones de preguntas
gramaticalmente correctas, --una versión en Alemán del software "33
Preguntas por Minuto". La gente puede introducir sus preguntas
escribiéndolas en una terminal frente al edificio.

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From: Christiane Paul <Christiane_Paul AT>
Date: Nov 24, 2005 10:32 AM
Subject: FOLLOW THROUGH by Jennifer Crowe and Scott Paterson, Whitney Museum

by Jennifer Crowe and Scott Paterson
December 1, 2005-January 29, 2006
Whitney Museum of American Art
945 Madison Ave.
5th fl.

Artists Jennifer Crowe and Scott Paterson have created a mobile,
audio-visual project that will be accessible to visitors on portable media
players in the Museum's 5th Floor Permanent Collection galleries. The
project is inspired by the discrepancy the artists found between the
dynamics of the art on view in the galleries and the rather passive and
languid body language of museum visitors looking at that art.

Referencing the structure of the existing audio tour, the artists invite
visitors to engage in a set of exercises designed to bring
well-established behavioral codes of museum attendance into relief.
Visitors are prompted by visual instructions that appear on the screens of
the handheld players. The project's title has its roots in sports
terminology where the term "follow-through" describes the act of carrying
a motion to its natural completion. With "Follow Through," the artists are
inviting visitors to complete the dynamics in the galleries in an
experience that goes beyond the mental act of contemplating or
interpreting artworks.

The exhibition was co-commissioned by the Whitney Museum of American Art
and Antenna Audio and is sponsored by Antenna Audio.

Documentation of the project will be accessible online at and

Jennifer Crowe is currently a new media producer in New York. Trained in
the arts, her education includes an MA from Bard College's Center for
Curatorial Studies and a BA in Visual Arts and Communication from the
University of California, San Diego. Jennifer has broad experience in the
arts with a special interest in digital archives and fine art
preservation. Highlights include curating exhibitions at A.I.R. Gallery
and The New Museum, initiating's Artbase, an online archive
for Net-based artworks, and producing online companions for Peabody-Award
winning art television shows at Thirteen/WNET New York Public Television.
She has coordinated digital video archiving projects for Yale University,
the Dance Heritage Coalition, and the EU's international video
preservation project PrestoSpace. She has lectured at various venues
including the Dutch Electronic Arts Festival, the American Museum of the
Moving Image, and the Guggenheim Museum.

Scott Paterson is an architect, interaction designer, and artist based in
New York. He teaches studio courses in the MFA in Design and Technology
Program at the Parsons School of Design and has also taught at Columbia
University?s Graduate School of Architecture. Trained as an architect, his
education includes a Bachelor of Architecture degree from the University
of Minnesota and a Masters degree from Columbia University. He has
received grants from the Walker Art Center, Parsons School of Design, and
The Design Institute at the University of Minnesota. Paterson lectures
internationally and his work has been exhibited at the Whitney Museum of
American Art, the Walker Art Center, and the Banff Centre for the Arts, as
well as in venues in Amsterdam, Berlin, Florence, and Mexico City.

The Whitney Museum of American Art is the leading advocate of 20th- and
21st-century American art. Founded in 1930, the Museum is regarded as the
preeminent collection of American art and includes major works and
materials from the estate of Edward Hopper, the largest public collection
of works by Alexander Calder, Louise Nevelson, and Lucas Samaras, as well
as significant works by Jasper Johns, Donald Judd, Agnes Martin, Bruce
Nauman, Georgia O'Keeffe, Claes Oldenburg, Kiki Smith, and Andy Warhol,
among other artists. With its history of exhibiting the most promising and
influential American artists and provoking intense critical and public
debate, the Whitney's signature show, the Biennial, has become a measure
of the state of contemporary art in America today.

Antenna Audio, the leading audio and audio-visual interpretation firm,
serves more than 50,000 visitors of museums and other cultural sites each
day. With 20 years of experience in the field of educational
interpretation and entertainment, Antenna Audio designs, manufactures, and
manages portable digital information systems and multilingual audio-visual
productions for clients worldwide.

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From: Marisa Olson <marisa AT>
Date: Nov 24, 2005 10:40 AM
Subject: Fwd: REFRESH! complete conference stream launched

---------- Forwarded message ----------
From: Kennard, Susan <Susan_Kennard AT>
Date: Nov 22, 2005 3:38 PM
Subject: REFRESH! complete conference stream launched

For immediate release
November 22, 2005

Banff New Media Institute launches webcast for Refresh! conference on new
media art, science, technology

In late September, more than 200 new media practitioners from around the
world gathered at the Banff New Media Institute (BNMI) at The Banff
Centre for the first Refresh! international conference on the history of
media art, science, and technology. Today marks the launch of an
educational resource for new media artists, researchers, historians and
students across the globe - access to the Refresh! conference online:

Visit this comprehensive archive to watch and listen to discussion on the
relationship between new media and the disciplines of art history,
anthropology, computing sciences, media studies, and other intercultural

The webcast includes the inaugural Rudolf Arnheim lecture, by curator and
art historian Sarat Maharaj, honouring the crucial role of Rudolf Arnheim
in the history and theory of the interaction of art, science, and new
technologies. Catch London-based writer and curator Jasia Reichardt on the
evolution of computer-based art, and the development of electronic
sculpture, art robots, and environments. Watch Andreas Broeckmann,
director of the transmediale festival for art and digital culture in
Berlin, present on the effect of the machine on creative thinking, and
Edward Shanken, professor of art history and media theory at the Savannah
College of Art and Design, address methodologies for analyzing the role of
science and technology in the history of art. Find out what Michael
Century and Sheila Petty had to say on the transition between analog and
digital technologies within the institution, and the issue of race in

The Refresh! conference was hosted by BNMI, Leonardo / ISAST, and the
Database for Virtual Art and was generously supported by the Social
Sciences and Humanities Research Council of Canada, the Daniel Langlois
Foundation, Telefilm Canada, the Canada Council for the Arts,
Goethe-institute, Deutsche Forschungsgemeinschaft, Villa Vigoni, UNESCO
DigiArts, INTEL and ITAU Cultural.

Refresh! is one of the flagship events of the 10th anniversary celebration
of BNMI, marking a decade of work by inspired artists, producers and
researchers. As BNMI looks to the next 10 years, it will continue to
engage in research, development, training and the exploration of broader
social, political and cultural issues, informing new media in its many

- 30 -

For more information contact:
Iwona Erskine-Kellie * BNMI Assistant
+1-403-762-6652 * iwona_erskine-kellie AT

Susan Kennard
Director & Executive Producer
The Banff New Media Institute
The Banff Centre

107 Tunnel Mountain Drive
Box 1020, Station 40
Banff, Alberta Canada T1L 1H5
Tel. +1 403 762 6481
Fax. +1 403 762 6665

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New Museum of Contemporary Art.

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

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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN:
1525-9110. Volume 10, number 47. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

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