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: 12.09.05
Date: Fri, 9 Dec 2005 11:25:30 -0800

RHIZOME DIGEST: December 09, 2005


1. Lauren Cornell: Rhizome seeks designer for youth project

2. Amy Alexander: UC San Diego Call for Graduate Applications
3. Elisa Giaccardi: Call for Artwork and Papers: IV 2006 and CGIV 2006
4. Brooke Singer: Tenure Track Job Opening: Media, Society and the Arts at
SUNY Purchase
5. Timothy Weaver: Tenure Track Position Opening: Assistant Professor,
Electonic Media Arts Design (eMAD). University of Denver
6. Mark Tribe: Tenure-track Faculty Position in Sculpture/Multi-Media at
Brown University

7. Kristine Ploug: Artificial Special: Art Games
8. t.whid: Fine Art in Space and 31GRAND present: PodART
9. Jo-Anne Green: Turbulence Commission: "mimoSa"
10. patricia hughes: Breaking & Entering: Art and the Video Game

+Commissioned by
11. Alison Bing: Organic Mechanics: The Lure of Hi-Lo Tech (in Miami)

12. Marisa Olson, marc garrett, Pall Thayer, Ryan Griffis, aabrahams, Joy
Garnett, Jack Stenner, patrick lichty, Robbin Murphy, James Huckenpahler,
Myriam Thyes, Simon Biggs, M. River, Andrei Thomaz: new name for Net Art

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Rhizome is now offering Organizational Subscriptions, group memberships
that can be purchased at the institutional level. These subscriptions
allow participants at institutions to access Rhizome's services without
having to purchase individual memberships. For a discounted rate, students
or faculty at universities or visitors to art centers can have access to
Rhizome?s archives of art and text as well as guides and educational tools
to make navigation of this content easy. Rhizome is also offering
subsidized Organizational Subscriptions to qualifying institutions in poor
or excluded communities. Please visit for
more information or contact Lauren Cornell at LaurenCornell AT

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From: Lauren Cornell <laurencornell AT>
Date: Dec 7, 2005 11:00 AM
Subject: Rhizome seeks designer for youth project

Hi, Please forward this brief call to any interested parties! Thank you!

Rhizome seeks a designer to build an educational CD-ROM for youth.
Candidates should have experience with graphic design and multi-media
authoring. Familiarity with youth media is preferred. The CD-ROM will
feature a selection of new media art works contextualized within
supplementary materials. Please have interested parties contact
laurencornell at rhizome dot org with their resume. Hourly rate is
negotiable. Resume deadline is 12/14.

About Rhizome:
Established in 1996, is an online platform for the global new
media arts community. We support this community through a number of
programs, including: online discussions, publications, an events calendar,
opportunity listings, archiving of new media art, commissioning of new
artwork, and offline and online exhibits. Since 2003, we have been
affiliated with the New Museum of Contemporary Art.

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

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

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From: Amy Alexander <plagiari AT>
Date: Dec 4, 2005 12:44 PM
Subject: UC San Diego Call for Graduate Applications

University of California, San Diego, Department of Visual Arts, is
currently accepting applications to its MFA and PhD programs in digital

Rated as one of the top graduate program in new media arts in the U.S.,
our program is also among the largest, with eight full-time faculty. It is
also one of the oldest: we started teaching computer art in 1973. Today
our research
interests and teaching cover the full range of areas in digital arts,
including net art, software and generative art, online and live
performance, distributed virtual worlds, computer games, net activism and
tactical media, critical engineering, media installation, digital cinema,
location based media. We also have a very strong commitment to theory and
a number of our faculty are known for their critical writing as well as
their art projects.

Since the new media track exists within the larger framework of the Visual
Arts Department with its thirty full-time faculty, graduate students
benefit from access to top studio artists, media artists, art and media
historians teaching in the same department. We have close relationships
with a number of faculty in the Music department working on computer
music, as well as top artists and critics teaching in other new media
programs in Southern California. The additional unique resources available
on campus to support faculty and student research include CRCA (Center for
Research in Computing and the Arts) and CAL-IT(2) (California Institute
for Telecommunication and Information Technology). CAL-IT(2)'s new
building, which opens in the Spring of 2005, features one of the best set
of research labs and technical resources for digital arts work anywhere in
the world, as well as a gallery, screening rooms, and studios for visiting
artists and graduate students and faculty.

Further information and application procedures are available from:


UCSD Visual Arts Computing Faculty
Amy Alexander Adriene Jenik
Sheldon Brown Natalie Jerimijenko
Jordan Crandall Lev Manovich
Ricardo Dominguez Brett Stalbaum


Note (from Amy Alexander) - Mail sent to the email address in the header
may or may not actually reach me! Better to contact me at ajalexander at
ucsddashedu. Replace the dash with the obvious character. Or find my
latest contact info at the bottom of the homepage. Danke,
gracias, and thanks.

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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: Elisa Giaccardi <elisa.giaccardi AT>
Date: Dec 7, 2005 6:26 AM
Subject: Call for Artwork and Papers: IV 2006 and CGIV 2006

Please share. Apologies for multiple postings.

Call for Artwork and Papers:

IV 2006, International Conference on Information Visualization London,
CGIV 2006, International Conference on Computer Graphics, Image and
Visualization, Sydney, Australia


1 February 2006: Digital Art Gallery (D-ART 06)
1 March 2006: Submission of papers & Submission of tutorials
25 April 2006: Submission of camera-ready material.

All the info can be found at:

Thank you.

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From: Brooke Singer <brooke AT>
Date: Dec 8, 2005 7:28 AM
Subject: Tenure Track Job Opening: Media, Society and the Arts at SUNY

Purchase College, SUNY. The School of Natural and Social Sciences invites
applications for a tenure-track position in Media, Society and the Arts
(MSA) at the Assistant Professor level, beginning Fall 2006. MSA is an
interdisciplinary major that links the arts, media studies and the social
sciences. We seek candidates with research expertise in the sociology or
anthropology of virtual culture and new media technologies. As part of
regular duties, the successful candidate will offer courses that
contribute to the New Media program as well as MSA, plus a course per year
in the freshman general education program. Purchase College is an
undergraduate institution located 25 miles north of New York City. The
faculty is committed to providing a rigorous curriculum designed to
prepare students for graduate work. Excellence in teaching and the
potential to maintain an active research program are essential. Ph.D. in
anthropology, sociology, or related field required by August 20!

Applicants should send a cover letter, CV, statements of research
interests and teaching philosophy, representative publications, and three
letters of reference to the attention of Melissa Swinton-Ghafoor,
Affirmative Action Officer, Media, Society and Arts Search Committee,
Purchase College, SUNY, 735 Anderson Hill Road, Purchase, NY 10577-1400.
Review of applications will begin immediately and continue until the
position is filled. Purchase College, SUNY is an Affirmative Action/Equal
Opportunity Employer. Applications from minorities and women are strongly

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Rhizome ArtBase Exhibitions

Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition
on the politics of internet appearances, guest-curated by Marina Grzinic
from the Rhizome ArtBase.

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From: Timothy Weaver <tweaver AT>
Date: Dec 8, 2005 10:58 AM
Subject: Tenure Track Position Opening: Assistant Professor, Electonic
Media Arts Design (eMAD). University of Denver

Tenure Track Position Opening: Assistant Professor, Electonic Media Arts
Design (eMAD), School of Art & Art History, University of Denver, Denver,
Colorado, USA

Job Title: Assistant Professor ? eMAD
Posting Hiring Range: Competitive
Work Schedule (Days & Hours): 9 months, hours vary
Department: Art & Art History

Job Summary: Assistant Professor, tenure track, with position emphasis on
Digital Video and related emerging domains in Electronic Media Arts
Design. Teach five 10 week classes per year in well equipped Mac studio,
up to 15 students/class, undergraduate/graduate eMAD and Digital Media
Studies majors and undergraduate Studio Art and Game Development (Computer
Science) majors. School has approximately 160 majors in eMAD, Art History
and Studio Art.; 15 faculty (4 in eMAD); expanding MFA program in eMAD, 30
graduate Art History students.

Preferred Qualifications: Ability to teach history of visual communication
at multiple levels, digital video/motion graphics/time-based media,
exhibition record all desirable.

Minimum Qualifications (These qualifications refer to education and/or
experience): MFA required at time of appointment.
Job Open Date: 09-16-2005
Job Close Date: Open Until Filled
Job Category: Faculty
Job Type: Full-Time
Appointment Status: Benefited
Special Instructions to Applicants: Position open until filled. All
applicants must complete the on-line application form at
where you may also upload your cover letter and CV (including software
proficiencies). Please send teaching philosophy, artist's statement,
documentation of own and students' work (URL, video, DVD, CD-ROM), contact
information (e-mail, address, phone) for 3 references and SASE to eMAD
Search Committee, University of Denver, School of Art and Art History,
2121 East Asbury Avenue, Denver, Colorado 80208. The University of Denver
is committed to enhancing the diversity of its faculty and staff and
encourages applications from women, minorities, people with disabilities
and veterans. DU is an EEO/AA employer.

Additional background information available online>>
University of Denver website at:
DU School of Art & Art History profile at:
DU SAAH eMAD program information at:
DU Digital Media Studies program information at:
Human Resources and reference information online >>
DU Human Resources website 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: Dec 7, 2005 10:13 AM
Subject: Tenure-track Faculty Position in Sculpture/Multi-Media at Brown

Please post or forward to interested parties

Announcement of Sculpture/Multi-Media

TENURE TRACK POSITION ? Sculpture/Multi-Media

Position: Brown University Department of Visual Art seeks dynamic
and energetic artist to teach sculpture at the undergraduate level.

Requirements: Applicants should have an earned MFA, and 3 years (full
time equivalent) college level teaching beyond Graduate School and must be
able to teach both Beginning and Advanced Sculpture. This candidate will
sometimes teach a Foundation Drawing/2d 3d/Design course.

Qualified candidates must be well-versed in contemporary sculpture
practice including installation, performance, video, and supportive
digital applications as well as a wide range of experience in fabrication
(wood, metal, mold making/plaster casting, plastics, or fiber, etc.). A
strong exhibition record and knowledge of contemporary theory and practice
is essential. Interest in developing interdisciplinary courses is a plus.

Starting Date: Appointment to begin September 1, 2006.

Application Procedure: Applicants should send paper copies of CV, letter
of application, slide list, artist statement, teaching philosophy and 3
letters of recommendation, a portfolio of 10- 20 slides or CD/DVD as
applicable (formatted for Mac) and/or website, and SASE to:

Chair, Sculpture Search
Box 1861
Visual Art Department
Brown University
Providence, RI 02912

Salary: Competitive and commensurate with qualifications
and experience.

Deadline: To receive full consideration complete applications must
be postmarked by: January 7, 2006.

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From: Kristine Ploug <kristine AT>
Date: Dec 2, 2005 11:41 AM
Subject: Artificial Special: Art Games

Art Games

Art Games is becoming a genre. Kristine Ploug gives an introduction.

Originally published at:

A list of recommended Art Games here:

All articles in this series:

Computer Games
The first computer game, Spacewar, was born at Massachusetts Institute of
Technology in 1961. Then an era of Pong and subsequently more advanced
arcade games occurred. Then came the consoles ? both for use at home and
the handheld ones, the latest arrival being the PlayStation Portable, the
PSP. We now live in a time of increasingly advanced 3D games for different

The computer game industry is thriving. It is making more money than the
movie industry, and games are showing up in more and more contexts. A lot
of box office hits are accompanied by games (Harry Potter, Lord of the
Ring ?) and with the new movie King Kong the game is even launched before
the movie.
Games are virtually everywhere. Politicians have games on their websites
as part of their election campaigns. Kids are increasingly learning
through games. Games are everywhere and it is believed that they will move
into even more places in the future.

Introducing: Art Games
But enough about games as such. As a small subcategory of computer games
you find Art Games. They are made by artists as pieces of art. Some have
ulterior motives, mainly political, others are merely a playful piece of
interaction with the user.
What makes them art and not just games? For some, the fact that they were
made as art, for others the fact that they are exhibited as art - it can
all be boiled down to the intention behind them, originating from either
the curator or the artist. An example of an art game is Samorost, which
was made as a quirky design project, rather than art, but has been seen by
several curators as art.

In the right context, commercial games can be perceived as art as well.
There is no doubt that a lot of talent, skill and will goes into producing
the commercial games. And although they are not produced as art, but
merely as entertainment, we see a lot of examples of things that were not
meant as art being exhibited in an art context. Benjamin Fry's Valence is
an example of a tool with a concrete purpose that has been exhibited as
art and thus becomes art. And what commercial computer games are lacking
in artistic thought, they undoubtedly possess in craft and an impressive
use of the technology. Another discussion is, whether it is good art or
bad and I must admit that I find most commercial games inferior as art.
And not least: I find the discussion boring. So, back to art games.

Art Games: A Few Characteristics
It seems that there are a few defining characteristics to art games.
Tiffany Holmes gives a definition of art games in her article Arcade
Classics Spawn Art? Current Trends in the Art Game Genre (2003). Her
definition goes: " ? art games contain two of the following: a defined way
to win or experience success in a mental challenge, passage through a
series of levels (that may or may not be hierarchical), or a central
character or icon which represents the player."
I can add that in most cases the art games are neither addictive nor meant
to be played over and over, but merely shorter comments. Most art games
are playable online, they are usually made for a PC and usually meant for
a single player. The games always have interaction, but this interaction
doesn't always have an effect on what goes on in the game. In Natalie
Bookchin's game The Intruder, the many different games played by the user
are merely a way to keep the user busy, while listening to a story by
Jorge Luis Borges.

Art games can roughly be divided into two groups: political games and
aesthetic games. A clear political game is Gonzalo Frasca's September 12.
Another division can be made between the made-from-scratch games and the
art mods ? modifications of existing games. A lot of the big games allow
modding, where you can create your own version of the game. A category
related to the art mods is Machinima (a short form of mechanical animation
), pre-recorded and often edited movies made in a game by many users
coordinating their characters. At this year's Ars Electronica, they showed
several Machinimas.

Several art games don't quite fit the categories, but are using elements
from the game format in the artwork. Computer based art has the advantage
of using a media that is truly contemporary and integrated in our everyday
life ? at Artificial, we believe that it is the natural art of our times.
Reacting to ? and using the language of ? computer games is an obvious
In a recent interview with Artificial, the creator behind Samorost, Jakub
Dvorsky, said when asked what the game genre has to offer: "It's obvious -
games are so popular because when you are playing games you are not only a
viewer but also a player - you can influence what is happening in the
game. So the artist creating an 'artistic game' can count on it and
involve some new ideas in it, which couldn't work in movies, literature or
in paintings. In my opinion, the game genre brings a whole new universe of
possibilities for artists."

With games being the art form of the future, it is quite funny, though,
that a lot of artist s use the retro-aesthetics of the 70's and 80's
games. The pixelated spaceship of Space Invaders is seen several places
and so is Pac Man and Super Mario. It is quite rare to see an art game
looking like a slick 3D photo - like Hitman. There might be several
reasons for this. The nostalgic, iconic, retro-aesthetics might be what
the artists are after, but it might also be because the 3D environment is
simply not feasible. The computer industry spends years and lots of money
on their production and resembling that on a artist budget might not be

To be Continued ?
Over the next month, Artificial will bring you various articles about art
games. Stay tuned. And in case you are still wondering: Computer games are
for grown-ups - we have statistic material to back us on this one.


For theoretical readings about art games:
Pippa Stalker:

Tiffany Holmes:
"Arcade Classics Spawn Art? Current Trends in the Art Game Genre"

Rebecca Cannon:
Introduction to Artistic Computer Game Modification.

Tilman Baumgärtel:
On a Number of Aspects of Artistic Computer Games

Anne-Marie Schleiner et al:
Theme issue of the online journal Switch: Games

Computer Games by Artists (Curated by Tilman Baumgärtel)
Trigger (Cutared by Rebecca Cannon)
Cracking the Maze (Curated by Anne-Marie Schleiner)

Other links:
Website dedicated to art games run by Julian Oliver and Rebecca Cannon:

Cool site with a blog and links to art games:

Kristine Ploug
kristine AT
Tel: +45 2819 8374

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From: t.whid <twhid AT>
Date: Dec 6, 2005 9:22 PM
Subject:Fine Art in Space and 31GRAND present: PodART

For Immediate Release:
Gallery Hours: Monday through Saturday, 9am. to 5pm.
Fine Art in Space 10-47 48th Avenue Long Island City, NY 11101
(718) 392-7766

PodART December 9, 2005 - January 17, 2005 at FINE ART IN SPACE Opening
Reception: December 9, 2005, 7 to 9pm

Fine Art in Space is pleased to present in collaboration with 31GRAND,the
first group exhibition of video art intended to be viewed and soldsolely
on the iPod. Apple, the computer of choice by much of the artworld is the
inspiration for our new exhibition.

This curatorial exploration was inspired by the introduction of thelatest
iPod, which now plays video. In recent years, Video art hasbeen growing
rapidly in popularity. Their ongoing introduction of moretechnologically
advanced products has resulted in the acceptance andaccessibility of this
media. Apple's latest achievements with the iPodhave garnered this art
form even more portability.

Artists featured in PodART will include the work of: Gogol Bordello,Jason
Clay Lewis, Nelson Loskamp, MTAA, Marisa Olson, EugenioPercossi, Jean
Pigozzi, Adam Stennett, Lee Walton, and Jeff Wyckoff.

MTAA is an art duo working on and off-line and are known for
theirconceptual and often humorous art projects. Past exhibitions have
beenat the New Museum of Contemporary Art, The Getty Research
Institute,and Postmasters gallery.

Based in San Francisco, Marisa Olson's work has been commissioned by the
Whitney Museum of American Art and she has most recently performed or
exhibited at the New Museum for Contemporary Art, the Berkeley
ArtMuseum/Pacific Film Archive, Side Cinema-Newcastle, New Langton Arts,
Southern Exposure, Foxy Productions, Debs & Co, Galapagos, FluxFactory,
667 Shotwell, Pond, the international Futuresonic, Electrofringe,
Cinemascope-London, Machinista, Scope, and VIPER festivals, and
elsewhere. She has held residencies and fellowships at Goldsmiths, the
New School, Northwestern University, the Technical University-Dresden,
and the Banff Centre for the Arts. She participated in an exhibition
which Artforum highlighted among the "Best of 2004" and while Wired has
called her both funny and humorous,the New York Times has called her work
"anything but stupid."

Jeff Wyckoff is an artist and scientist whose video work
includesintravital imaging, cancer research and often music. Mr. Wyckoff
hasan upcoming lecture at MIT in February and exhibitions in Belgrade,A
ntwerp, and is currently working with the Art and Genome Center in
Each video object is a limited edition and is sold in iPod forma twith
the player.

Press contact: Heather Stephens at gallery31grand AT 31GRAND
31 Grand Street Brooklyn, NY 11211 718-388-2858 Gallery hours: F-M, 1pm ?
7pm gallery31grand AT


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From: Jo-Anne Green <jo AT>
Date: Dec 7, 2005 8:47 AM
Subject: Turbulence Commission: "mimoSa"

December 7, 2005
Turbulence Commission: "mimoSa: Urban Intervention and Information
Correctional Machine" by Alexandre Freire, Etienne Delacroix, Giuliano
Djahdjah, Luis "Asa" Fagundes, Murmur, Ricardo Ruiz, Romano, and Tatiana
Needs the VLC Media Player (see main page for URL)

"mimoSa" is based on the concept that people start to think critically
about media when they produce and distribute it themselves. In Brazil, new
systems of media production and distribution are crucial to achieving a
more just distribution of power and representation.

"mimoSa" is a continuous workshop that moves around Brazilian cities
collecting people?s stories using recycled and reconstructed technologies.
The aim of the workshops is to design a machine capable of altering the
Brazilian mediascape. During the workshops a group of artists,
programmers, and activists create and operate this machine. The machine
records stories, stores them in a database, broadcasts them on FM, and
records them to CD. It also prints telephone numbers and instructions on
city streets and walls so that people passing by are able to access the
stories via their mobile phones. "mimoSa" maps these activities via its
web portal from which visitors can access both audio and video interviews.

Begun in November 2005, the web site will continue to grow as the artists
travel and present workshops in various Brazilian cities; "mimoSa" will
keep walking around until 1 GB of information is loaded to the server.

"mimoSa: Urban Intervention and Information Correctional Machine" is a
2005 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore)
for its Turbulence web site. It was made possible with funding from the
Andy Warhol Foundation for the Visual Arts.


ALEXANDRE FREIRE: mobile programmer, responsible for setting up the audio
mobile server.
ETIENNE DELACROIX: MIT fellow and teacher at University of Sao Paulo.
Works with discarded computers and other technological garbage.
Responsible for assembly of a portable PC and the machine's backbone.
GIULIANO DJAHDJAH: free-radio practitioner and documentarian, responsible
for workshops and urban interventions.
LUÍS "ASA" FAGUNDES: hacker, PHP, C++ programmer.
MURMUR: a group collecting personal stories on mobile phones in Toronto,
Canada. Responsible for mobile connectivity.
RICARDO RUIZ: media practitioner, responsible for workshops, construction
of the machine and urban interventions.
ROMANO: radio artist and audio designer, responsible for audio recording.
TATIANA WELLS: new media researcher, responsible for urban interventions
and collecting stories.

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From: patricia hughes <pkhughes AT>
Date: Dec 8, 2005 4:50 PM
Subject: Breaking & Entering: Art and the Video Game

OPENING December 9, 7-10pm AT PaceWildenstein 545 West 22nd St

works by Cory Arcangel, JODI, Paper Rad, RSG, Jon Haddock, Eddo Stern,
Brody Condon

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+ Commissioned by +

Organic Mechanics: The Lure of Hi-Lo Tech (in Miami)
by Alison Bing

Every December, thousands of US art world insiders flock to Miami, where
six art fairs lure trendspotters trolling for The Next Big Thing.
Treatment of new media by participants in this more mainstream commercial
realm might be said to reflect the extent to which new media is being
accepted in the broader art world. To say there wasn't lot of new media
art on display in Miami, this year, would be both true and false. In a
town known for flash and dazzle, there was a notable dearth of whiz-bang
wizardry and techno novelty on view. But even though it didn't make a
spectacle of itself, new media put on quite a show with what might be
called organic mechanics: sophisticated technology that doesn't present
itself as such, but instead uses high-tech means to mimic low-tech

Tucked in among the many paintings and collages were psychedelic tiled
wall installations made possible by PhotoShop, digitally rendered
paintings and drawings, and digital videos with decidedly low-res effects.
These works appeal to a certain nostalgia for a time when collectors? new
acquisitions did not necessitate the purchase of a power strip, but many
seem to serve a more subversive purpose as well. New media artists have
found a way to hack the art world system that still preferences the
tangible, archival, and art historical, in order to introduce the
culture-jamming idea that received imagery may yet be altered, and
conventional wisdom reconfigured.

A Taste for Low Tech
Perhaps the most literal instance of catering to low-tech tastes was at
NADA, where Takashi Murakami protégé Mahomi Kunikata transferred digital
anime onto sushi, making technology digestible to collectors who might not
otherwise find it especially palatable. To witness collectors gobble up
Kunikata's work was to witness the PacMan-ization of new media, a
nostalgic appeal to a time when technology was simpler and easy to grasp ?
as was the art market. Kunikata's high-low tech hybrid was tough to match
for sheer improbability and appeal to appetites, but Mads Lynnerup did the
trick with his surprisingly self-explanatory digital video Untying a Shoe
with an Erection, at Art Basel Miami Beach?s Video Lounge.

Outside the Video Lounge, the seemingly anachronistic focus on painting at
ABMB recalled a time, last century, when being a collector mostly meant
purchasing painting and possibly sculpture -- so it almost seemed like
time travel crossing town to visit the Cisneros Fontanals Art Foundation
(CiFo) and the Marguiles Collection, with their focus on photography,
video, and new media works by the likes of Chantal Akerman, Julian
Rosfeldt, Tabaimo, Tony Oursler, and others. But here, too, organic
mechanics were at play: In Yang Zhenzhong's Let's Puff at CiFo, for
example, a street scene rippled every time a young woman projected on the
opposite wall blew in its direction. And despite all the pimp-my-canvas
glossy oils at ABMB, the collectors there proved to be no oils-only
Luddites. Among the biggest hits at the fair were Roxy Paine's
computer-generated paintings and Kota Ezawa's digitally-produced light-box
drawings reinterpreting famous photographs.

Papering Over Differences
At times, technology seemed unduly self-effacing in works on paper and
installations shown in Miami. New media darling Matthew Ritchie made a
splash with wall art pieces that appeared to drip onto the floor, but
sorely missed were his even higher-impact Web-based works such as The Hard
Way ( ). William Kentridge's
breakthrough film works involving torn-paper dictators and animatronic
coffee-pots were duly heralded at Miami Art Central retrospective, but at
ABMB his work was represented by drawings and a paper office set
installation used in a piece revolving around a corporate-tycoon
character. The lack of filmic context here for Kentridge's power-struggle
poetics led one well-heeled fair-goer to slur over his corporate-sponsored
champagne, "It's like Disney in three dimensions, only without the

But although technology occasionally seemed conspicuously absent in Miami,
often it was merely papered over. At Pulse Art Fair, Cassandra C. Jones
reconfigured digital photographs of cheerleaders exposing their skivvies
into wallpaper patterns that paradoxically resemble Amish quilts, and
Kendall Geer's After Love (Fuck) at ABMB spoofed Robert Indiana with
digital tiling effects to create a fitting backdrop for framed semen and
plastic-wrapped idols. The drawings by Assume Vivid Astro Focus at ABMB
Positions could be hints of a new media work in progress -- one always
hopes for another splashy Bionic Woman/Yoko Ono tribute installation,
complete with wall decals and floor-to-ceiling video -- but they also held
their own as intriguing works on paper.

What Miami witnessed was not a reversal of fortune for technology; once
invented, the wheel has a stubborn way of staying with us. But perhaps
what we are seeing is a kind of reverse engineering -- in computer speak,
a way of dissembling systems already in place in order to rebuild a
version that's similar in function, yet more reliable and responsive to
lived experience. In this way, new media seems to be successfully tapping
conservative collectors' object-oriented nostalgia. Yet this move also
captures a zeitgeist of systems collapse and creative reconfiguration that
echoes Situationism, the Beat Era, and pre-war Europe. The new operating
paradigm for new media art may prove to be not PacMan but collage, that
pre-computer Beta version of reverse-engineering advanced by Cubists.
There's no denying technology in an art world and a society where it's so
ubiquitous as to be invisible -- and if we can apply it to undo flawed
assumptions, we may yet embark on a meaningful rebuild.

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From: Marisa Olson <marisa AT>, marc
<marc.garrett AT>, Pall Thayer <p_thay AT>,
Ryan Griffis <ryan.griffis AT>, aabrahams <aabrahams AT>,
<joy.garnett AT>, Jack Stenner <jack AT>, patrick
lichty <voyd AT>, urphy <murphy AT>, James Huckenpahler
<supertwist AT>, Myriam Thyes <myriam AT>, Simon Biggs
<simon AT>, M. River <mriver102 AT>, Andrei Thomaz
<andreithomaz AT>
Date: Dec 4, 2005 2:49 PM
Subject: new name for Net Art News?

+ Marisa Olson <marisa AT> posted: +

Dear readers,

I'm writing to solicit your advice. We would like to change the name of
Net Art News and I'd like your input on a new name.

As Lauren mentioned in a recent note to you, Rhizome is currently
redesigning our site. This is an exciting moment in which we are thinking
about all the recent developments in our field and how Rhizome can
reflect, support, and foster them.

On the editorial side, my goal with NetArtNews has been to broaden our
scope and reach, getting more international in our coverage and also
covering not only internet art but also software art, performance, sound
art, data visualization, technology-enabled social sculpture, locative
media, video, and the myriad other branches of new media practice.

While we are by no means giving up on netart, the title Net Art News no
longer reflects the breadth of the publication. The first and simplest
title that comes to mind is 'Media Art News,' but of course this is
potentially dry. I'm also not necessarily looking to split hairs over the
phrases 'media art' and 'new media art.' The title needs to be rather
short, self-descriptive, and hopefully also inviting.

What are your suggestions? Any feedback would be greatly appreciated. If
you'd like to refamiliarize yourself with Net Art News, you can look up
previous pieces, by month, here:

With thanks,

+ + +
Marisa Olson
Editor & Curator at Large

+ marc <marc.garrett AT> replied: +

Hi Marisa and all,

Perhaps, 'Rhizomatic ArtNews' - reflecting the nature of what Rhizome's
original intentions & function? Thus decalring the ahem 'brand' in the
title, whilst declaring the context at the same time. If you are now, more
consciously bound to explore creativity that relates to all aspects of
media art ina wider context, this is a start...

Here are a few 'off the cuff' suggestions also:-

Media Arts Transmissions
Rhizomatic ArtNews
Media Art Broadcast
Media Art Voice
Media Art at Rhizome
Rhizomatic Relations
Rhizomatic Communications
Media Art Relations
Media Art Today
Media Art Creativity
Creative Networking Info
Creative Networking News
Media Art Connections
Media Art Radar
Media creative reference

+ Marisa Olson replied: +


Thanks for your thoughtful response! A number of these are interesting.
Mark Tribe once told me that the title "Net Art News" wasn't intended to
be just news about netart, but more net-based art news. Obviously the
emphasis is on new media art, but I like that we (meaning not just staff,
but us in the general Rhizome community) are moving towards a broader
conception of what that encompasses... It says a lot about the vitality of
our field! [....]

+ Pall Thayer <p_thay AT> replied: +

I agree that "Media Art Today" sounds good but we can go a step further
and call it, "Media Art Tomorrow". I think we have to stop there though,
"Media Art Next Week" is just too long.

Or, what say we put ourselves on top of everything and call it "Art
Tomorrow". That actually has a cool ring to it. I've always disliked the
terms "media art" (what art is NOT "media art"?) and "new media art"
(what's so new about media that's been around for decades?).

+ Ryan Griffis <ryan.griffis AT> replied: +

I like Pall's suggestion for using "tomorrow"... but i don't like the
avant garde associations of being "ahead" as a
qualifier... ahead of what exactly?
how about something like "Art Connections" (with the "media" or not) since
most of the pieces are really about introducing then linking people to
work or more info about work?
Or running with Marc's "radar" concept: "Art Blips" (again, with or w/o

+ aabrahams <aabrahams AT> replied: +

As Ryan I don't like the avantgarde connotation of Tomorrow

Among others I like



+ Marc Garrett replied: +

I agree,

'Tomorrow' smells.

+ Pall Thayer replied: +

It doesn't smell any more than "new media". Maybe I'll just use it as a
nom de plume, "new work by Art Tomorrow".

Best r.

+ Marc Garrett replied: +

Hi Pall,

I suppose one can assume 'smells' to be a rather subjective affair, as
well as biological sensation. Although I am just about recovering from
flu, and my nose cannot smell much at the moment.

Personally, I do feel that 'Art Tomorrow', smacks of modernist &
post-merdonist intentions (dare I say), or like a business marketing ploy,
or like some mid-90's cyber-Kroker thang.

I totally agree with your perception regarding the term "new media", it is
pretty worn out these days, especially with how things are generally and
swiftly shifting, moving along.

It's going to be interesting watching some of the (more desperate)
historians trying to claim honourship on the term "new media art", now.
The territorial scuttling has already begun I believe, I can hear the
keyboards tapping away....

"I created the term first"
"Yes I did- I said it first"
"No it wasn't you, It was me - I said it first"
"Honest, I said it first"..........

*and history becomes yet another marketing strategy with the aim to
promote the more dominant canons of the day, leaving the wider context of
creativity to rot away forever in the vaults of 'they were not good enough
to seen.....................*

ooops, sorry for being a bit cynical at the end there.

+ joy.garnett AT <joy.garnett AT> suggested: +

maybe call it... "Download" ??

+ Jack Stenner <jack AT> suggested: +


+ Ryan Griffis replied: +

Ryan Griffis <ryan.griffis AT>

i think the ones below are getting somewhere interesting...

sprout out (abe [linkoln])

pop3 (abe [linkoln])

artHive (Dirk [Vekemans])

Rhizomedia (from Jack Stenner)

i think i'm kinda into "Rhizomedia"

+ Marisa Olson replied: +

The hits keep on coming!

James Huckenpahler wrote:

> 3 possible titles, maybe too goofy or opaque...

And Robbin Murphy, of The Thing sent this fun list of ideas contributed by
Thingist subscribers, when they were thinking of changing the name of (I asked Robbin if I could forward it given it's historical


+ patrick lichty <voyd AT> suggested: +

A few here:
Rhizome Mediascape

+ Myriam Thyes <myriam AT> replied: +

Dear Marisa, dear colleagues,

why not re-interprete the word NET? I like the word Net Art, though I´m
not an artist that creates technically interactive works or design own new

1) NET can as well symbolize that people working in the new - electronic -
media arts tend much more to build a communicative international NET than
artists in traditional media do.

2) The communicative networking between us is more democratic / equal and
less based on financial interests and hierarchy than the relations in the
art market (I was a painter first, so I can tell).

3) Most of us need and use the interNET, no matter what kind of
(electronic / digital) arts we are into.

For these reasons I´d suggest to leave the name Net Art News as it is and
just re-define its meaning.

Sorry for my English, best,

+ Simon Biggs <simon AT> replied: +

Change one letter

New Art News

+ M. River <mriver102 AT> replied: +

like it.


has good graphic look.

+ Marc Garrett replied: +

I get where you're coming from, but I have a problem with the term 'new'...

Why must we conform to the trad-marketing rule, that to have something
seen as contemporary that it must have the word 'new' in it all of the

I tend to think that using the term 'new' these days, is almost like
saying 'old'.

A kind of retro-step backwards to the over-mediated, historical
word'Modern'- imagine that- then it might as well be instead called
of'nan', 'man' - 'modern art news', and where would we all be then?

I feel, that a subtle trick could be used here. I think that it would be
great to sustain and promote the idea of being 'new' or fresh, but without
actually saying the word 'new'. That would be cool...

+ Andrei Thomaz <andreithomaz AT> replied: +

i really don't like the "futuristic names"... It is just if something
could be better only because it uses high technology. If somebody works
with Atari videogames from 80's, would can this work be published under
the title "new artnews" ?

And "net" (and things like that) has a point: it puts the question of
connection and of rhizome above the futuristic and technologic ones

excuse me for bad english,

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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 49. Article submissions to list AT
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