The Rhizome Archive | Rhizome Digest: Highlights from the New Media Art Field

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: 03.12.06
From: digest@rhizome.org (RHIZOME)
Date: Sun, 12 Mar 2006 15:42:16 -0800
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: March 12, 2006

++ Always online at http://rhizome.org/digest ++

++ Note: With apologies, the Digest is being sent on Sunday, rather than
Friday, because the Editor unplugged to install Rhizome's exhibition, "All
Systems Go," at the Scope-NY Fair. ++

Content:

+opportunity+
1. juha huuskonen: Pixelache 2006 Helsinki - preliminary program info!
2. mez breeze: *RADICAL SOFTWARE* PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS
3. Gail Priest: Unnatural Selection - New Media Art in Regional Australia
4. Gail Priest: What Survives: Sonic Residues in Breathing Buildings

+announcement+
5. queries AT darklight-filmfestival.com: Darklight Festival Call For Entries
6. anita preischek: CFP: Octopus (A Visual Studies Journal): Volume 2
7. James: Call to Artists
8. sachiko hayashi: Call for Participation: CHINA GATES

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that can be purchased at the institutional level. These subscriptions
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to make navigation of this content easy. Rhizome is also offering
subsidized Organizational Subscriptions to qualifying institutions in poor
or excluded communities. Please visit http://rhizome.org/info/org.php for
more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org

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1.

From: juha huuskonen <juhuu AT juhuu.nu>
Date: Mar 8, 2006
Subject: Pixelache 2006 Helsinki - preliminary program info!

Here is some preliminary program information about Pixelache Helsinki...
More details will be announced soon!

Also check out www.malaupixel.org for info about the Mal au Pixel Paris...

* * *

PixelACHE 2006
30 March - 2 April, Helsinki
Kiasma, Museum of Contemporary Art
www.pixelache.ac

Mal au Pixel 2006
19 - 29 Avril, Paris
Ars Longa, Confluences, Mains d'Ouvres
www.malaupixel.org

* * *

PIXELACHE 2006 HELSINKI PROGRAM OVERVIEW

VJ culture & audiovisual performances section features MiniMovies, a brand
new project by AGF & Sue Costabile (US + Germany). AGF and Sue Costabile
are both young multi-disciplinary creators with their activities extending
from conceptual art to establishing independent record labels. MiniMovies
is their first large scale collaboration, 'a collection of mini-lives in
an urban and political context'.
"Everybody is a disaster. Let's make our own movies."
www.minimoviemovement.com

To celebrate our French connection with Mal au Pixel Paris, we present two
projects from France: a abstract audiovisual performance ChDh (Cyrille
Henry & Nicolas Montgermont) and Grenze (Patrick Fontana & Pierre-Yves
Fave & Emeric Aelters), an audiovisual journey through the book 'Das
Kapital' by Karl Marx. Pixelache 2006 also premieres Peurakaira vs.
Päätehakkuu by Kangastus collective (Finland), commenting the current
struggle between the forest industry and reindeer herding co-operatives in
Northern Finland. www.chdh.net
www.grenze.org
www.peurakaira.fi

Pixelache 2006 is very happy to present a concert by Vladislav Delay, a
rare performance in his home country. Other music acts this year include
Aelters (France), Forss (Sweden) and several others. Full Pixelache
club/music program will be announced soon!
www.vladislavdelay.com
www.ski-pp.com/aelters.html
www.forss.to

Experimental mobile / locative projects are presented in the context of
Locative media workshop: Rautatieasema returns, organised by Andrew
Paterson (Finland) & Meiju Niskala (Finland). The workshop brings together
a group of performance artists and artist/researchers interested in
mobile/locative media. The group will spend one week at the Helsinki
Railway station, beginning with 'something' which are placed in the
station lockers. The workshop process/results are summarised in public
events, featuring presentations by Ben Russell (www.headmap.org, UK),
Angela Piccini (University of Bristol, UK), Richard Widerberg (IMPROVe
project, University of Art and Design Helsinki) and many more.
www.pixelache.ac/locative

Pixelache 2006 is also collaborating with Nokia Connect to Art and Sulake
Ltd. Nokia Connect to Art is an initiative by Nokia to explore the
possibilities to present art on mobile devices and Sulake is the company
behind the popular Habbo Hotel online chat environment. Pixelache presents
new work commissioned by Connect to Art (Jollaskoti project and a new
piece by Sari Kaasinen) and organises a special seminar on experimental
mobile projects. More information coming soon!
www.nokia.com/art
www.sulake.com
www.jollaskoti.com
www.sarikaasinen.com
www.habbohotel.com

Dot Org Boom, the grassroot non-profit new media 'boom' has been the main
theme for Pixelache 2005 & 2006. Dot Org Boom theme is expored in Dot Org
Tournament organised by Kai Kuikkaniemi (HIIT, Finland) and Petri Lievonen
(Pixelache, Finland). Dot Org Tournament invites local multi-disciplinary
teams to participate in a competition where the task is to come up with an
innovative community concept within a 24-hour timeframe. The winner of the
Dot Org Tournament will be presented on the last day of the Pixelache
festival.

Open products and hardware concepts are explored in both Pixelache
Helsinki and Mal au Pixel Paris. Pixelache Helsinki features open game
platform TileToy (Daniel Blackburn & Tuomo Tammenpää, UK + Finland), open
product code initiative ThingLinks (Jyri Engeström & Ulla-Maaria Mutanen,
Finland) and a presentation of Orgsmobile showroom (Erik Sandelin & Magnus
Torstensson, Sweden). Orgsmobile is a project to build an 'open source
vehicle' which will be realised at Mal au Pixel in Paris.
www.tiletoy.org
www.thinglinks.com
www.unsworn.org/om

Protolab is a presentation/discussion forum for new and on-going projects,
chosen from the annual Pixelache Call for Projects. The projects featured
in Protolab 2006 are: loopArena (Jens Wunderling, Germany),
Roermond-Ecke-Schönhauser (Markus Kison, Germany), Follow Machine 1.2
(Ruben Coen Cagli, Italy) and Midipoet (Eugenio Tisselli, Mexico/Spain).
More to be confirmed!

Pixelache 2006 Helsinki warm-up event: Pixelache 2006 Helsinki kicks off
with the opening of an exhibition by Kristian Simolin (Finland), organised
in collaboration with MUU artist association. Opening at 7 pm on Thursday
2 March at MUU Gallery!
www.muu.fi/simolin

More details about Pixelache program will be updated at www.pixelache.ac
during the next weeks, meanwhile if you have any questions please send an
e-mail to contact {{at}} pixelache.ac.

Looking forward to seeing you in Helsinki at Pixelache 2006! (and at Mal
au Pixel in Paris!)

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2.

From: mez breeze <netwurker AT hotkey.net.au>
Date: Mar 9, 2006
Subject: *RADICAL SOFTWARE* PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS

----- Forwarded message from domenico quaranta <qrndnc AT yahoo.it> -----
Date: Wed, 8 Mar 2006 11:02:15 +0100 (CET)
From: domenico quaranta <qrndnc AT yahoo.it>

*RADICAL SOFTWARE*
a cura di / curated by *Domenico Quaranta*

----------------------------------------------------
PIEMONTE SHARE FESTIVAL 2006 - LIMITLESS
TORINO, ACCADEMIA ALBERTINA, 08.03.2006 - 12.03.2006
web. http://www.toshare.it/ - mail. info AT toshare.it
----------------------------------------------------

ENGLISH VERSION BELOW

----------------------------------------------------

][MEZ][
_[net]blog to log][ah!rhythm][_, 2006 -
http://www.livejournal.com/users/netwurker/

[EPIDEMIC]
AntiMafia, 2003 - http://epidemic.ws/antimafia/

AMY ALEXANDER
Scream, 2005 ? http://scream.deprogramming.us/

CORY ARCANGEL (BEIGE) + PAPER RAD
Super Mario Movie, 2005 -
http://beigerecords.com/cory/

MARKETA BANKOVA
Scribble, 2005 - http://www.initialnews.com/scribble

WAYNE CLEMENTS
un_wiki, 2006 - http://www.in-vacua.com/un_wiki.html

GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT
Where-next, 2005 - http://www.where-next.com/

PETER LUINING
Window, 2005; Giant Cursor, 2005; 100 windows, 2005 -
http://works.ctrlaltdel.org/

K-HELLO
Wasteoftime, 2003 -
http://www.k-hello.org/wasteoftime/itindex.htm

MOLLEINDUSTRIA.IT
McDonalds Videogame, 2006 ?
http://www.molleindustria.it/

ROVEBOTICS
Bush Bot 0.4, 2004 - http://www.bushbot.ath.cx/

UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO
CIRIO
GWEI [Google Will Eat Itself], 2005 ?
http://www.gwei.org/

----------------------------------------------------

If we leave aside its historical precedents, Software Art, in its
classical definition formalized by the Jury Statement of ?Transmediale
2001? [1] and extended by Florian Cramer [2], saw the light in 1997 with
The Web Stalker of the English Group I/O/D and with the theoretical
speculation started by one of the software authors, Matthew Fuller. Right
from this first example and definitions, Software Art reveals its radical
nature. The fact itself of transforming software from a mere instrument
into ?subject? and ?contents? of a cultural and artistic reflection
represents a Copernican revolution liable to be considered as heresy.
Similarly heretic is the idea of adopting a language (HTML), a protocol of
communication (HTTP) and the whole system of cultural objects (the web)
and make them visible in a form that contrasts with their own original
function. Software Art is radical even in its most harmless and
politically neutral manifestations; when, in addition, it overturns the
structure of the browser in controversy with the standardization of its
interfaces, and when it adopts a slogan that sounds like: ?software is
mind control, get some?, then the controversy turns into poetics, the
prime mover of a creative process. RADICAL SOFTWARE is an exhibition
including some recent examples of radical software. The name pays explicit
homage to the magazine founded by Ira Schneider and Beryl Korot in 1970,
that had the merit to combine, for the first time, political
considerations and use of the media (in that case
mainly video and television).

But, if the deep nature of these projects is political, the initial target
of the subversion they put into effect is rarely so; and, even when it is,
the blow it receives is never direct, but it is the ultimate consequence
of an attack directed elsewhere, similar to a bullet hitting the mark
after being diverted by a series of obstacles that are as many
primary targets. This is the case, for example, of Bush Bot 0.4, of the
ROVERBOTICS Group: which, after insinuating doubts ? with the support of
manipulated images ? that George W. Bush may be a cyborg, demolishes his
politics, creating the software that nourishes his totally artificial
intelligence, allowing people to talk to him and even dictate his
new speeches, through a simple chat system. No doubt Bush is the target,
but the blow is struck by drawing on a by now classic story ? Simulacres
by Philip K. Dick ? and by parodying artificial intelligence algorithms.
In the same way, Mc Donald?s Videogame, of the Italian game factory
Molleindustria, attacks the famous fast food chain, by subverting the
form, by now highly widespread, of advertising videogames. Where Next,
realized by the same Molleindustria in collaboration with the advertising
agency Guerrilla marketing, attacks the spectacular way adopted by the
media when presenting terrorism and their ferocious abuse of forms of
betting games and the most common advertising tactics as well as that
extraordinary instrument of location that is Google Earth, with a type of
political incorrectness that is directly proportional to the implications
of what it reports. Both these products are very distant from Software Art
from a formal point of view and yet they are very close to it from a
conceptual point of view.

Different is the case of GWEI (Google Will Eat Itself), realized by
UBERMORGEN.COM in collaboration with Italian Alessandro Ludovico and Paolo
Cirio, that takes to the extreme consequences the algorithm of capitalism
entirely adopted by Google, but it does that to induce one of the powerful
companies in the world to devour itself in an extreme form of
digital cannibalism. The critical scope of Software Art doesn?t even spare
the culture of shared knowledge based on hacker culture and the activism
of the media. Un wiki, by Wayne Clements is a very simple software that
limits itself to retrieving and making visible the log file with contents
refused by the open and democratic community of Wikipedia: a crafty
speculation on the paradoxes of a system that matches the maximum opening
made possible by the software and a substantially oligarchic structure as
the only guarantor of the contents quality. Antimafia (2003), of the
Italian group [epidemic] is instead software that automates and
coordinates collective actions. Based on a ?peer to peer? action, it makes
it possible to share hacking actions without any intervention from the
user ? apart from the activation of the programme ? and without a leader
that coordinates the action. It might seem the definitive solution to the
problem of the effectiveness of protests online, the ?killer application?
of net activism; in reality, the first victim of this programme is
activism itself, deprived of any human components and above all of
leadership. Which justifies the strange story of this project, rejected
and censored by the same community it was meant for. A censorship which
was actually caused by an error of perspective: if Floodnet, software made
available to a community for a collective action online, was in every
respect a work of net.art, Antimafia, read in that light, failed
miserably; if it is re-read as Software Art, instead, it hits the mark
splendidly, showing that ?the code is not harmless? and revealing the weak
point of activism that withdraws when it discovers that it can be really
dangerous.

If Antimafia is a subversive interface disguised as commercial software,
emulating the ?packaging? of famous security software, most Software Art
projects make the interface the object of subversion. This is an attitude
inherited from the first net.art. from JoDi which tears the browser to
pieces in controversy with corporative hi-tech. The premise is that
standard interfaces convey a specific ideology, and that defacing,
violating, reconstructing them in new forms can be a form of
re-appropriation and liberation. I/O/D?s motto, ?software is mind control,
get some? very well explains both Peter Luining and Italian K Hello?s
formal games as absolutely harmless conceptual experiments in practice,
yet capable of pulling down in a moment the castle of metaphors on which
the graphic interface with windows is based. In the same way Scream by Amy
Alexander manages at last to give us the satisfaction of a physical outlet
(in this case, a scream) that can produce immediate repercussions on the
stability of the interface.

Others contest the surface, the froth of the data, like Slavic Marketa
Bankova with Scribble, software that superimposes ?graffiti? to the CNN
homepage, with the same pleasure as a child destroying the Lego castle he
has just built. This is the case of Super Mario Movie, where Cory Arcangel
breaks the world of Super Mario into pieces and follows its fall with
satisfaction, turning the horizontal flow into an endless vertical
collapse, and depriving the game of any possible interaction. A subtle
subversion, that disguises itself behind the pleasure of fruition but
isn?t less radical for that.

Finally, entirely focused on language is the operation carried out by
][MEZ][, one of the best heirs of the code poetry tradition. For ][MEZ][
language, even the usually immediate language of a blog is a programming
code that can be disassembled and reconstructed, being aware that if the
Net has something to share with Babel, this is the confusion of languages.
For this reason her ?mezangelle?, an idiom that merges natural language
with IT code, becomes part, on one side, of the great tradition of
language experimentation going from Dante to Joyce, and, on the other
side, picks up a great lesson from Dada and Surrealism, i.e: discussing a
society means firstly to attack its logical and rational structure,
exactly embodied by the language.

[1] ?...software art has the potential to make us aware that digital code
is not harmless, that it is not restricted to simulations of other tools,
and that is itself a ground for creative practice.? In F. Cramer, U.
Gabriel, J.F. Simon Jr., ?Jury Statement?, 2001, reperibile online
all'indirizzo http://www.transmediale.de/01/en/s_juryStatement.htm
[2] ?... software art could be generally defined as an art: - of which the
material is formal instruction code, and/or - which addresses cultural
concepts of software...? In Cramer, Florian, ?Concepts, Notations,
Software, Art?, 23 marzo 2003, reperibile online all'indirizzo
http://userpage.fu-berlin.de/~cantsin

][MEZ][
_[net]blog to log][ah!rhythm][_, 2006 -
http://www.livejournal.com/users/netwurker/
][Mez][ presents her blog as ?a reverse-engineered
weblog - read: _bio_log_ as opposed to a standardized
weblog?. In order to read it, you?ll need the
?mezangelle?, which is the polysemic idiom that
][mez][ employs by adjusting her natural language into
a hybrid form through remixing code. She began this
process with e-mail art in the early 90s.

[EPIDEMIC]
AntiMafia, 2003 - http://epidemic.ws/antimafia/
It appears as commercial software for Windows, with a GPL licence. It is
based on the ?peer to peer? programme, but instead of sharing files, its
users share protest actions. WSomebody launches a campaign, the others
join it, the programme does the rest, in a form of direct democracy
bypassing any mediation or leadership.

AMY ALEXANDER
Scream, 2005 ? http://scream.deprogramming.us/
Small software that, when activated, introduces in the application bar an
icon modelled upon the Scream by Munch. It stays quietly there until the
machine, for some reason, makes us angry. And we scream. Then the machine
echoes our rage or our anguish and, as it happens with the masterpiece of
Symbolism, our scream ?pervades the whole nature?.

CORY ARCANGEL (BEIGE) + PAPER RAD
Super Mario Movie, 2005 -
http://beigerecords.com/cory/
Super Mario falls endlessly into a world broken in a thousand pieces by a
few code: Cory Arcangel tunes up his electronic swan song to the landscape
of our childhood, accompanying it with an 8 bit sing-song and giving at
the same time a lesson on can produce a 15 minute video without wasting
more than 40 kb of space.

MARKETA BANKOVA
Scribble, 2005 - http://www.initialnews.com/scribble
An ironical defacement of the CNN homepage, Scribble superimposes on it
are half way between urban graffiti and scribbles we draw absent-mindedly,
them in real time according to the contents of the news. The project uses
a drawings that are picked up according to the key words offered by the
news, be further extended, thanks to new drawings proposed by the users.

WAYNE CLEMENTS
un_wiki, 2006 - http://www.in-vacua.com/un_wiki.html
Software that retrieves and visualizes the log file containing inclusions
?rejected? by the democratic system of Wikipedia: a consideration on the
contradictions existing between the apparent democratism of the software,
that allows everybody to load contents, and the substantial oligarchy of
the community.

GUERRIGLIAMARKETING.IT + MOLLEINDUSTRIA.IT
Where-next, 2005 - http://www.where-next.com/
A web page that makes it possible to bet on the place of the next
terrorist attack, locatable through a service of Google Earth. The winner
is awarded with a T-shirt with a photo of the attack and the caption ?I
PREDICTED IT!?. A strong reaction to the spectacular representation of
terrorism and expectation of new attacks, induced by the media.

PETER LUINING
Window, 2005; Giant Cursor, 2005; 100 windows, 2005 -
http://works.ctrlaltdel.org/
Window opens a transparent window, through which one can see what is
underneath and work on it; Giant Cursor installs a cursor-pointer of
abnormal size, but perfectly working; opens about a hundred empty pages in
sequence. Three minimal software products that can be immediately
de-coded, absolutely useless: but capable of revealing, like few others,
the
conventional metaphors that curb our experience about digital space.

K-HELLO
Wasteoftime, 2003 -
http://www.k-hello.org/wasteoftime/itindex.htm
Author of disrespectful and paradoxical conceptual software, K-hello
invites us to an unjustified waste of time (and space): fragmenting a text
that we inserted into hundreds of Web pages. The text is legible only by
putting the pages into a grid but our computer was not up to understanding
it: an experiment of extreme dissociation between form and content, but
also in codifying the message in a form whose key to decrypting is just
one: patience.

MOLLEINDUSTRIA.IT
McDonalds Videogame, 2006 ?
http://www.molleindustria.it/
A Flash Videogame Sim City Style, where the video player plays the role of
the manager of McDonald?s, busy with the management of the whole ?assembly
line? of the multinational, from production, to sales and marketing. An
overturn of the logic of videogames used for advertising purposes.

ROVEBOTICS
Bush Bot 0.4, 2004 - http://www.bushbot.ath.cx/
For who might have been impressed by Bush?s ?cyborg-like? behaviour, this
is the programme governing actions and speeches. Based on an old
chatvsystem, the software makes it possible to chat with Bush as well as
to offer him new material for his speeches.

UBERMORGEN.COM featuring ALESSANDRO LUDOVICO & PAOLO
CIRIO
GWEI [Google Will Eat Itself], 2005 ?
http://www.gwei.org/
Or: how to buy oneself Google with its own publicity. GWEI is an
organization that avails itself of the support of a series of sites,
subscribers of the Google service Adsense (advertising links where the
subscriber earns a sum for each link clicked by its users) and of software
that manipulate the programme to increase the number of clicks received by
Google. The money is reinvested in Google shares, bought and then
distributed among the users, after subscribing to GTTP Ltd. (Google To The
People Public Company) In other words, Google is becoming slowly but
relentlessly devoured by its users, who take the money paid for
advertising.

:::::::::::::::::::::::::::::::::::::::::::::::::::

Domenico Quaranta

mob. +39 340 2392478
email. qrndnc AT yahoo.it
home. via x giornate 41 - 25030 brandico (BS)
web. http://xoomer.virgilio.it/mimmo40/

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Purchasing hosting from BroadSpire contributes directly to Rhizome's
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3.

From: Gail Priest <snagglepussy AT snagglepussy.net>
Date: Mar 9, 2006
Subject: Unnatural Selection - New Media Art in Regional Australia

Unnatural Selection

An exhibition of sculpture and installation driven and inspired by
technology, re-creating and re-interpreting natural elements and
environments.

Unnatural Selection challenges the crude capitalist mutation of Darwin's
'survival of the fittest' by creating a safe ecosystem for delicate
technological hybrids to thrive. The works offer inspiration as well as
insights into the mutualism of nature, the technological tools of our
creation, and ourselves.

This is the first large scale new media art exhibition to take place at
the Manning Regional Gallery, Taree (5 hours north of Sydney).

Artists:

Melanie Foster - Moving to the Virtual Matrix
Matt Gardiner - Oribotics [Atom Generation]
Daniel Green - Experiments in Self Amusement - Level 1, I, Toy
Robin Petterd - Moments of Grey
Jasper Streit - Perceptual Screening III

Curated by Gail Priest

http://www.snagglepussy.net/unnaturalselection

March 17 - April 16, 2006
Manning Regional Art Gallery
12 Macquarie St Taree, NSW, Australia

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4.

From: Gail Priest <snagglepussy AT snagglepussy.net>
Date: Mar 10, 2006
Subject: What Survives: Sonic Residues in Breathing Buildings

WHAT SURVIVES: SONIC RESIDUES IN BREATHING BUILDINGS

Consisting of three major gallery-based sound installations and a program
of commissioned works for two sound stations in the building, WHAT
SURVIVES explores the real and imagined remnants of human presence in
architecture.

The structures we build bear silent witness to our human behaviour?what
have the walls, beams and girders absorbed and what sonic secrets can be
coaxed back out of them? Does this ephemeral material influence the energy
of the spaces we inhabit?

Taking inspiration from Rilke, WHAT SURVIVES conveys the indestructibility
of energy and its subsequent transformations and manifestations.

GALLERY ARTISTS: Nigel Helyer, Jodi Rose, Alex Davies

SOUND STATION ARTISTS: Garry Bradbury, Joyce Hinterding, Aaron Hull,
Somaya Langley, Sumugan Sivanesan, Amanda Stewart

CURATOR: Gail Priest

OPENING: 24 March 2006, 6-8pm
EXHIBITING: 25 March - 22 April 2006, Wed - Sat 12- 6pm

ARTIST'S TALK: Sat 25 March 2006 2-4pm
GUEST SPEAKER: Densil Cabrera, Co-ordinator of The Graduate Audio Design
Program in the Faculty of Architecture, University of Sydney

PERFORMANCE SPACE
199 Cleveland St Redfern, Sydney, Australia 2012
http://www.performancespace.com.au

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Rhizome ArtBase Exhibitions

http://rhizome.org/art/exhibition/

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.

http://www.rhizome.org/art/exhibition/cyborg/

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5.

From: queries AT darklight-filmfestival.com <queries AT darklight-filmfestival.com>
Date: Mar 6, 2006
Subject: Darklight Festival Call For Entries

CALL FOR ENTRIES DARKLIGHT 2006

WE WANT YOUR FILMS!

DARKLIGHT ARE NOW ACCEPTING ENTRIES FOR FESTIVAL 2006

Go to http://www.darklight.ie for full criteria, terms and conditions and
application form.

-----------------------------------------------
DEADLINE FOR SUBMISSIONS MONDAY 20th MARCH 2006
-----------------------------------------------

DARKLIGHT FESTIVAL is Ireland?s premier festival for filmmakers, animators
and artists whose work explores the convergence of art, film and
technology.

Digital filmmaking techniques have become increasingly universal, they
have revolutionised contemporary filmmaking practice and contributed
hugely to the liberation of animation. In response to this the Darklight
programme has become focused on work that challenges; concepts, visual
aesthetic, narrative, access, methods of production and dialogue through
these contemporary filmmaking techniques.

Darklight exhibits work that pushes these boundaries and displays creative
excellence. Our mission is to nurture new talent and to create new
possibilities for the imagination.

SELECTION CRITERIA

Eligible for entry are feature films, documentaries, all CG animation
(Flash, 3D etc.), experimental works, music videos, commercial work,
motion graphics, game sequences, live action shorts, student work, films
shot on camera phones and films from outreach and community projects.
There are no restrictions on genre, length or number of submitted works.

For full criteria go to http://www.darklight.ie

OTHER PROGRAMMES

STRAYLIGHT is a visual art exhibition whose curatorial vision promotes
work that connects with us on levels that represent technology?s wide
influence on our culture.

DARKLIGHT SYMPOSIUM series is a forum for filmmakers and artists,
informing and initiating debate on all aspects of contemporary art and
filmmaking, from practice and technology to copyright, distribution and
education.

DARKLIGHT FESTIVAL 2006 IS RETURNING TO AN EARLY SUMMER DATE
June 22nd - June 25th, Temple Bar, Dublin, Ireland

*Please forward or post the following information to interested parties,
news groups, Blogs or websites*

If you have any questions please contact us by email at:
?queries at darklight-filmfestival.com?

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Rhizome.org 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.

http://rhizome.org/commissions/

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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6.

From: anita preischek <hotmlsucks AT hotmail.com>
Date: Mar 6, 2006
Subject: CFP: Octopus (A Visual Studies Journal): Volume 2

Call for Papers: "The Dark"
Octopus (Volume 2) Fall 2006
www.octopusjournal.org
Deadline for Submissions: April 3, 2006.

We are pleased to announce the topic of our second issue ? ?The Dark.?

Concepts of ?light? and ?dark? have currency as a metaphorical referent?to
illuminate, cast a shadow on, to set in contrast to, as markers of
knowledge or obfuscation. Exemplified by one of the dominant philosophical
regimes in the Western tradition?emerging from the ?Dark Ages? and into
the ?Enlightenment?? this metaphor assumes a position as a structuring
matrix, a system of oppositions or relativities used to work through
historical moments and objects of study. Because cultural conventions
often set light (active/positive/presence) and dark
(passive/negative/absence) against each other, the incorporation of these
ubiquitous concepts manifests itself in a broad range of cultural concerns
including aesthetics, politics, ethics, gender, race and ethnicity,
technology, religion, and the media, and has itself a legacy of warranted
critical attention.

The idea of ?the dark? occupies a particularly critical position within
the emerging field of Visual Studies. For this issue we present the
question of ?the dark? as an analytical tool, a historical concept, and
as a limit or end of visual studies itself. The second issue of Octopus
invites manuscripts that engage with ?the dark? from a wide-range of
perspectives. Possible lines of inquiry include but are not limited to:

1) Photography?s light and dark: polychromy, monochromy, being
photogenic, the space of the darkroom
2) Cinema?s light and dark: flicker, the space of spectatorship,
Noir, horror
3) Darkness and light as absence and presence; invisibility,
avisuality, disappearance, negation, blind spots
4) Gender, race, and ethnicity
5) ?Intelligence? and its connection to metaphors of ?illumination?
6) The politics of ?dimness?
7) Philosophy, theosophy, hermeneutics
8) Literature, linguistics
9) Architecture, shadow
10) Material lightness and darkness; technologies of light
11) Military stealth/night vision
12) Self-awareness, epiphanies, criticism
13) Minimalism, Post-Minimalism.
14) Plato?s cave/ shadowplay/ camera obscura/ chiaroscuro
15) Rhetorics of good and evil
16) Aesthetics and spirituality

Deadline for Submissions: April 3, 2006.
Submission Guidelines: www.octopusjournal.org
Octopus Journal is a publication of the graduate students in the Program
of Visual Studies at the University of California, Irvine.

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7.

From: James <rhizome AT factorynoir.com>
Date: Mar 11, 2006
Subject: Call to Artists

Ars Virtua Gallery and New Media Center is looking for works for our
inaugural show. The theme of this show is "The Real" and will be exhibited
on the grounds of Ars Virtua which is located on the border of Butler and
Dowden (http://slurl.com/secondlife/Dowden/41/58/52/) in Second Life
(http://www.secondlife.com)

We are looking for 2D media, video and sculpture (including scripts)
produced within the 3D engine. All representable media will be accepted
for consideration but artists are cautioned to be economical with the
number of prims used in sculpture.

For too long "the virtual" has been supplanted by "the real" in the realm
of communication and entertainment. We recognize that there is no need for
replacement, but for extension. We see that 3D game engines are creating
new environments with new rules that are just as tangible as the old ones,
but on new terms. Education and art have been waking up to value of
simulation as it relates to and does not relate to campus and museum life.
The value of simulation or perhaps the threat of it occurs when simulation
begins to trump that which it is simulating. That is the purpose of this
exhibit, and though it does not make every exhibit in space-time useless
or passé it does attempt to offer a wholly electronic alternative, an
"other" real.

"The Real" will be juried by a group of artists from the CADRE Laboratory
for New Media.

Please submit files via email in the following formats:
jpeg - no larger than 400x300;
mp4 - no larger than 1mb;
descriptions- no more than 250 words

All submissions and requests for more information should be sent to
gallery AT ArsVirtua.com

Letter of interest due: March 14

Opening: April (TBA)

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8.

From: sachiko hayashi <look AT e-garde.com>
Date: Mar 12, 2006
Subject: Call for Participation: CHINA GATES

CHINA GATES

Call for Participation
Mobile Music Performance
Zurich, Switzerland

The Digital Art Weeks 2006, organized by members of the Computer Science
Department of the ETH Zurich, is looking for up to twelve persons who are
interested in contemporary music and art who would be interested in
participating on a voluntary basis for the performance of a new
Mobil-Music work under the direction of Sound Artist, Art Clay using GPS
and mobile computer technologies.

Aesthetically, the work China Gates for tuned gongs and Wrist Conductor is
rooted in works for open public space and belongs to a series of works,
which celebrate the use of innovative mobile technologies to explore
public space and audience. The work is technically based on possibilities
of synchronizing a group of performers using the clock pulse emitted by
satellites. The GPS Wrist Conductor signals each player when to hit the
gong. An intense rippling effect results as the players gradually move
around the park and the music of the gongs shift back and fourth from
intense chords to exotic melodies.

The preparation for the event will take place in the form of a
mini-workshop on mobile music and sound in open space.

Persons interested in participating are asked to apply by sending a
message to the below stated email address. Please include a short
biography (50 words) telling us about yourself and why you would you like
to participate. Selected players will receive a festival pass for all
Digital Art Weeks 06 events.

arthur.clay AT inf.ethz.ch

More information concerning the Digital Art Weeks is obtainable here:

www.digitalartweeks.ethz.ch

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Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the
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 rhizome.org). ISSN:
1525-9110. Volume 11, number 9. Article submissions to list AT rhizome.org
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 rhizome.org.

To unsubscribe from this list, visit http://rhizome.org/subscribe.
Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php.

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