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: 12.30.05
Date: Fri, 30 Dec 2005 13:38:55 -0800

RHIZOME DIGEST: December 30, 2005


1. Juliet Davis: Call For Participation - UFVA Conference New Media
2. Marisa Olson: Pratt seeks Chair-Computer Graphics & Interactive Media
3. jlboyer AT Echotrope call for single channel media

4. Marjan van Mourik: 33 Questions per Minute by Rafael Lozano-Hemmer
5. Mica Scalin: My Year in Art

+Commissioned by
6. Lauren O?Neill-Butler: Once, Twice, Three Times a Lady: The Work of
Lynn Hershman

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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: Juliet Davis <info AT>
Date: Dec 24, 2005 1:30 PM
Subject: Call For Participation - UFVA Conference New Media Exhibition

August 1-5, 2006
Chapman University
Orange, California


SUBMISSIONS DUE: February 15, 2006

1) Application Form

2) Any additional project documentation needed for consideration (for
example, CD-ROM, DVD, JPEGS?no slides, please).

3) Participation in the program requires active membership in the UFVA and
pre-registration for the conference.



Juliet Davis
Dept. of Communication
University of Tampa
401 West Kennedy Blvd. Box 106-F
Tampa, FL 33606
phone: 727.418.8511
fax: 813-253-6246
julietdavis AT

QUESTIONS? Contact Juliet Davis at Juliet.davis AT or
info AT

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From: Marisa Olson <marisa AT>
Date: Dec 28, 2005 6:21 PM
Subject: Pratt seeks Chair-Computer Graphics & Interactive Media

Chairperson - Computer Graphics & Interactive Media
Pratt Institute
(Brooklyn NY)
Date Posted: 12/22/2005
Closing Date: 02/03/2006
Title: Chairperson - Computer Graphics & Interactive Media
Department: Computer Graphics and Interactive Media
School: Art and Design

Position Summary:
Reporting to the Dean of the School of Art and Design, the Chairperson
will assume academic and administrative leadership of the department,
which offers both M.F.A. and B.F.A. degrees with specializations in
Digital Animation & Motion Arts, Interactive Media & Game Arts, Digital
Imaging and Emerging Arts. The selected candidate will offer conceptual
vision regarding the mission, character and nature of the program and
promote a rich and stimulating environment for teaching, design, research
and professional practice. This administrative appointment carries a
twelve month per year workload and a three year contract which may be

Job Responsibilities:

Supervise and develop the department's curriculum and educational programs.
Recruit, supervise and develop faculty and staff.
Teach at least one course per semester.
Recruit and advise students.
Develop and maintain assessment instruments.
Maintain accreditaion of the program with NASAD and MSCHE.
Establish links to professional organizations and leading practitioners in
the field.
Administer the department's budget.
Serve on School and Institute committees.
Continue the development and implementation of department policies and
Assist the Dean and Institutional Advancement with fundraising.
Carry out special projects as assigned by the Dean.
Perform all other duties as required.

Salary: Commensurate with experience and qualifications.

We require an M.F.A. or equivalent in computer graphics or a related
field; at least three (3) years' university, college or art institute
teaching; a minimum of three (3) years' administrative management
experience; and a record of professional activity in the digital arts
and/or media theory. Candidates should have a broad familiarity with, and
understanding of, several of the following areas: digital animation;
motion arts; interactive media; game arts; digital imaging; emerging arts;
physical computing; interactive installation; device control; digital
video; digital audio; virtual technologies; compositing; and special

To Apply:
Please submit your resume, cover letter and the names and contact
information for three professional references to:

Chairperson Search Committee
Office of the Provost
Main 1
Position Code:CHCGIM
Pratt Institute
200 Willoughby Avenue
Brooklyn, N.Y. 11205

No e-mails, online applications or faxes for this position please.

***Proof of identity and eligibility to work in the U.S. will be required
upon employment.***


Salary: Commensurate with experience and qualifications.

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From: jlboyer AT <jlboyer AT>
Date: Dec 29, 2005 11:57 AM
Subject: Echotrope call for single channel media

Deadline February 1, 2006

Echotrope is a nomadic arts collective that organizes and curates
screenings and exhibitions of media throughout the midwest. We are
currently seeking film,video and new media work of all genres, single
channel format only, for two upcoming exhibitions:

1) Single Channel: an exhibition of single channel
media work at the South Bend Regional Museum of Art in South Bend
IndianaJuly 15 - Oct. 1 2006

2) Spring Shorts, a screening series at Mary Ross
Reimpa Media Arts Center in Lincoln NE., and the UNO Art Gallery at the
University Nebraska-Omaha in Omaha NE., in May 2006.

We are also seeking both feature length and short format Independent
Filmand Video for our 2006/2007 Experimental and Independent Film and
Media Series at the UNO Art Gallery at the University Nebraska-Omaha.

Please send a DVD or miniDV preview copy of your work, Bio, Resume,
andsupport materials (film/video synopsis, reviews, articles) for
consideration. Also include a SASE if you would like your materials

P.O. Box 31394
Omaha NE, 68181-0394

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From: Marjan van Mourik <webmaster AT>
Date: Dec 26, 2005 10:03 AM
Subject: 33 Questions per Minute by Rafael Lozano-Hemmer

SPOTS, the media installation at Potsdamer Platz,Berlin. presents 33
Questions per Minute by Rafael Lozano-Hemmer

Berlin, Park Kolonnaden at Potsdamer Platz, 12.12.2005:

* Questions from passers-by become part of an interactive work of art
* 33 Questions per Minute by Rafael Lozano-Hemmer, until 8 January 2006

What is life? Who am I? Where do we come from, and where do we go? If
you?ve ever wanted to ask a deeply personal question on a gigantic media
facade, then as from 13 December 2005 you can by taking part in the
interactive art project 33 Questions per Minute (33QPM), Relational
Architecture 5 by Mexican-Canadian artist Rafael Lozano-Hemmer. Passers-by
can type whatever questions are occupying them into a terminal that is
installed within viewing distance of the SPOTS light and media facade.

SPOTS is one of the largest light and media installations in the world and
is integrated into the facade of Potsdamer Platz 10. As the name suggests,
33QPM will display 33 questions each minute. If no question has been typed
in at the terminal, the computer generates the questions itself from a
virtually limitless source of sentence fragments, combining human
curiosity with purely mechanical, often meaningless strings of words. The
software, which Rafael Lozano-Hemmer developed himself, can generate 55
billions questions in German, English and Spanish. It would take 3,000
years to output all the possible question combinations. Lozano-Hemmer:
?33QPM is a project that represents mechanical irony. Inexhaustible
grammatical algorithms make a romantic and hopeless attempt to ask
questions that have never been asked before. The words are combined
electronically and form random links between totally disparate levels of

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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: Mica Scalin <contactmica AT>
Date: Dec 29, 2005 9:35 AM
Subject: My Year in Art

In an effort to organize for the 2006, I bring you -
My Year in Art, a video diary documenting my experiencs with art this past

I thought you might enjoy, this as little year end review.

All 17 short videos are available for download as a podcast feed here:

or visit the the blog:

More to come in 2006!



+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2005-2006 Net Art Commissions

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

Once, Twice, Three Times a Lady: The Work of Lynn Hershman
By Lauren O?Neill-Butler
<fansofsoft AT>

San Francisco-based artist and filmmaker Lynn Hershman has a knack for
doing things three times. Here are some facts about her fiction-heavy
artistic practice. From 1968 to 1972, as part of her graduate thesis, she
wrote art criticism about her own work under three different pseudonyms:
Prudence Juris, Herbert Goode, and Gay Abandon. Then, in the third year
of her influential ?The Roberta Breitmore Project? (in which she took on a
whole new identity, from 1974-1978), she enlisted three additional
incarnations of the ?original? Roberta, performed by Kristine Stiles,
Michelle Larson, and Helen Dannenberg, with each carrying on Hershman?s
obsessive documentation of Roberta?s social, professional, and ?real?
life. Also, from October to December 1974, she created three site-specific
installations about three fictional women in New York City hotel rooms,
entitled ?Forming a Sculpture Drama in Manhattan.? Jumping ahead several
years, Hershman?s second feature film, Teknolust (2002), showcased Tilda
Swinton playing three ?self replicating automatons? (SRAs) named Ruby,
Olive, and Marinne, as well as their creator, the geneticist Rosetta
Stone. And finally, though probably not the last instance of tripling,
there are three concurrent exhibitions of Hershman?s art this winter:
?Hershlandia,? a retrospective in Seattle at the Henry Art Gallery
(11/5/05?2/5/06); in New York at Bitforms Gallery (12/10 /05?1/14/06), and
in San Francisco at Gallery Paule Anglim (11/23/05-12/22/05).

The recent resurgence of interest in Hershman?s art is compounded by
several other important matters of note aside from exhibitions. Her first
major monograph, ?The Art and Films of Lynn Hershman Leeson, Secret Agent,
Private I,? was co-published by the University of California Press and the
Henry in time for the retrospective, featuring critical essays by
prominent scholars and the artist herself. In addition, Stanford
University recently acquired her working archive (1966-2002), securing a
vital future for many of her documents in film, video, performance,
installation, and photography. She also just finished a feature length
documentary on Steve Kurtz, a founding member of the Critical Art Ensemble
accused of bioterrorism in 2004 by the FBI. Rounding out what is truly a
time of Hershmanlandia: her work will be featured in the 2007 exhibition
on the history of feminist art, called ?WACK! Art and the Feminist
Revolution,? at the Los Angeles County Museum of Contemporary Art.

Dubbed a ?pioneer? and ?the grande dame of digital art,? Hershman?s art
has continuously questioned and pushed the limits of new media and
feminist art, harboring her position on the cutting edge. As Robin Held,
curator of Hershlandia, writes: ?More broadly, her technological
innovations in digital and Web-based art have helped legitimize the ?new
media? of video, Web art, and works of artificial intelligence.? To name
just a few of her achievements (well, three): she created the first
interactive artwork on videodisc (Lorna, 1983-4) predating
branching-narrative CD-ROMs by a decade, designed the first touch-screen
controlled interface for an art work (Deep Contact, 1984-89), and built
one of the first networked installations (The Difference Engine #3,
1995-98). But to view her art just in terms of technical abilities and
?firsts? is not enough. She is perhaps also the most varied and inventive
artist today, exploring such regenerative themes as vision, interactivity,
autonomy, embodiment, surveillance, cyborgs, and repetition--to name a
few. Her art also brings to mind key theoretical idioms of the postmodern
age, such as Foucault?s panoptic gaze, Deleuze and Guattari?s
desiring-machines, Donna Haraway?s cybernetic organisms, and Judith
Butler?s notion of the performative (among many others, including feminist
science fiction).

So how is it that within this technological and politically-bound
framework, her art seems to naturally flow from one piece to the next, as
if each one were dependant upon the other? Is it because her areas of
interest have remained, for the most part, the same? Hershman?s early
works from the mid-60s expose her feminist treading and comment on the
state of art history at the time: male dominated and mostly minimalist. A
graduate of the University of California, Berkeley, and akin to finding
her contemporaries involved in using ?alternative? art forms such as
performance and installation, her twist on both ideas led her to create
fictional personas in real spaces, as in ?The Dante Hotel? (1973-74),
?Forming a Sculpture Drama in Manhattan? (1974) and ?25 Windows: A
Portrait of Bonwit Teller? (1976), which showcase an invisible or
narrative occupant through ?belongings.? In other words, by piecing
together the materials scattered in the installation, someone or something
is conjured through the voyeuristic imagination of the spectator. This act
of being ?caught? in looking, or enamored with images, is one of
Hershman?s most vital themes.

Then came the ?Roberta Breitmore Project; (1974-78), with its name derived
from a Joyce Carol Oates story, and its personage donning a blonde wig and
heavy make-up. Performing as Roberta, Hershman Leeson inverted the
structure of the previous three works into a ?real? person, or at least
one real enough to have a driver?s license, dental records, a checking
account, credit cards, a lease on an apartment, romantic dates, and
psychiatrist appointments. Thoroughly documented and even ?exorcized,?
Roberta Breitmore commented on the constructed identity of young women and
the slippery slope of the real and the virtual. Yet, most telling about
this project was Hershman?s capacity to create a ?self? anchored within a
history of fakers, as Amelia Jones has noted, ?What makes the Breitmore
project different from the more obviously postmodern strategies of Warhol
and Sherman (which slide along the surface of things) is her profundity as
a ?subject.? Hershman was willing to take a risk by literalizing Roberta?s
claim to the status of officially sanctioned subject.? In doing so, she
also staked her claim in one of the preoccupations of modern art: blurring
art with everyday life.

Hershmans? video, net, and film works continued her investigation of
embracing artifice, and introduced new levels of interactivity and
technology, engaging the spectator through video cameras, lasers, and
invisible sensors. While in the early works viewers mainly acted as a
voyeur, her projects of the early and mid-1990s have the viewer surveyed.
For example, in the interactive computer and videodisc installation, ?Room
of One?s Own? (1990-93) the viewer peers into an articulated eyepiece,
modeled on the concept of Thomas Edison?s peep show. As the eye looks at
what seems to be a miniature empty bedroom, a periscopic device tracks
movement and corresponding video images of a female occupant named
?Marion? are produced (she can be either seductive or irate, depending
where one gazes). Adding another level within the installation, a small
monitor exhibits the viewer?s eye, alongside the projections, implicating
a virtual dialogue of sight where everyone is examined. Similar to ?The
Dante Hotel,? but with new technologies to spontaneously produce an audio
and visual track, the spectator here enacts what that the work calls into
question: a moral self-observation.

?Room of One?s Own? references two important processors: ?Lorna,? an
interactive video art disc about an agoraphobic woman whose decisions are
remotely controlled by the audience, and ?Deep Contact? (1984-89), a
touch-sensitive monitor that investigates sexual fantasy that replicates
the Marion character. In each interactive structure, by just playing
along, the viewers? gaze incriminates them in a level of identity theft.
Likewise, with ?America?s Finest? (1994-95), Hershman confronts the guilt
associated with what we think of as passive looking through violent,
active methods: as we look through the eye piece of an M16 rifle, we
discover ourselves as the target superimposed over images of war and

Many of Hershman?s Internet and video projects from the late 1990s onward
are interconnected, with both media providing a way to successfully
incorporate all of her characters and themes. For example, in her film
Teknolust (2002), Hershman?s Agent Ruby, an autonomous web agent created
the same year, is featured in several scenes invoking the audience to
extend their filmic experience outside the theater and onto the Net. Her
1997 film, Conceiving Ada, was completed using virtual sets similar to
those of ?The Difference Engine #3,? Hershman?s interactive investigation
of museum space as a cyber entity. As these contemporary projects deepen
and expand our sense of alternate reality and identity (which looking back
only seemed to have flickered in her installation art), the impact of
Hershman?s pervasive career multiplies to an unsettling degree. But in
fact, it stretches back to 1985 when director Susan Seidelman modeled her
film Desperately Seeking Susan on the infamous Roberta Breitmore. And as
far as artistic inspiration goes, anyone who has seen Hershman?s art has
probably been influenced by it, whether they knew it or not.

In ?The Art and Films of Lynn Hershman Leeson, Secret Agent, Private I,?
Hershman writes that, according to a national database, there are several
other people living in the United States under the name ?Lynn Hershman,?
and she cites three cities: Rancho Palos Verdes (CA), Manteca (CA), and
Phoenix (AZ). She then writes, ?I am none of the above.? Nothing could be
more true. For the last 35 years, she has perfected an art practice in
which ?thinly disguised surrogates for herself,? as Howard Fox notes in
the same publication--a repertoire of Robertas--have safeguarded her from
the perils of autonomy and supported a simulacrum of living. Even so,
Hershman has overcome the formalism that prohibited her works to be
understood early on, she has progressed and spearheaded a movement for a
new kind of art, and she has influenced at least a century to come of
artists who will hopefully know her name and the rest of the projects this
article couldn?t have even attempted to cover without writing another 200+
page monograph. Lynn, Roberta, Agent Ruby: over and over.

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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 52. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
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