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: 04.07.06
Date: Fri, 7 Apr 2006 12:23:28 -0700

RHIZOME DIGEST: April 07, 2006

++ Always online at ++


1. Rachel Clarke: NMC media-N: Mediated Perspectives
2. Colleen Tully: Call for Submissions - Pixel Pops! in Prague - Deadline
May 5, 2006
3. {NetEX}: NetEX in April--->new calls, new deadlines
4. Stephanie Martz: New Deadline for Mobile Exposure 2006 Call for Works
5. Lauren Cornell: FW: Postmasters Gallery announces The4thScreen: a
global fest of art and innovation for mobile phone

6. Richard Garrett: Music from the Weather - New album
7. Mark River: Rhizome Raw...RU READY TO ROCK?. I said...RU READY?

8. Randall Packer: Mark Amerika: Digital Personas
9. Nat Muller: Introducing: Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE!
10. {JavaMuseum}: new interviews on ----> JIP - JavaMuseum Interview Project
11. Ryan Griffis: Fwd: Tactical Magic Update!
12. Brett Stalbaum: [Fwd: Allan Kaprow, 1927-2006]

+Commissioned by
13. David Senior: Interview with Siegfried Zielinski

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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
RhizomeÂ?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: Rachel Clarke <rclarke AT>
Date: Mar 31, 2006
Subject: NMC media-N: Mediated Perspectives

The second edition of the CAA New Media Caucus journal, media-N is now
online at:

This edition, "Mediated Perspectives" features papers and commentaries on
a range of media arts topics.

The aim of the journal is to reflect the energy and interests of media
arts practitioners, educators and theorists. It acts as a voice for new
media arts in culture, education and practice. We strongly encourage
submission papers, reviews and commentaries for future editions of
media-N. Notice that each issue will feature a call for texts for the next
and forthcoming edition(s).

Please contact us if you have any questions about the journal submissions,
or suggestions for future issues.

Rachel Clarke
Editor-in-Chief, Media-N
rclarke AT

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From: Colleen Tully <colleen.tully AT>
Date: Apr 4, 2006
Subject: Call for Submissions - Pixel Pops! in Prague - Deadline May 5, 2006

Call for Submissions: Pixel Pops!

SUBMISSION E-MAIL: poppingpixels AT

International exhibition in August 2006 in Prague, Czech Republic. This is
an artist organized exhibition, coordinated by Natalia Vasquez(Miami, US),
Michal Blazek (Prague, Czech Republic), and Joan Sanchez (Barcelona,

There are no fees to enter. This will be a juried show based on work
submitted. We will arrange to display a variety of digital works. All work
must show evidence of extensive computer manipulation or be otherwise
highly digital.

Acceptable Formats:

---Web-based Works (No live Internet available for exhibit, all work
should be self-contained. See information below.)

---Short Videos & Animations (1-3 minutes preferred, will accept up to 7

---Interactive Works (Flash, Director, MaxMSP/Jitter)
Interactive works can be "recorded" and uploaded up to 10megabytes.
Interactive works must have an additional auto-run mode.

*Upload of a tiny file (180x120 is OK) for jurying.

*It is important that you also send us a file that is big enough for
display (up to 10 megabytes by email) by the 5 May deadline.

*Also send a DVD with your work by 12 May (this will ensure high quality
resolution for projection)

* see shipping address below

*All submitted work must be able to run locally (on a hard drive) in a
web browser such as Netscape or Firefox. Please submit by sending an
email to poppingpixels AT with an attachment or web link to your work.

*Attach a brief artist statement and a description of your work (up to one
page) as a word document. Texts accepted in English, Espanol, Francais.

*Copyright Info: All artists accepted for this exhibition will retain
ownership of copyright and all other rights to their artwork. We retain
the right to use images of accepted artwork for promotional reasons
concerning the exhibition or future projects.

*Multiple submissions are accepted and encouraged!

*All participating artists will have their work added to the Popping
Pixels site: that includes last year's
exhibition which took place in New Haven, CT, US - Coordinated by artists
Cynthia Beth Rubin and Colleen Tully.

*Artists interested in selling your work, please specify with your
submission. We will have a list and will connect you with the interested
buyer. We will NOT handle sales directly!

****Digital Photographers****this will not be a photography exhibition,
but if you've made any remarkable slideshows, videos from stills, or have
made your images interactive, please submit!

Accepted entries will be announced on Friday 2 June 2006

-SUBMISSION E-MAIL: poppingpixels AT
-ATTACH: Submission(see above for formats), Artist Statement, Description
of your work.
-CD/DVD DEADLINE: 12 May 2006
Shipping Address:
Natalia Vasquez
Ondrickova 7
130 00 Praha 3
Czech Republic
*Please note that shipping time from the U.S. to the Czech Republic is
approximately 2 weeks. Mark your package 'No Commercial Value' and use
the value of actual CD or DVD (approximately 5USD or Euros)*

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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: {NetEX} <virtu AT>
Date: Apr 5, 2006
Subject: NetEX in April--->new calls, new deadlines

NetEX- networked experience

added recently some new calls
in the external announcements section
which might be of interest:
The4thScreen (New York)
deadline: 4 June 2006
The4thScreen: a global fest of art & innovation for mobile phones will
focus on the mobile phone as an emerging social, cultural and
technological phenomenon.
INTRO-OUT Digital Art Festival Thessaloniki/Greece
Deadline: 12 May'06
"We invite modern artists to stand up to this change
and propose new expression strategies by the use of new media."
Deadline: April 28, 2006!!
More deadlines in April/May
Digital Film Festival St. Petersburg/Russia
Deadline: 20 April 2006
5. Call: Streaming Festival {The Hague/Netherlands}
Deadline: 15 April 2006
Call: Perform.Media Festival (Indiana/USA)
Deadline: May 15th, 2006
Acceptance Notification: June 15th, 2006
7. Euganea Movie Movement (Padova/Italy)
Shortfilm festival with national and international section
Deadline: 30 April 2006

All details on these and more calls and the entry forms can be found on


The "internal announcements" section released following calls
Call-->Women:Memory of Repression in Argentina
deadline 1 September 2006
on occasion of 30th return of the military coup in Argentina - 24 March 1976
2. SoundLAB is looking for soundart for Edition IV - "memoryscapes"
deadline 30 June 2006
3. VideoChannel is looking for videos/films on the theme "image vs. music"
to be included in 2nd edition of Cologne Online Film Festival '06
to be launched in October 2006 online and offline
Deadline: 1 July 2006
All details on these and more calls and the entry forms can be found on

released by
NetEX - networked experience
powered by
info (at)

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From: Stephanie Martz <stephanie AT>
Date: Apr 5, 2006
Subject: New Deadline for Mobile Exposure 2006 Call for Works

Mobile Exposure 2006

* An international touring exhibition of moving image art made by and for
mobile devices
* Presented by Microcinema International
* Premiering at The Dallas Video Festival August 8-13, 2006
* Curated by Bart Weiss, Founder of the Dallas Video Festival
* Executive curators: Patrick Lichty or Intelligent Agent Magazine and
Stephanie Martz of Microcinema International.
* New Deadline: Received by April 20, 2006
* Screenings: worldwide
* Eligible for Microcinema's Independent Exposure Grand Prize: Panasonic
AG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema Camera (Judges: Addictive TV
from the United Kingdom.
* Submission Fees: US$5
* For more information write: submissions AT


Mobile Exposure 2006 (moving images made by mobile devices)

Mobile Exposure 2006 Video Ringtone/Video-iPod Festival (on-line/on-mobile

Mobile phones, PDA's, i-pods, and other hand-held devices have already
gained widespread acceptance as tools to capture as well as experience
music and photographs. Now these devices are being further designed and
equipped with video capabilities - both for viewing as well as capturing.
What are the potentials of the handheld device as a cinematic tool for
expression, activism, experimentation, and exhibition? With the recent
announcement of the i-pod video device and the Emmy Awards creation of a
new mobile film category, the advancement of this medium is now a foregone
conclusion...the train has left the station that is for sure, but on what
track is it heading?

How will viewing images on the small screen change our perception of the
moving image arts? How will the moving image arts change to present works
on a hand-held device? These are some of the questions that Mobile
Exposure 2006 hopes to address.

CONCEPT Mobile Exposure 2006 is looking for works that address mobile
culture and/or are made WITH or to be EXHIBITED ON mobile/handheld
devices. Our criteria are very broad; reflect on the mobile and locative
through the medium or the concept. We encourage hybrid works as well (for
example: imagery made with hand-helds and then post produced, mixed with
sound in a classic filmmaking procedure).

CALL FOR WORKS The Mobile Exposure 2006 handheld moving image program is
an exploration of the potentials of mobile video and culture.
Practitioners are invited to submit all genres of work, less than 15
minutes in length. Video Ringtones should be 2 minutes or less in length.

WHAT WE WANT: We are looking for two types of works:

Made for viewing on a mobile device and
Made WITH a mobile device for viewing on the big screen (or little screen
too if possible).

We are looking for works made using cell phones, obsolete video cameras,
wrist cams, toy (NON-vhs/dv/hi-8) video cameras, PDA's, and even small
cameras that create mpg moving images. Please do not send any material
using conventional video cameras unless it specifically relates to mobile
culture. For films destined FOR the small screens of hand-held devices,
any method of filmmaking is acceptable.

see the Submission Checklist

You must fill out the on-line form found here: Submission Form (for all
FEES: US$5.00 payable by check, money or credit card/Paypal online. Please
send check (payable to Microcinema International) with submission or PAY

Please send us your screeners on VHS, CD, mini-DV, or DVD, readable on PC.
PAL or NTSC accepted for screeners. DVDs region 1 or 0 only.

For exhibition we will require works on mini-DV (preferred) or DVD data
disk (mpeg2, avi, or mov files only). Mini-DV PAL or NTSC OK. Data disk
files must be in NTSC. We may also accept some video ringtone/i-pod
submissions via upload. DVDs region 1 or 0 only.

Must be 15 minutes or less, including all titles...NO EXCEPTIONS.
Ringtones 2 minutes or less.

For works destined for the big screen please make sure that frame rates
and screen size are "viewable" (720 x 480 format preferred for NTSC,
analogous for PAL).

A brief synopsis of the work(s) of up to 150 words and a short biography
of the artists of up to 50 words maximum is also requested. Still .jpeg or
.gif (PC formatted) should be included on a CD along with biographical
materials and synopses.

Please include a self-addressed postcard that we will send back to you as
indication of reception of your film - we will pay for postage.

ALL SUBMITTED ITEMS (papers, DVDs, tapes, cards, etc) MUST HAVE THE ARTIST

Deadline: April 20, 2006 (arrival at the address below)

Please mail all submissions to:
Mobile Exposure 2006
c/o Microcinema International
1528 Sul Ross
Houston, TX 77006
FAX: +1-509-351-1530

Please address all inquiries to:
Stephanie Martz, Associate Curator
submissions AT


Mobile Exposure 2006 will be comprised of TWO SHOWS - presented in two
screenings and formats:

1. RINGTONES: Online (films for the little screen). Film program will be
available for download to mobile devices
2. On-screen: A traveling theatrical festival

Screenings will be held worldwide

We are pleased to announce our collaboration with the 19th Annual Dallas
Video Festival. Mobile Exposure 2006 will premiere at the Festival as part
of a special program devoted to mobile moving images.

Selected artists receive a US$50 honorarium/advance on exhibition fee
royalties and will be eligible for our awards program.

Addictive TV to judge Independent Exposure 2006, of which these two shows
will be included. Panasonic Grand Prize

We are also pleased to announce our collaboration with Panasonic
Broadcast. For our 2006 Independent Exposure season, a grand prize will be
awarded to a filmmaker selected by United Kingdom audiovisual artists and
VJs ADDICTIVE TV The grand prize will be a Panasonic
AG-DVX100A 1/3" 3-CCD 24P/30P/60i DV Cinema Camera. Other prizes will be
announced at a later date.
Addictive TV will curate a "Best of Independent Exposure 2006" which will
then screen in San Francisco in fall of 2006. Addictive TV will also
select a grand prizewinner.

Winners will be selected and notified by September 1, 2006.

TERMS see Full Terms

Upon acceptance, practitioners will be awarded a $50 honorarium. Artists
will be contacted by Microcinema International regarding the exposure of
works through festival exhibition, online screenings, promotional
materials, and on print media (prints/catalogues) for gallery showings.
All filmmakers agree, when submitting, that they have secured the
necessary rights for both picture and sound to screen the works in this
touring festival, and that Microcinema is granted a non-exclusive 3-year
license to screen work(s) at any one of Microcinema's Independent Exposure
2006 or Mobile Exposure 2006 screening tours and Microcinema's on-line
festival website as well as on and for promotional, archival and other
non-commercial uses). All artists retain copyrights.

About Bart Weiss

Weiss is the President of the Video Association of Dallas, Director of the
Dallas Video Festival and Associate Professor, University of Texas at
Arlington. He is the Producer of Frame of Mind television show on KERA
TV, the Artistic Director of 3-Star Cinema in Dallas and is the President
of AIVF and on the Board of the University Film & Video Association.

About Patrick Lichty

Lichty is an artist, scholar, and curator in New Media and technological
arts, and is noted for his expertise in arts using mobile technologies. He
is Editor-in-Chief of Intelligent Agent Magazine.

About Dallas Video Festival

Since 1986 The Dallas Video Festival has specialized in fiercely
independent, imaginative, unusual, provocative and sometimes
description-defying electronic media. In fact, we're the oldest and the
largest video festival in the nation. We're here to cut through the
chatter and bring you images and sounds with viewpoints and voices and
visual styles that you don't often see or hear. We show everything from
intelligent, witty 30-second television commercials, mesmerizing video
art, compelling documentaries, surrealistic animation, innovative digital
features, intelligent, kid-friendly fare, thought-provoking panels,
interdisciplinary performances, and narrative shorts that somehow
surprise, inspire and entertain.

About Addictive TV

"If there ever was a truly groundbreaking bunch of guys in the VJ world,
it's certainly this lot" said DJ Magazine, voting Addictive TV number one
in their first ever worldwide VJ poll in 2004. The London based group of
DJs, VJs and producers have been championing the art of the VJ and pushing
it into mainstream media for a decade now.

Performing internationally, crisscrossing the art and club worlds,
Addictive TV have played at venues from the Pompidou Centre in Paris and
the roof of the National Theatre in London to Tokyo superclub Ageha and
the UK's Glastonbury Festival. Recent audiovisual performances include the
2005 Roskilde festival in front 20,000 people and Sven Vath's amazing
Cocoon Club in Frankfurt, using 25 projectors. And as VJs, in the past the
guys have mixed live visual sets for artists including Howie B, Andrew
Weatherall, Goldie and Fatboy Slim.

On the flipside, producing for television, Addictive TV were the first to
put VJs on TV back in 1998 with their Transambient series for Channel 4
(UK), and in the last five years have produced four seasons of the ITV1
music series Mixmasters, commissioning over 300 artists worldwide
including many of the best names in electronic music from Miss Kittin and
DJ Spooky, to Plump DJs and Derrick Carter plus a whole host of
international VJs. In 1999, they set up what is acknowledged as the worlds
first VJfocused DVD label, releasing compilation DVD albums fusing music
and visuals; Releases include Audiovisualize, cult classic in the genre
Transambient and the Mixmasters series.

This year, Addictive TV judged the VJ category at the 2005 Diesel UMusic
Awards, the Radio 1/BBC archive Superstar VJs competition and DJ
Magazine's TScan Awards. Also in 2005, the team broke new ground
organizing the sellout music and visuals hybrid festival Optronica at the
National Film Theatre and bfi London IMAX cinema; the first festival
dedicated to the audiovisual genre plus the first time the IMAX venue has
been used for live performances in such a way. Currently Addictive TV is
working on the Rapture Riders video mashup for EMI, remixing Blondie Vs
The Doors, for release in November 2005.

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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: Lauren Cornell <laurencornell AT>
Date: Apr 5, 2006
Subject: FW: Postmasters Gallery announces The4thScreen: a global fest of
art and innovation for mobile phones

------ Forwarded Message
From: Magda Sawon <postmasters AT>
Date: Wed, 5 Apr 2006 13:11:38 -0500
To: magda AT
Subject: Postmasters Gallery announces The4thScreen: a global fest of art
and innovation for mobile phones

The4thScreen: a global fest of art and innovation for mobile phones

April 1, 2006

Contact: Tamas Banovich: 212-229-9736

The4thScreen: a global festival of art & innovation for mobile phones
launches today with a call for works. The deadline for submissions is June
4, 2006. Ten awards of US $5,000 will be given to winning entries.

The4thScreen festival is the first event of its kind to focus on the
mobile phone as an emerging social, cultural and technological phenomenon.

The festival was conceived by Tamas Banovich, curator and co-director of
Postmasters Projects and Postmasters Gallery in New York:

"We are at the moment when everybody, from the media moguls to Vietnamese
peasants - artists, hackers, activists, businesses and governments, are
trying to grasp the impact, the power, of this new phenomenon.... trying
to claim a part of it. There is still a lot of space for great ideas, to
fulfill dreams and real needs. I hope the Festival will serve as a
catalyst and influence this process..."

Artists, movie makers, designers, technologists, programmers, game
designers and all creative thinkers are invited to submit their creations,
inventions and revolutionary ideas in one of two categories:

Moving images- including videos, animations, and games made specifically
for mobile delivery
Wise technologies - including SMS based projects, sound, software art,
software and hardware projects proposing new or extended use of mobile
devices, applications that impact the life, the cultural, social and
economical conditions of people living in diverse cultures.
The mobile phone is at the center of a radical cultural, technological,
and social shift. The4thScreen is a platform for those who are shaping the
present and want to influence the future of this new medium, exchanging
ideas over the boundaries of cultures, to participate in the global

The4thScreen festival'06 is produced by Postmasters Productions in
partnership with the Museum of the Moving Image and Polytechnic
University, New York.

contact: Tamas Banovich, Festival Director
Tamas AT
phone 212 229 9736 mobile 917 400 2381
459 W19 Street New York, NY10011


Magdalena Sawon
Postmasters Gallery
459 W 19 Street
New York, NY 10011
phone 212 727 3323

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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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From: Richard Garrett <richard AT>
Date: Apr 3, 2006
Subject: Music from the Weather - New album


Sunday Dance Music is pleased to announce the release of a new CD album
from Richard Garrett's Weathersongs Music project.

"Weathersongs Volume 1: Days in Wales" is an album of short pieces of
music created over the period of one year using an algorithmic composition
program driven by real-time changes in the weather as recorded by an
electronic weather station. (details below)

For more about the project, go to or to

best wishes


Richard Garrett <richard AT>
Sunday Dance


Weathersongs volume 1: Days in Wales is an album of 14 short pieces of
music derived, in real time, from the weather conditions in Southern
Snowdonia on 14 different days over one year. Each track was generated by
a computer program connected to an electronic weather station at Richard's
home in the foothills of Cadair Idris, North Wales. Data output from the
weather station (wind speed and direction, temperature, pressure,
humidity, rainfall) was used to compose music as conditions changed,then
selected results were recorded and edited for audio CD.

All the tracks on the album have common features: Temperature and Humidity
provide bass drones; Air Pressure gives higher pitched accompaniment;
while the Wind produces a lead voice whose pitch, intensity and phrasing
all change as the wind shifts direction, ebbs and flows. Rain, when it
rains, is heard as random percussive events (typically bells) whose
statistical density changes with the rate of fall. When each track is
edited, however, different timbres are applied to the music accentuating
the character of the individual pieces/ days. Thus, the music ranges from
the gentle ambient electronica of a cool spring morning to wild, almost
Free Jazz, saxophone as the westerly gales of autumn hit Cardigan Bay.

Mp3 extracts from the album, as well as raw material from the installation
can be heard on

Weathersongs volume 1: Days in Wales will be released on March 28th 2006
and will be on sale online at and selected
record shops.

======= BIOGRAPHY: RICHARD GARRETT ===========

Richard Garrett was born in London, UK in 1957 and has been writing music
and playing guitar since he was sixteen.

Richard is interested in a wide variety of music. He has played in rock
and jazz bands; accompanied poets; and played in the pit for pantomime.
For several years, he studied singing, Indian Rag and Cosmic Theatre with
French composer/ performer Gilles Petit and has studied jazz with some of
the UK's premier musicians. Richard has also studied algorithmic
composition with David Cope at the University of California, Santa Cruz.

Richard has recorded six albums to date. He has also worked with computers
as a programmer, teacher and journalist.

Since 1996, Richard has been working in the field of generative music. His
first album in this field, Robot Sculpture (Sunday Dance Music 2001), was
produced by taking a number of computer pieces then recording, editing and
embellishing them with improvisation.

Some of the pieces used to create Robot Sculpture, along with works by
Brian Eno and others, formed part of "Dark Symphony", a mammoth five-day
outdoor exhibit at the Ars Electronica Festival 2003 in Linz, Austria.

Richard lives in an isolated Welsh farmhouse, halfway between the
mountains of Snowdonia and the sea, with his wife, Heather and son, Sean.
There, he writes music and distributes his albums through Sunday Dance

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From: Mark River <mriver102 AT>
Date: Apr 3, 2006
Subject: Rhizome Raw...RU READY TO ROCK?. I said...RU READY?

My dearest Rhizome,

(actually, this post will NOT rock, but here it anyways...)

To Be Listened ToÂ?(2bl2) is now open for you to
enjoy and activate. Big thanks to the
artist who supplied 2bl2 with Â?seedÂ? work to get things going. Please feel
free to jump in and add some sound.

To Be Listened To... (2bl2 for short) is an open relay for sound art,
audio blogs, mashups, re-mixes, dance mixes or any other sort of
experimental audio. 2bl2 is comprised of 10 thematic podcast feeds with 8
open feeds to which anyone may post an audio file. Each feed's name, along
with the original 'seed' post, sets its tone.

1. you sit in front of your computer around midnight (prologue). By

2. a bar in Brooklyn on a spring Sunday afternoon, sipping a Bloody
Mary, waiting for your love to appear. - with seed project Â?Troy's
(Non)Mixtape of LoveÂ? by Marisa Olson

3. ...with eyes closed in a theater before a movie starring Brando begins.
- with seed project Â?Cushing's DiseaseÂ? by Helen and Ben

4. you commute to the job you are thinking of leaving once again. -
with seed project Â?DJ HumpÂ? by Frankie Martin

5. ...before calling 911 while waiting for something outside to stop
fucking screaming. - with seed project Â?coma loveshipÂ? by : Pee In My Face
With Surgery

6. ...while sitting on your kitchen floor holding a photograph of your
father. - with seed project Â?What Kind of Information? Â?by Cary Peppermint

7. a park in Europe as you wait for the sun to rise and the snow to
stop. - with seed project Â?Did It Again Â? by G.H. Hovagimyan

8. a hotel near the Everglades while having sex in the afternoon. -
with seed project Â?EvergladeÂ? by Messages [Taketo Shimada + Tres Warren
(Psychic Ills)]

9. ...while running, but not running as in jogging, running as in blindly
racing though the streets without direction or goal. - with seed project
Â?RunningÂ? by tinydiva (Margaret Jameson Composer, Performer and Producer.
Add'l Guitars by Thomas Jameson)

10. you fall asleep in the bed in the place that you call home
(epilogue). by MTAA

So, have fun. Sit in bed with your headphones on. Make some noise.
Interact. Thanks.

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From: Randall Packer <rpacker AT>
Date: Apr 3, 2006
Subject: Mark Amerika : Digital Personas

New Media Arts Lecture
Presented by the Department of Art | Multimedia
American University
Washington, DC

Mark Amerika
"Digital Personas"

Time: Monday, April 10th, 4:00 pm
Location: Abramson Family Recital Hall
Katzen Arts Center, American University
Lecture is free and open to the public

Mark Amerika will present his work composed over the last 15 years, a mix
of personal narrative, philosophical inquiry, spontaneous theories, and
cyberpunk fictions, locating the emerging spaces where new media artists
operate when distributing their digital personas.

Mark Amerika, who has been named a "Time Magazine 100 Innovator," has had
four retrospectives of his digital art work. He is a Professor of Art and
Art History at the University of Colorado at Boulder. His net art, DVD
surround sound installations, and VJ performances have been exhibited and
featured all over the world including the Whitney
Biennial, the ICA in London, and the Walker Arts Center. He is the author
of two novels, has edited three published anthologies, and is the Founder
and Publisher of the Alt-X Online Network, a net art and new media writing
site started on the Internet in 1993 ( His forthcoming book
of artist writings, entitled META/DATA: A Digital Poetics, will be
published by MIT Press later this year. Mark Amerika is currently
directing his first feature-length film, entitled MY AUTOEROTIC MUSE.

For more information:

Department of Art | Multimedia
American University
Randall Packer
rpacker AT

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From: nat muller <nat AT>
Date: Apr 4, 2006
Subject: Introducing: Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE!

[apologies for cross-posting]

Upgrade! Amsterdam 0.0: THOU SHALT NOT UPGRADE!

When: April 19 2006 || 20.30 hours
Where: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam

| free admission || cocktails || T-shirts |


|| Proud to present: Upgrade Amsterdam! ||Kick-off

| Thou Shalt Not Upgrade! |

An upgrade generally implies technological improvement and progress.
However, technological history is also one of choices, determined by
contextual factors. What do we win and what do we lose with our current
obsession with upgrading? What are its wider cultural implications? What
does it mean for art, design and our worldview?Are there things
sacrosanct, one should not touch: Thou Shalt Not Upgrade?

| Max Bruinsma |
Is an independent design critic, editor, curator and editorial designer.

| Taco Stolk |
Conceptual artist and head of the ExtraFaculty (xFac) of the Royal
Academy of Art in The Hague.

Performative intervention by:
| Aart Muis | and his | BrainClone |
Upgrade! Amsterdam is a series of gatherings for and by new media
aficionados, artists, geeks, media makers and breakers, and the generally
curious. Point of departure is the premise: Â?No upgrade without a
downgrade.Â? Upgrade! Amsterdam is organised by Nat Muller & Lucas Evers,
and is actively hosted by De Melkweg.

Send ideas and proposals to nat AT | lucas AT

Upgrade! is an international, emerging network of autonomous nodes united
by art, technology, and a commitment to bridging cultural divides. Since
April 1999, a group of new media artists and curators have gathered in New
York City. The first meeting took place at a bar in the east village with
Tim Whidden & Mark River [MTAA], Mark Napier and Upgrade! founder Yael

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From: {JavaMuseum} <virtu AT>
Date: Apr 6, 2006
Subject: new interviews on---->JIP - JavaMuseum Interview Project

[week 3-9 April 2006]
JIP - JavaMuseum Interview Project
is featuring this week the following 5 interviews with Sharkar Barua
(India), Päivi Hintsanen (Finland), Enrico Tomaselli (Italy), Carlos
Katastrofsky (Austria), Humberto Ramirez (Chile/USA) further the first
answers on 10 questions by Jeremy Hight & Ian Page-Echols
Shankar Barua
has for many years been networking e-Creative Practitioners globally with
The IDEA [Indian Documentary of Electronic Arts], The AeA [Academy of
Electronic Arts] and CeC & CaC [Carnival of e-Creativity & Change-agents
Conclave]. He is Managing Trustee of The Academy of Electronic Arts,
Special Advisor to Public Affairs Management, The Electronic Music
Foundation and EMF-Institute, Co-Curator and also Archives & Documentation
Associate of the Thailand Media Art Festival, and Honorary Committee
Member of the Digital Art Guild and Museum of the Living Artist
International Digital Exhibition, 2006.
Paivi Hintsanen
Päivi Hintsanen (Jyväskylä, Finland, born in 1970) has worked as
freelancer in net projects for different art and culture related
organizations since 1996. She also has made several independent/own net
projects of which the most important are the online art gallery Spirited
Herring / Henkevä Silakka - started in 1997; with one month theme
exhibitions, open and free for all) and Coloria project. Independent
works include f.ex. large hyper narratives (like The Book of Days and
Silence/1940) and also small image based miniprojects.
Carlos Katastrofsky
(aka. Michael Kargl), born on 08/13/1975 in Hall/ Tyrol/ Austria. Lives
and works in Vienna, Salzburg and Tyrol.
He studied sculpture at the University 'Mozarteum' of Salzburg since 1998,
graduation in 2004 with a work on virtual architecture and cyberspace.
Since 2004 teacher at the University Mozarteum, and JavaMuseum
Humberto Ramirez
is an artist originally from Chile. In addition to painting, since the mid
nineties, Humberto has been involved with electronic explorations in
sound, video and streaming media. Humberto's work presently is concerned
with social issues and the power of language in shaping our values and
perceptions. This new body of work is being shown electronically on line
as well as at traditional screening venues such as art galleries, museums
and film/video festivals across the country.
Enrico Tomaselli
is originating from a Sicilian family of artists, his great grandfather
Onofrio was a famous portrait and landscape painter of 19th century.
Enrico followed the Art Academy of Palermo and later the European
Institute of Design in Rome. Currently he is living and working as both,
webdesigner and Internet based working artist, who participated in
numerous national and international exhibitions, also in JavaMuseum.
About JIP - JavaMuseum Interview Project

JavaMuseum -
Forum for Internet Technology in Contemporary Art
is currently preparing a new project, entitled:
JIP - JavaMuseum Interview Project
to be launched in September 2006 online.

Agricola de Cologne, director of JavaMuseum invites for an interview a
number professionals & artists active in the field of Internet based art
who participated in the "1st phase", the 18 JavaMuseum showcases
2001-2004, in order to spotlight their professional background, activities
and visions.

JIP further issued an open call including 10 questions on Internet based
art addressed to professionals and "amateurs", in order to enable a
broader discussion about the still undervaluated genre of Internet based
art through a variety of different approaches, definitions and opinions.
The entry rules and the questions (cut & paste) are available on

Once completed -
JIP - JavaMuseum Interview Project will release the collected interviews
and the selection of the most interesting answers
a) online on the new project site - , but
b) immediately also in form of one interview per week on the new weblog -
JIP - JavaMuseum Interview Project
c) to be published in a printed form, later as well..

Released by
NetEX - networked experience
powered by
[NewMediaArtProjectNetwork]:||cologne -
the experimental platform for art and New Media
operating from Cologne/Germany.
info& contact
info (at)

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From: Ryan Griffis <ryan.griffis AT>
Date: Apr 6, 2006
Subject: Fwd: Tactical Magic Update!

Please forward far & wide! Apologies for cross-postings.

The Center for Tactical Magic is excited to announce the Tactical Ice
Cream Unit will begin the first segment of our upcoming West Coast Tour of
Prophecy and Potential! What kinds of mirth, mischief & magic can you
expect from a SWAT van loaded with ice cream, propaganda, and surveillance
equipment?!? Find out....

Calendar of Events:

April 1&2 - Riverside, CA - (Opening Reception: April 1, 2006, 6-9pm)
U.C. Riverside's Sweeney Art Gallery presents:
"People for a Better Tomorrow" (April 1 - May 7)
Curated by Meg Cranston, the exhibition will feature the cultural
collusion of: Everlovely Lightningheart, Finishing School,Shana Lutker,
Amy Maloof, Ben Shaffer, Efrat Shalem, Mario Ybarr & the Center for
Tactical Magic

April 3 & 4 - Otis College of Art & Design - Pop Ops, presentations &
other mischief!

April 10 - UCLA - Frosty treats & food-for-thought along with an on-campus

Mid-April - Passing out paletas in Tijuana at Lui Velazquez, and kickin'
about in TJ's SoCal suburb, San Diego with a stop or two planned for UCSD.
(dates TBA)

April 29 - Back in LA for a mix or mysticism, magic, and mechinations at
Machine Project - gallery, laboratory, and lair of 'lectro wizardry.

May 5-7 - Chilling out with some high desert hijinks in Joshua Tree at
High Desert Test Sites 5. HDTS is a series of experimental art sites
located along a stretch of desert communities including Pioneer town,
Yucca Valley, Joshua tree, 29 Palms and Wonder Valley. These sites provide
alternative space for experimental works by both emerging and established

May 9 - The Tactical Ice Cream Unit will be lurking around Cal Arts &
gearing up for the parade!

May 14 - Parade! The TICU will be joining Fritz Haeg, students from Cal
Arts, celebratory citizens, elated environmentalist, and numerous artists
(incl. katie bachler & aubrey white & dance troupe, tim butler, marc
herbst, simon leung, my barbarian and others) for a parade in Valencia
along the Santa Clara River, one of the United States' 10 most endangered

To schedule a visit from the Tactical Ice Cream Unit, or to get involved
with the West Coast Tour of Prophecy & Potential, simply email us at
goodluck AT

To find out more about the Center for Tactical Magic, check us out at:

Thanks & Good Luck!

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From: Brett Stalbaum <stalbaum AT>
Date: Apr 6, 2006
Subject: [Fwd: Allan Kaprow, 1927-2006]

-------- Original Message --------
Subject: Allan Kaprow, 1927-2006
Date: Thu, 6 Apr 2006 15:58:11 GMT
From: rrdominguez AT UCSD.Edu

- Hide quoted text -
Allan Kaprow, 1927-2006

Dear all,
Allan Kaprow has passed away.


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From: David Senior <davidsenior AT>
Date: Apr 7, 2006
Subject: Interview with Siegfried Zielinski

+Commissioned by
Interview with Siegfried Zielinski by David Senior
Translated by William Rauscher

Siegfried Zielinski is an internationally recognized media theorist and
educator whose recent work, Deep Time of Media: Toward an Archaeology of
Hearing and Seeing by Technical Means, has just been translated into
English and published by M.I.T. Press. ZielinskiÂ?s approach to media
history provides a method that radiates with a life and dynamism that pays
homage to the figures and forms that he traces from the past. Writing on
themes as divergent as Mouse on Mars or 17th century polymath Giovanni
della Porta, ZielinskiÂ?s work affirms the experimentation of new forms,
and the science of mixture which can connect through time and space
seemingly disparate bodies of thought and media practice. Zielinski has
very kindly answered five questions drawing on several of the themes from
the newly translated work, Deep Time.

DS: Before we get into the content of the book and your current projects,
I wonder if you could give an introduction to your early career as a
writer, performer and educator? What was your focus in terms of early
studies and what then led you into the past and into the archives with
your media archaeology?

SZ: Thirty-five years ago, when I began my studies, it was theater, radio,
and film which interested me in the field of media. As a young man, who
studied in Germany and came from a Polish-German family (from the region
where Hans Bellmer was born), I was occupied analytically in the first
years by a question: I absolutely wanted to know how the Nazis had used
media, how they had conquered the heads and hearts of those who supported
their death-machines or even killed for them. Parallel to such analyses of
power, I was interested as well in the other side and how they used media.
Trained through interventionist thinkers like Bertolt Brecht or Walter
Benjamin, who not only understood the controlling power of media, but also
contemplated its emancipatory potential, I turned to the dimensions of
media history which were practically forgotten or buried, for example, the
activities of the so-called Worker-Radio Movement in the Weimar Republic
who carried out their resistance activities through the medium of the
radio, and even existed in the Nazi death camps, or the so-called Â?Free
RadiosÂ? and video guerrillas of the 1970Â?s. Â?Supervision and SubversionÂ? -
so could one, in a Foucauldian manner, formulate the tensions between
these media interests regarding vision by means of modern technology.

The investigation of the deep layers of media history began, however
paradoxically at first, when I dedicated myself in the eighties and
nineties more intensively to new electronic media. As a media researcher
who had twenty years earlier written his philosophic dissertation on the
history of the videorecorder, I had a growing uneasiness with the idea of
the future that was being suddenly and constantly announced to me. I
doubted very much that our epoch embodied the greatest possibilities of
progress in the history of civilization, if one used diversity - the
richness of variety in existing things, forms, techniques, arts, etc - as
criteria for progress. I looked for allies in other sciences and found
them in geology and paleontology, for example James Hutton, who lived in
Scotland at the end of the 18th century, or more recently, the Harvard
biologist Stephen Jay Gould. I began to conduct something like a
paleontology of media-development. One last important impetus for this
research was the encounter with the wonderful holdings of an old Jesuit
library in Salzburg, where I held my first professorship. The folios of
media-visionaries from the 16th and 17th century like John Dee, Giovanni
Battista della Porta, Christoph Sheiner, and Athanasius Kircher waited
here to be discovered through a historically and philosophically
interested art and media research. The connection of the two heterogeneous
worlds, on the one hand the highly polished surfaces of the newest media
and on the other the moldy, smelly magical world of unwieldy Latin texts
and excessive iconography became a passion which still consumes all of my
time. Although, I had to push them a bit to the background, as I was asked
in the 1990s to build a special art school in Cologne, which would be
fully dedicated to the changing relations of technology and art.

DS: What is unique in your work is the spirit and tone which you bring to
the Â?case studiesÂ? that you have collected. The body of works reflects
rigorous research, but also a consistent affirmation of the unexpected
turns that arise throughout the process. In this way, the book represents
a praxis that you have described as Â?anarchaeology,Â? and more recently as
Â?variantology.Â? Could you describe this method and why you have found it
particularly applicable to the study of the history of media?

SZ: In my studies I try to connect two movements, through the verticality
of phenomena and processes, which means in effect, the attempt to get to
the bottom of things. Above all, I was encouraged by the Polish artist and
poet Bruno Schulz, and also by the conceptual dance on the plateau, which
I have learned less from French thinkers like Deleuze and Guattari than
for example from the philosopher Vilem Flusser, who the Nazis drove out
from the alchemist-city of Prague to Sao Paulo, where he learned to couple
a deep consideration of the world with the dynamic figure of the samba.
That is however only a somewhat provocative example. Along with the poet
Novalis, who died much too young, I am of the opinion that the sciences
belong to the poetized and that they should be handled musically, because
musical relations appear to be the Â?fundamental relations of Nature.Â? But,
I do not share with Novalis the despairing search for the absolute in all
things. I try to substitute this search with a method of fortuitous finds.
However, such a method must renounce some things which characterize
classical archeology, like the search for the origin from which all things
develop. Like Nietzsche and Foucault, I favor the concept of geneaology
for historical research, which asks after the developments, turns and
leaps. As opposed to Foucault and his diverse archaeologies of power and
knowledge, I claim no mastery, do not claim to develop one or more main
ideas that would resonate semantically with archos/archein. In the case of
the movement that the fortuitous find presupposes, one must let the reins
fall away and let the horse gallop free, without knowing what exactly will
arrive. The coupling of this with the vertical movement leads to anything
but simple arbitrariness; rather it leads to a research work that
understands itself as a joyful release from a heavy burden.

When I wrote Deep Time of the Media, I had invented for it the concept of
anarcheology. This term now seems to me too negative and destructive in
its construction. For two or three years, I have worked only with the
concept of variantology, under which I understand the imaginary sum of all
possible genealogies of media phenomena. As opposed to the heterogeneous,
with its heavy resonances from ontology and biology, the variantological,
in its methodological and epistemological respect, interests me as a mode
of lightness. The variant is just as at home in the experimental sciences
as it is in diverse artistic practices, above all in music. As different
varieties or divergent interpretations, variants belong for composers or
performers to a self-evident vocabulary and to practical everyday life.
The semantic field of this neologism possesses a positive connotation. To
be different, divergent, changing, alternating, are alternative
translations for the Latin verb variare. It tips over only into the
negative when it is used by the speaking subject as a means of exclusion,
which the word does not actually sustain. To vary something then is an
alternative to its destruction.

DS: Within Deep Time, the individuals which you bring forth are most often
found on the fringes of their professional worlds and prevailing academic
paradigms of research and practice. In these stories, it seems that you
are trying to draw out a new kind of figure to venerate, individuals that
had a wild streak, and may have been considered dangerous in regards to
the institutions that kept them at arms length. Is this a fair reading, or
perhaps an oversimplification of your tableau of characters?

SZ: To not accept leaders does not mean that one does not respect heroes.
In my work with young artists and intellectuals in various academies, I
have learned that without personalities with whom one can passionately
identify, one manages only with difficulty. It is essentially better when
this potential for identification is not identical with the teacher, but
rather comes completely from somewhere else, from another time, another
region, possibly out of books. When we are involved with art and media, we
operate in the world of illusions. The Latin verb (illudere) that hides in
this beautiful word means etymologically not only to bring something
before others, to produce appearances, but as well to enter into a risk,
to set something into play, even, when necessary, involving oneself. This
necessity is not rendered superfluous under the conditions of the
production or generation of art with digital media or in technological
relations. Completely the opposite - we must think them anew. My
excursions into the lives of a few and their partly impossible working
conditions gesture to this effect.

And something else appears to me to be significant in this context:
artists and intellectuals donÂ?t necessarily need to shove their way in the
middle of society in order to be able to find recognition or to be
effective. It has become narrow there in the center, and in this center,
power is at home. Also, for a long time now, art that is involved with new
media technologies has also arrived in the center. Movements on the
periphery, which do not exclude the occasional crossing of the center,
appear to me at present to be more meaningful and in the foreseeable
future, more pleasurable than the overexcited pushing and shoving for the
best place in the middle.

DS: You suggest a geographical relationship to media research and that
much of the most diverse and vital experimentation in prior periods
occurred in dispersed regions, at a remove from the cultural centers of
Europe, in southern Italy for example or in areas of eastern Europe. Could
you elaborate on this cartographical theme as it relates to your media

SZ: Cartographies are a special view of the world (the German term
Weltanschauung expresses this very nicely). From a perspective of media
archeology, we have to give up trusted cartographies. Technical media as
we know them were made marketable and developed into products in the
metropolis of the western world (London, Paris, New York, Berlin, etc). If
however we are interested in deep-temporal emergence and development, we
have to use a wholly other orientation. The deeper we penetrate historical
layers, the more we must turn towards the far East and above all towards
China, and from there we roam through Asia Minor and the Arab lands and
cultures, moving then into southern Europe, before we arrive in the
pre-modern regions and cities familiar to us. My thesis is that the new
and arousing ideas come out of the provinces much more frequently than out
of the centers of power, where they are worked over and freed from their
resistances. In order to characterize the particular form of collective
work which emerges out of the networking of heterogeneous ideas and
fields, I use the expression Â?economy of friendshipÂ?. It is a positive
counter-model to the globalized economy of industrialization and the only
one in the field of art which functions and is alive. The geographical and
cartographical implications of my anarcheological studies are to be
understood, not least, as a plea for the idea of the economy of

DS: In the final chapter, one of the practical points made in reference to
the experimentation of new media artists and developers is the need for
safe havens, contexts for individuals or collectives to be given the gift
of time and space to develop ideas. Do you find that this is part of your
present role in Cologne with the Academy of Media Arts, to be hospitable
in this way to the young people who come through the school?

SZ: More and more in Europe, academic institutions are permeable to the
demands and desires of the fitters and guiders of the states. Poets and
thinkers however need autonomy and freedom as indispensable and sustaining
elixirs. Academies of the arts and sciences must not degenerate into test
departments of the globalized information society. For the institutions to
which I am responsible, I thus plead vehemently that they be able to
proliferate as gleaming ivory towers. Study at the academy should be more
than ever the offer of a protected time and space where original thoughts
and idea can be developed and tried out. The possibility of failure
belongs to experimentation. That is nothing other than the idea of a
contemporary laboratory, whose windows and doors must above all not be
closed. At the academy in Cologne for example we offer ourselves
constantly up to the judgments and critiques of the public, through
exhibitions, open concerts, performances and lectures. Within the dynamic
of this openness, however, we maintain ourselves and donÂ?t let it regulate
us. The students and the guests of our program enjoy the freedom to
experiment and offer their thanks through outstanding projects and
artistic work, which have received international recognition. We remind
our students and fellows in any case of their crucial duty: they have to
be ready to take risks and not want to simply swim in conventional waters.
And with that the circle of the project of a deep time of the media and
variantology closes. Giovanni Battista della PortaÂ?s Academy of Secrets in
Naples in the 16th century, which soon after its founding was banned by
the Vatican, was the first academy fully dedicated to the risky experiment
of natural philosophy. It had a single admission criteria, that those who
wanted to participate must bring something new into the world (and be
prepared to share this knowledge with others). It is time that we again
rightly restore such an Accademia dei segreti and let it finally become a
flourishing reality.

David Senior is an artist, writer and student of media history who
currently works in the library at the Museum of Modern Art in New York and
is a doctoral student at the European Graduate School, EGS.

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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 11, number 13. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

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