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.
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Subject: RHIZOME DIGEST: 04.28.06 From: digest@rhizome.org (RHIZOME) Date: Fri, 28 Apr 2006 17:14:44 -0700 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: April 28, 2006 ++ Always online at http://rhizome.org/digest ++ Content: +note+ 1. Ceci: Seeking Contributions for New Media Arts Syllabi List 2. Patrick May: Director of Technology's report, April 2006 3. Patrick May: 2006-2007 Rhizome Commissions Program +opportunity+ 4. diopcj AT jmu.edu: Call for Entries: Contemporary Mathematical Photography and New Media 5. idc AT distributedcreativity.org: Call for Papers: 'free' 6. Colleen Tully: Pixel Pops! Deadline Extension & Exhibition Date Change +announcement+ 7. Joel Slayton: ISEA2006/Papers_Forum 8. Neural: The Work of Media Art in The Age of Digital Reproduction 9. Thomas Beard: Flipped Chips 10. Greg Smith: mutek 2006 lineup/details 11. emwod33 AT hotmail.com: Trampoline in Tokyo 12. Marisa Olson: The GIF Show, Rx Gallery-SF, opens May 3 +Metadata Thread - Part 1+ 13. Lauren Cornell, Richard Rinehart, Rob Myers, David Chien, Pall Thayer, Ryan Griffis, Sal Randolph: Metadata + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.org/info/org.php for more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Ceci <ceci AT rhizome.org> Date: Apr 21, 2006 Subject: Seeking Contributions for New Media Arts Syllabi List We at Rhizome are currently compiling a New Media Arts Syllabi List, which will be made available to our members in upcoming months. The syllabi will span from the last ten years, and like the new media art field itself, it will incorporate a wide range of disciplines (robotics, theory, comparative literature, musicology, art history, etc.). If you are interested in contributing your syllabi to this list, please contact me at ceci AT rhizome.org. We hope this list will become a valuable and continuing resource for the teachers and students who represent a significant part of our member base. Thank you! Ceci -- Ceci Moss Sales Associate, Rhizome.org tel. 212.219.1288 x211 fax. 212.431.5328 email. ceci AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Patrick May <patrick AT rhizome.org> Date: Apr 23, 2006 Subject: Director of Technology's report, April 2006 Hello, So this has been a rocky but ultimately positive month for Rhizome. :-/ Two major outtages disrupted service and delayed our programs. However, I used these problems as an opportunity to make Rhizome stronger. Additionally, some very positive things have happened, including the launch of a new Advanced Search tool. Problems detailed below... === Disk Error Early in the morning on March 28th, the Rhizome server crashed with a severe disk error. While the database and mailing lists were backed up, we still had to rebuild Rhizome.org on a fresh server. This contributed to most of our delays, as we rebuilt each service individually. Among the services that were disrupted were: + Rhizome internal email + Rhizome.org website + Search and Advanced Search + RAW and RARE email lists + All syndications + The payment process, including online Credit Card submissions and the tools for processing mailed checks + The commission submission forms === Mailia On the weekend of April 7th, RAW began receiving a massive flow of email from the "Mailia" project. These emails overloaded the server and caused several outages. Unfortunately, this coincided with the time that users were finalizing their commissions proposals. I unsubscribed the Mailia project from RAW and blocked email from Mailia to Rhizome. I have since been in touch with the artist responsible for Mailia. He told me that Mailia itself was the victim of a mail bomb, and it bounced messages with a forged "list AT rhizome.org" address back to Rhizome.org. He has forwarded me examples of the emails that Mailia received and his story appears credible. Furthermore, the artist has agreed to block any email from Mailia to the Rhizome lists (raw AT rhizome.org, list AT rhizome.org). I would like to restore the artist's access, pending these actions: + additional investigation of the emails that Mailia received + configuration of RAW to prevent a repeat of the mail bomb /outage situation It is not in the interest of Rhizome to block or ban users, especially from RAW. I will have more updates on this situation later. === Artbase There have continued to be problems with artbase submissions. This service was disrupted when the new site went up in December, and was hit again when the server went down in late March. The tools have been fixed, but we still have to catch up with the many submissions that have been made. Additionally, I need to review cloned artwork before posting them online. Due to the issues over the last month I have not had the time to post uploaded cloned artworks. I shall be focusing my efforts in this direction. ===== Positive Notes While we have encountered difficulty this month, we have still accomplished several important projects: + structured Rhizome.org server for planned load balancing + fixed several key performance bottlenecks on Rhizome.org website + our site traffic is up to a new record, over 5.4 million page views + our commissions program received a record 180 exciting submissions + launched new Search and Advanced Search tools === Commissions As noted, we received a record number of submissions. The voting phase has begun: http://rhizome.org/commissions/voting/ Another email with more details will follow shortly. === Search and Advanced Search We have released a new search and advanced search: http://rhizome.org/search/ http://rhizome.org/search/advanced.rbw These tools have an entirely new search back end. Much of this development had been completed before the server crash in late March. We went ahead and pushed this out instead of installing the old search. These tools are still somewhat beta, so please let us know how they work for you. ===== Summary With the recent restoration of RARE and launch of new Advanced Search, we have completed the restoration of Rhizome services. Over the last month, a number of individuals have contacted us about various issues with Rhizome. Now that the server is stabilizing, our focus is turning to these issues and we hope to have them resolved in the coming week(s). I'd like to take a moment to thank all our members, who have been so patient during this difficult time. Cheers, Patrick -- Patrick May Director of Technology Rhizome.org phone: (212) 219-1288 x202 AIM: cyclochew + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire http://rhizome.org/hosting/ 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Patrick May <patrick AT rhizome.org> Date: Apr 23, 2006 Subject: 2006-2007 Rhizome Commissions Program Hello, The voting for the 2006-2007 Rhizome Commissions Program has begun. Voting is open to Rhizome Members. If you are eligible, please go to: http://rhizome.org/commissions/voting/ If you care about which proposals and which art you want to see supported, please take the time to vote! I have emailed all the candidates, and asked them: + not to participate in list discussion on any of the work under consideration. + not to change their proposal sites during the discussion in an attempt to win more votes. For those voting, please pay attention to whether each proposal actually meets the requirements of the Call For Proposals: + these commissions are intended to fund (in whole or in part) new works or new elaborations of/additions to existing work. + these commissions are intended for works that take the internet as their primary vehicle for production Finally, note that we are starting the voting 2 weeks later than planned. This round of voting will last until May 2nd. For more information about the voting schedule or process, please check: http://rhizome.org/commissions/voting/ Cheers, Patrick -- Patrick May Director of Technology Rhizome.org phone: (212) 219-1288 x202 AIM: cyclochew + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: diopcj AT jmu.edu <diopcj AT jmu.edu> Date: Apr 25, 2006 Subject: Call for Entries: Contemporary Mathematical Photography and New Media Presented by N E W I M A G E G A L L E R Y Deadline for Proposals: June 12, 2006 Reviewing photography and new media with mathematical themes and inspirations for an exhibition in Fall 2006. This includes all traditional and digital photography processes, photography-related mixed media, video, installations, interactive stations, and performance-based work. Send appropriate documentation on slides, CD, web site links, dvd, or video; an image list; a statement outlining the mathematical implication of your work; a resume; any other support material; complete and accurate contact information; an SASE for return of your materials. Artists, mathematicians, and others may apply. There is no application fee. Curated by James Madison University professors Dr. Elizabeth Brown (Math), Corinne Diop (Art), Rebecca Silberman (Art, New Image Gallery Director). New Image Gallery is James Madison University?s contemporary photography gallery, located at 131 Grace St, Harrisonburg, VA. Direct submissions or questions to: Corinne Diop, School of Art & Art History, MSC 7101/ 800 S. Main St, James Madison University, Harrisonburg, VA 22807; diopcj AT jmu.edu; (540) 568-6485; http://www.jmu.edu/art/. This exhibition is co-sponsored by James Madison University?s School of Art & Art History http://www.jmu.edu/art/ and the Institute for Visual Studies http://www.jmu.edu/ivs. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: idc AT distributedcreativity.org <idc AT distributedcreativity.org> Date: Apr 26, 2006 Subject: Call for Papers: 'free' FOR IMMEDIATE RELEASE - 26 April 2006 M/C - Media and Culture http://www.media-culture.org.au/ is calling for contributors to the 'free' issue of M/C Journal http://journal.media-culture.org.au/ M/C Journal is looking for new contributors. M/C is a crossover journal between the popular and the academic, and a blind- and peer-reviewed journal. To see what M/C Journal is all about, check out our Website, which contains all the issues released so far, at <http://journal.media-culture.org.au/>. To find out how and in what format to contribute your work, visit <http://journal.media-culture.org.au/journal/submission.php>. Call for Papers: 'free' Edited by Trebor Scholz and Rachel Cobcroft Today, freedom is far from free. Network and hardware access bears often ignored costs. 'Free and open' at times means 'closed and expensive'. Freedom can be conceptualised to fit innumerable agendas. Freedom is the freedom to say no, to withdraw your collaboration, to refuse friendly cooperation. To be free is to live one's contradictions. But whose freedom do we praise? There is no solace in the liberty of being employed but poor, surveilled and uninsured. For Stewart Brand the central hacker ethos indicates that 'information wants to be free'. Lessig's Free Culture and Stallman's Free Software mark the tension between proprietary and open source domains - the battle between intellectual 'property' and creativity. The flood of civic, participatory technologies such as the blog contributes to a larger number of voices being heard. Online, commons-based peer production creates novel, economic realities that no venture capitalist can kill. For Yochai Benkler these alternative economies are not fads but real facts. They are not utopian dreams but lived reality. Sociable Web media allow for larger individual freedom and the potential to co-create society. The freedom to remix, to mash up, to reconceptualise, recontextualise, hybridise, breathes in free cultural formations. Knowledge repositories like Wikibooks allow for knowledge-on-call, albeit bringing access which is at times partial and exclusive. Such openly accessible initiatives out-collaborate even the best-paid Britannica editors. Freedom is an inalienable right that has often been overruled in the name of justice and liberty. Citizens worldwide are armchair passengers on the nightly news train or watch reality TV shows such as 'Big Brother'. They dream of their lives as thankfully being 'free'. After all, to be free is a guaranteed human right, as enshrined by the United Nations in the Universal Declaration of Human Rights. Captured in this document is the right to freedom of thought, conscience, and religion; freedom of expression and opinion; and the right to life, liberty, and security of person. This issue of M/C Journal asks a question which intentionally traverses politics, media, philosophy, techno-studies, and new media art: to what extent are we, and can we expect to be, free? The United States' statesman Benjamin Franklin reminds us that 'they that can give up essential liberty to obtain a little temporary safety deserve neither liberty nor safety.' Bertolt Brecht associated a blue sky with freedom. How much space is there for freedom in spaces of your actions, thoughts and feelings, online and off? Ubiquitous multinationals sell us the freedom to customize as privilege of the user. Increasingly, companies give away things for free. Enticing 'free gifts' must be paid back in the long run to the Googles and Ebays. We buy into the hierarchies of sharing and exchange. Are freedom, independence and autonomy merely illusions in the participatory panopticon? The potential of being on the loose is the power to shape civic society while learning to live with hybridity. Which threats to freedom are we prepared to accept in the pursuit of the rhetoric of freedom? Can we live with the cruel lie that to preserve freedom, one must strike pre-emptively? We invite contributions from theorists, practitioners, and all those who dare to reclaim the discourse of freedom. Feel free to contribute! Send 1000-1500 word articles to free AT journal.media-culture.org.au. For more information: free AT journal.media-culture.org.au Article deadline: 26 June 2006 Issue release date: 23 Aug. 2006 M/C Journal was founded (as "M/C - A Journal of Media and Culture") in 1998 as a place of public intellectualism analysing and critiquing the meeting of media and culture. Contributors are directed to past issues of M/C Journal for examples of style and content, and to the submissions page for comprehensive article submission guidelines. M/C Journal articles are blind peer-reviewed. ------------------------------------------------------------------------ Further M/C Journal issues scheduled for 2006: 'collaborate': article deadline 6 March 2006, release date 3 May 2006 'street': article deadline 1 May 2006, release date 28 June 2006 'free': article deadline 26 June 2006, release date 23 August 2006 'filth': article deadline 21 August 2006, release date 18 October 2006 'jam': article deadline 16 October 2006, release date 13 December 2006 ------------------------------------------------------------------------ M/C - Media and Culture is located at <http://www.media-culture.org.au/>. ------------------------------------------------------------------------ M/C Journal is online at <http://journal.media-culture.org.au/>. All past issues of M/C Journal on various topics are available there. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Colleen Tully <colleen.tully AT recol.com> Date: Apr 27, 2006 Subject: Pixel Pops! Deadline Extension & Exhibition Date Change Pixel Pops! Submission Deadline Extension and Exhibition Date Change - New Deadline: 8 July 2006 Call for Submissions - Pixel Pops! International exhibition in October 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, Spain). 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 minutes) *Upload 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 10megabytes by email) by the 8 July deadline. *Also send a DVD with your work by 22July (this will ensure high quality resolution for projection) * see shipping address below ---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. Information: *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 gmail.com with an attachment or web link to your work. *Attach a brief artist statement and a description of your work (up to 1 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. www.poppingpixels.org (Last year's exhibition: 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 18 August 2006 SUMMARY: -SUBMISSION DEADLINE: 8 July 2006 -SUBMISSION E-MAIL: poppingpixels AT gmail.com (Subject: SUBMISSION) -ATTACH: * Submission(see above for formats) * Artist Statement * Description of your work. -CD/DVD DEADLINE: 22 July 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)* + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Joel Slayton <joel AT well.com> Date: Apr 24, 2006 Subject: ISEA2006/Papers_Forum ISEA2006 Symposium Papers Online Forum. April 24th ? May 29th. ISEA2006 is taking place in San Jose, California, August 7-13. See http://01sj.org for more information about the Symposium and related ZeroOne San Jose Festival. Beginning Monday, April 24th, ISEA2006 will host a month long series of discussions on the accepted paper abstracts for each of the Symposium themes: Interactive City, Community Domain, Pacific Rim and Transvergence. See http://01sj.org/content/blogcategory/138/147/ for an overview. An important objective to ISEA2006 is enabling conversation and discourse between audience(s) and presenters. Toward that objective this years ISEA incorporates a single main track of presentations + artists presentations combined with a pre-publishing model. The reading of papers is not permitted. Instead authors will present their abstracts in the on-line Forum and then pre-publish full manuscripts weeks prior to the Symposium. The goal is to inform and influence both authors and audiences as well as create conversational relationships and provide for advanced consideration of topics to be presented at the Symposium. At ISEA2006 each theme will have two extended ?conversational? sessions in which several authors present summaries of their papers followed by a moderated conversation and audience interaction. An important role in the Symposium and Forum is that of the Moderator. We have invited a group of prestigious Moderators who will facilitation of individual sessions of the Online Forum and Symposium. Interactive City: Anthony Burke Community Domain: Sara Diamond Transvergence: TBA Community Domain: Alice Ming Wai Jim Transvergence: Wendy Chun Pacific Rim: Amanda McDonald Crowley The ISEA2006 Papers Forum, April 24nd to May 22nd begins with Interactive City. Beginning with Interactive City, abstracts for each of the Symposium themes will be presented in a series of open public discussions. Interactive City paper titles and authors: Mirjam Struppek, Urban Screens Tapio Mäkelä, Ars Memorativa in the Interactive City Alison Sant, Redefining the Basemap >From Scenography to Planetary Network for Shanghai 2010 Each week introduces a new theme and abstracts for consideration. Forum Schedule and Moderators: Transvergence 1: May 1-May 7 Moderator: TBA Gheorghe Dan and Alisa Andrasek: Phylotic BodayScapes / Entheogenic Gardens Poly-Scalar Heterotopic Botany Oron Catts and Ionat Zurr, Towards a New Class of Being-The Extended Body Josephine Bosma, Voice and Code: From spoken word and song to writing music to code Community Domain 1: May 8-14 Moderator: Sara Diamond Trebor Scholz, The Participatory Challenge: Incentives for Online Collaboration Valentina Nisa, Mads Haahr and Ian Oakley, Community Networked Tales: Stories and Place of a Dublin Neighborhood: The Media Portrait of Liberties Kevin Hamilton, Absence in Common: An Operator for the inoperative Community Community Domain 2: May 8-14 Moderator: Alice Ming Wai Jim Joline Blais, Indigenous Domain: Beyond the Commons and Other Colonial Paradigms Sharon Daniel, Public Secrets: Information and Social Knowledge Mara Traumane, Media Referentiality: ?Productive ? Knowledge Networks in Experimental Arts Transvergence 2: May 15-21 Moderator: Wendy Chun Steve Anderson, Coming to Terms with the Digital Avant Garde Jon Ippolito and Joline Blais, Art as Antibody: A redefinition of art for the Internet Age Ned Rossiter, Organized Networks as New Institutional Forms Pacific Rim : May 22-29 Moderator: Amanda McDonald Crowley Timothy Murray, Chinese Archival Futures *additional Pacific Rim participants to be announced. Please join us for a lively and informative discussion. For more information on Paper Authors and the Symposium: http://01sj.org/content/blogcategory/135/144/ <http://01sj.org/content/blogcategory/135/144/> . Joel Slayton, Chair ISEA2006/ZeroOne San Jose Steve Dietz, Director ISEA2006/ZeroOne San Jose ------------- ISEA2006 Symposium The 2006 edition of the internationally renowned ISEA Symposium will be held August 7-13, 2006, in San Jose, California in conjunction with the inauguration of ZeroOne San Jose: A Global Festival of Art on the Edge, a milestone festival to be held biennially. The 13th International Symposium on Electronic Art (ISEA2006) focuses on the critical, theoretical and pragmatic exploration of four important themes <http://01sj.org/content/blogcategory/105/30/> : Transvergence <http://01sj.org/content/blogcategory/26/71/> , Interactive City <http://01sj.org/content/blogcategory/23/68/> , Community Domain <http://01sj.org/content/blogcategory/24/69/> and Pacific Rim <http://01sj.org/content/blogcategory/25/70/> What tactics, issues and conceptual practices expose or inform the distinctions of these subject terrains relating to contemporary art practice? What analyses illuminate art practice engaged with new technical and conceptual forms, functions and disciplines; provide for innovative tactical implementations of cultural production involving urbanity, mobility, community and locality; examine the roles and responsibilities of corporations, civic and cultural organizations, discuss strategic and economic planning as it relates to creative community; serve to expose new portals of production and experience; provide for interpretive bridges between cultures and identities; and provide for provocative examination of contemporary political and economic conditions? How is new media art practice re-shaping the world? The ISEA2006 Symposium is an international platform for artists, cultural producers, media theorists, curators and the general public to share the latest ideas and practices involving new media. Enabling discourse across disciplines, ideologies and philosophical frameworks is an important objective as is the facilitation of discussion and conversation. Audience participation is facilitated through expanded moderated sessions, an afternoon Poster Session/Reception and through an on-line forum featuring the pre-published abstracts and papers. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Neural <a.ludovico AT neural.it> Date: Apr 26, 2006 Subject: The Work of Media Art in The Age of Digital Reproduction http://www.streetlevelphotoworks.org/index.html The Work of Media Art in The Age of Digital Reproduction. 28th - 29th April Centre for Contemporary Arts (CCA) 350 Sauchiehall St. Glasgow. A two-day symposium surveying current projects concerned with preserving the history of media art and initiatives aimed at stimulating practices, networks, critical appreciation and knowledge associated with electronic and digital media arts. Day 1 will provide a 'guided tour' of video art through the early exponents of analogue and film formats and re-examine their place within the contemporary art gallery and museum. This will be interspersed with artists' presentations that help explore the nature and practice of the moving image and its current conditions within the 'visual arts "scene"'. The main drive will be to re-examine the critical frameworks between current practice and its antecedents. Day 2 will involve presentations by members of Mag.Net (Magazine Network of Electronic Cultural Publishers), and will explore print and electronic publications as a mean of supporting new practices and networks around digital culture. Each contributor will present their editorial positions, an overview of practice in their countries, as well as present for pubic discussion some of the debates Mag.Net is interested in - social and virtual networking, developing flexible forms of translocal and transmedia exchange, and the new possibilities available to artists and publishers, such as POD (Publishing on Demand). Day 1: Stephen Partridge (REWIND, Dundee), Daniel Reeves (artist, USA /Edinburgh), Tina Fiske (University of Glasgow), Chris Meigh-Andrews (artist, Preston), Rudolph Frieling (ZKM, Karlsrhue), Mark Neville (artist, Glasgow), Malcolm Dickson (Street Level, Glasgow). Day 2: Daniel Jewesbury (Variant, Glasgow / Belfast), Alessandro Ludovico (Neural Magazine, Italy), Miren Eraso (Zehar Magazine, Basque Country, Spain), Slavo Krekovic (3/4 Magazine, Slovak Republic), Christian Hoeller and Georg Schollehammer (Springerin, Austria), Simon Worthington (Mute, London). £25 each day or £40 for both. Please download booking form from the website and return to Street Level: 26 King Street, Glasgow G1 5QP -- Alessandro Ludovico Neural.it - http://www.neural.it/ daily updated news + reviews English content - http://www.neural.it/english/ Suoni Futuri Digitali - http://www.neural.it/projects/sfd/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Thomas Beard <thomas AT ocularis.net> Date: Apr 26, 2006 Subject: Flipped Chips Ocularis at Galapagos Art Space 70 North 6th Street, Brooklyn http://www.ocularis.net/ Flipped Chips Monday, May 8 at 8 PM Curated by interdisciplinary artist duo LoVid, Flipped Chips includes single channel videos as well as presentations by artists from around the world who custom make their own hardware video instruments. Dan Sandin, Nam June Paik, Steina and Woody Vasulka, Matthew Schlanger, Steve Beck, Jim Wiseman, and Bill Etra represent a generation of pioneers who explored video and moving image synthesis. These artists developed hardware instruments as technological advancements in an era of idealism and utopian views of communication, where video and television were regarded as the ultimate new creative medium, able to elicit widespread cultural and social change. Tonight their work will be shown alongside that of a new generation of artists returning to hardware-based video instruments, like Billy Roisz (NTSC), noteNdo, Jon Satrom, Paul Slocum, Karl Klomp, Cory Arcangel and Paper Rad, and LoVid. Departing from their predecessors, the latter set approaches technology with personal and global nostalgia as well as a romantic infatuation with the media-generating object. Inspired by noise, extreme music, glitch and hacker culture, as well as the fragility, unpredictability, and limitations of technology, they choose to work with decades-old electronic components for personal aesthetic reasons and as a reaction to the dominance of technology and media in mainstream culture. Advance tickets available here: http://www.smarttix.com/show.aspx?showcode=OCU About Ocularis Ocularis is a 501(c)3 not-for-profit organization that provides a forum for the exhibition of independent, experimental and documentary film/video and new media, as well as international and repertory cinema. Established in 1996 as a rooftop film series catering to local audiences in North Brooklyn, it has since evolved into a weekly cinema, a producer of collaborative film/video work and a summer open-air screening series. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Greg Smith <smith AT serialconsign.com> Date: Apr 26, 2006 Subject: mutek 2006 lineup/details For anybody in the Northeast in North America, I highly recommend checking out Mutek. The festival features Fantastic musical programming with stronger multimedia content every year. ,g -- greg smith http://www.serialconsign.com http://www.vagueterrain.net 416.877.4281 smith AT serialconsign.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: emwod33 AT hotmail.com <emwod33 AT hotmail.com> Date: Apr 28, 2006 Subject: Trampoline in Tokyo Dislocate Exhibition in Ginza and Koiwa, Tokyo 28th July- 18th August 2006 curated by Emma Lewis In association with Trampoline and Ginza Art Laboratory www.trampoline.org.uk Call for Submissions Deadline 31st May We constantly swim through an invisible sea of hidden reality ? our environment is not formed only by our physical surroundings but of its multiplicity of insubstantial networks ? constantly transmitting and receiving. Physical geography is being transcended, psycho-geography is extended. We are never located in just one space. Here is not just here but also there. ?Dislocate? is an exhibition examining the tensions between the local and the global ? the elements and identity of one local space which are simultaneously intersected by countless global links and influences. In its indefatigable attempt to promote new media art to the world Trampoline ? platform for new media art - is going to Tokyo this summer and is seeking submissions of works which engage with notions of multiple spaces and presence, the ubiquity of new media and the challenge to our sense of place. We are particularly encouraging the submission of video work some of which will be shown on a showreel, others on single monitors. But we also welcome submissions for web streaming, computer based works and sound works. Work should engage with the theme of the exhibition on some level and proposals should outline how this connection is made. In addition to this there is one project as part of the exhibition which the curator invites you to consider submitting to: Audio Tour In joining one space with another and exaggerating a sense of dislocation, the curator is keen to merge other cities with Tokyo in the form of an audio tour, touring one city within another. It is imagined that this audio tour would be worn by visitors to the exhibition and would instruct them on a small walking tour around the city, but as they are walking through the streets of Tokyo they will be listening to a tour of another city. The curator is keen to work with artists interested in audio guides and would like to develop a bilingual audio guide of another city which could then be presented in the area surrounding the gallery in Ginza, Tokyo, referencing one space within another. If you have any ideas which you would like to develop further in relation to this project and in dialogue with Trampoline we would very much like to hear from you. Deadline to submit proposals is May 31st. Please submit to: Emma Lewis Trampoline Broadway Cinema 14-18 Broad Street Nottingham NG1 3AL UK emma AT trampoline.org.uk 0115 8409272 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Marisa Olson <marisa AT rhizome.org> Date: Apr 28, 2006 Subject: The GIF Show, Rx Gallery-SF, opens May 3 Hello. I wanted to let you know about an exhibition in San Francisco, which is collaboratively presented by Rhizome and Rx Gallery. Below is the text of today's Rhizome News piece, announcing The GIF Show. I'm excited to say that the show features a combination of very active artists and a few exceptionally talented artists for whom this is their first exhibition. I hope that some of you can attend the opening (which will feature live music & visuals by Eats Tapes & Nate Boyce!), but if not perhaps you'll help us spread the word by becoming Myspace friends with the exhibit! :) Best regards, Marisa The GIF Show, an exhibition opening May 3rd, at San Francisco's Rx Gallery, takes the pulse of what some net surfers call 'GIF Luv,' a recent frenzy of file-sharing and creative muscle-flexing associated with GIFs (Graphic Interchange Format files). Curated by Marisa Olson in a West Coast Rhizome collaboration with Rx, the show presents GIFs and GIF-based videos, prints, readymades, and sculptures by a range of artists, including Cory Arcangel, Peter Baldes, Michael Bell-Smith, Jimpunk, Olia Lialina, Abe Linkoln, Guthrie Lonergan, Lovid, Tom Moody, Paper Rad, Paul Slocum, and Matt Smear (aka 893/umeancompetitor). GIFs have a rich cultural life on the internet and each bears specific stylistic markers. >From Myspace graphics to advertising images to porn banners, and beyond, GIFs overcome resolution and bandwidth challenges in their pervasive population of the net. Animated GIFs, in particular, have evolved from a largely cinematic, cell-based form of art practice, and have more recently been incorporated in music videos and employed as stimulating narrative devices on blogs. From the flashy to the minimal, the sonic to the silent, the artists in The GIF Show demonstrate the diversity of forms to be found in GIFs, and many of them comment on the broader social life of these image files. The opening is sure to be just as lively, with music by Eats Tapes and visuals by Nate Boyce. Spread the luv! - Rhizome.org http://www.rxgallery.com/ http://www.myspace.com/gifshow + + + Marisa Olson Editor & Curator at Large Rhizome.org at the New Museum of Contemporary Art + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. From: Lauren Cornell <laurencornell AT rhizome.org>, Richard Rinehart <rinehart AT berkeley.edu>, Rob Myers <rob AT robmyers.org>, David Chien <david AT nakedgremlin.com>, Pall Thayer <p_thay AT alcor.concordia.ca>, Ryan Griffis <ryan.griffis AT gmail.com>, Sal Randolph <salrandolph AT gmail.com> Date: Apr 25, 2006 Subject: Metadata +Lauren Cornell posted:+ Hello everyone, So on the heels of the recent ArtBase discussions on RAW, I'd like to open up the metadata conversation. As some of you know, Rhizome's metadata, by which I mean the vocabularies and descriptive terms that index the content in our archives, was introduced when the ArtBase was founded in 1999. Since that time, the field of new media art has grown and changed dramatically, and we believe the metadata needs to reflect these developments. This conversation will involve a consideration of controlled vocabularies and folksonomies, and can also fold back onto issues recently discussed such as making the ArtBase a repository for code, as Pall Thayer and Rob Myers suggested. It is also an opportunity for Rhizome to collaborate with other professionals and organizations committed to digital preservation. We would like to collectively address the metadata via RAW to get feedback and insight from the Rhizome community. After this discussion, Rhizome staff will have a wrap-up conversation with leading preservation scholars including Michael Katchen from Franklin Furnace, Alain Depocas from the DOCAM project at the Daniel Langlois Foundation, Dr. Sarah Cook co-founder of the list Crumb (www.crumbweb.org), Kenneth Schlesinger of the Independent Media Arts Preservation (IMAP), Caitlin Jones of the Variable Media Initiative (with the Guggenheim Museum) and now Director of Programming at the Bryce Wolkowitz Gallery, and Rick Rinehart, Director of Digital Media at the UC Berkeley Art Museum and Pacific Film Archive. In this wrap-up conversation, we will synthesize the community discussion and finalize a strategy and process for Rhizome to move ahead. Our challenge is to come up with a set of changes that serve the interests of the artists as well as the wide audience that interacts with the ArtBase while keeping Rhizome¹s resources (technical, staff) and systems (membership) in mind. The ArtBase is a singular and highly valuable project. It's also a complex and ongoing problem, one that opens up exciting questions in regards to the preservation and presentation of digital art. As we move towards a celebration of our tenth anniversary, we want to make improvements to this valuable resource a priority. Now, I'd like to introduce Rick Rinehart who will moderate this discussion with Marisa and I. If you don't know Rick, he's worked extensively with digital preservation through his Archiving the Avant-Garde project and the Variable Media Initiative. He also helped design Rhizome's metadata, and wrote a key document entitled 'A Report on Preserving the ArtBase' which can be read here: http://rhizome.org/artbase/report.htm - All that said, Rick is very familiar with the ArtBase and with different systems of metadata. I'm happy to have him involved, and I'm looking forward to this discussion. Best, Lauren +Richard Rinehart added:+ Hello Rhizomes, I'm writing to follow up on Lauren's email about the Rhizome ArtBase and to kick off a conversation about the language we use to describe works in the ArtBase. There are different types of metadata relevant to works in the ArtBase and some are fairly straightforward such as Creators, Dates, and Titles. But the type of metadata that is most problematic and at the same time most community-driven is descriptive metadata such as Type, Genre, and Keywords. The data-values used to fill out those metadata are terms taken from vocabularies (the lists of different types, genres, etc.) If you have ever submitted a work to the ArtBase, you know what these look like: Types include animation-art, audio-art, etc.; Genres include abstract-art, allegory-art, etc; and Keywords include access, animation, archive, etc. (a full list of Rhizome's data-values/vocabularies follows below). Rhizome would like to update the vocabularies it uses for this descriptive metadata. Rhizome has cited three reasons for changing; the vocabularies are incomplete, the vocabularies are however key as they are how visitors search the vast Rhizome site, and lastly, but not least, there is no canon or authoritative source for terms related to digital art, so Rhizome can take this practical need and turn it into an opportunity to engage a community discussion about vocabularies and to set an example for others to follow. All metadata specific to one discipline, but especially vocabularies, need to arise from the community's practice and not be imposed from outside or the descriptions and the artifacts being described will never quite match up. It is also important to collaborate and coordinate with other groups working on digital art metadata and preservation, so that's another reason to have this conversation on RAW and why Rhizome will also be convening people from the Variable Media, Archiving the Avant Garde, and Canadian DOCAM projects to discuss this as well. Some questions and considerations that might get the conversation started: 1) Do Rhizome's vocabularies need to be compatible with other metadata standards? If so, which, and how much? Thoughts: Many other disciplines and communities use what they call "controlled" vocabularies or authoritative thesauri. For instance the art world has used the Getty's Art and Architecture Thesaurus for years (http://www.getty.edu/research/conducting_research/vocabularies/aat/). Systems are then built using these vocab standards. If Rhizome were in some way compatible with these standards, then new search engines could search across distributed art resources online from Getty databases to Rhizome's ArtBase ensuring that digital art is not "ghettoized" because of incompatible languages. Interoperability is important in a semantic as well as technical sense, but luckily compatibility does not necessarily require that one adopt the "authoritative" vocabulary completely, or exclusively. 2) What can we propose here that Rhizome can practically accomplish given limited resources? The larger cultural world is cursed with a plethora of metadata "standards" and vocabularies that are so complex that no one can afford to implement them and thus they go unused and interoperability remains a theoretical concept. We should be smarter than that. A simple system that works and can be realistically maintained is worth more than a complex solution that never happens. 3) Currently the metadata that uses vocabularies is divided into type, genre, and keywords -- are these categories sufficient? Should we add others? Thoughts: Many other disciplines and communities use metadata categories similar to this. For instance, in various art-world/museum metadata standards they use Genre to indicate a broad category ("painting"), then Type to indicate a format within the Genre ("watercolor"), and then Subject (keywords) to indicate "intellectual access points" ("landscape") that people will search on to find the record. 4) Do we want to enhance/ elaborate/ add on to our existing descriptive terms or keep the current controlled vocab as is, and make folksonomy also an option? Thoughts: Can one use folksonomies or other dynamic systems to keep a vocabulary fresh yet still retain some level of compatibility with other standards? 5) who is the artbase for? Who is its audience, and how does that affect our re-design of the metadata. Thoughts: Related to this is the question of what the long-term use of the ArtBase should or will be and how can we support that with better vocabularies? So, let the games begin! What do you think? Richard Rinehart ---------------------------- Rhizome ArtBase Vocabularies TYPE The type field describes the abstract media type of the art object. -Animation-art work in which motion graphics play a significant role -Audio-art work has strong audio component -Game-art work is a game or involves gaming in significant ways -Installation-art object documents a physical installation -Performance-art object documents a performative art work -Software-art work is an executable program or involves original stand-alone software -Video-art object uses Quicktime, RealVideo, or other time-based video -Virtual-art work creates a 3D, immersive or otherwise virtual world -Visual-art work is particularly graphical or especially visual in nature -Text-art work is ASCII or otherwise text-based GENRE The genre field describes the general category of your art object defined through style, form, or content. -Abstract-art object is visually abstract -Allegory-art object uses allegory or metaphor -Anti-art-art object overtly rejects artistic conventions or codes -Collaborative-art object was created by more than one person -Collider-art object dynamically combines material from various sources -Conceptual-art object is driven primarily by ideas -Contextual-art object is site-specific, or requires a specific situation to function -Database-art object incorporates databases or archives -Documentary-art object uses found material as evidence; art object records events for posterity; art object uses documentary data -Event-art object is/was an event such as a performance or netcast -Formalist-art object is primarily concerned with the aesthetics of form -Generative-art object is created afresh for each viewing according to certain contingent factors -Historical-art object is about the recording or revealing of past events -Homepage-art object is (or resembles) a personal website -Information map-art object is about the visual display of statistical or other quantitative information -Narrative-art object tells a story -Offline-art object has a major offline component -Participatory-art object requires input from users -Readymade-art object involves found material not originally meant to be art -Tactical-art object is example of tactical media; art object is resistive, political or otherwise confrontational -Telematic-art object uses distance communication, or allows for remote manipulation of objects KEYWORDS access animation archive art world artificial life audio bio body broadcast browser CD-ROM censorship cinema colonialism commercialization community conference corporate death design desire digital disappearance education exhibition film fund futurism game gender globalization identity immersion interact interface Internet labor language live machine marginality media activism meme memory nature net.art network nostalgia performance posthuman postmodern privacy public space publish queer radio resistance responsibility robot rumor security social space space surveillance tactical media technophobia television Third World 3D underground utopia video virtual reality VRML War +Rob Myers replied:+ I think folksonomy is best. Tagging works, people understand it, it doesn't take lots of resources up-front, and it can be made compatible with other standards using a good thesaurus. :-) A quick check of the AAT for some common terms (generative, net.art, spam) shows that it is not useful for work Rhizome artbase will actually need to describe. Imagine a tag cloud of the artbase. :-) +David Chien replied:+ Hi Richard: My responses are below: > 1) Do Rhizome's vocabularies need to be compatible with other metadata > standards? If so, which, and how much? > I think Rhizome vocabularies should be taken with the current folksonomy philosophy as seen most notably on http://del.icio.us/ and http://flickr.com/ Through the collective mind of a wealth of taggers, you can craft algorithms that can acknowledge all variants of the same tag (ie. net-art versus internet-art) and also allow for unique implementations as seen in Flickr's Interestingness. http://www.flickr.com/explore/interesting/ > > 2) What can we propose here that Rhizome can practically accomplish > given limited resources? Tagging resources are readily available on an open source level at multiple places. One notably is FreeTag: http://getluky.net/freetag/ which is used, I believe, with Upcoming.org. Also crafting a homegrown tagging schema is also pretty straightforward. > 3) Currently the metadata that uses vocabularies is divided into type, > genre, and keywords -- are these categories sufficient? Should we add > others? Under the guise of the general tagging approach, I think the 'categories', 'genre', and 'keywords' all become redundant. All pieces should be categorized by a collection of tags (maybe under the simple label of "category"). > 4) Do we want to enhance/ elaborate/ add on to our existing descriptive > terms or keep the current controlled vocab as is, and make folksonomy also > an option? I think keeping with the folksonomy approach would be ideal. The most daunting task of submitting a piece to the Artbase is the fact that you have to go through a series of check boxes to try and adequately describe you piece. The folksonomy approach of just describing the piece via general terms is ideal. > 5) who is the artbase for? Who is its audience, and how does that affect > our re-design of the metadata. With the folksonomy approach, you can easy provide multiple tools for people who are simply browsing the Artbase. For submitters it'll greatly simplify their submission process. But what needs to exist would the ability for them to update their tags and to tag other pieces -- currently the Artbase doesn't even let you edit your pieces. My two cents. +Richard Rinehart replied:+ Thanks David, Rob, Folksonomies are of course interesting and appropriate, but exclusively? Also, are there any existing folksonomies that Rhizome could build upon, or would either of you suggest starting from scratch? I'm curious about the statement you made below Rob, that any folksonomy can be made compatible with standards using a good thesaurus. Do you have an example of this? Whether or not one goes with standards, folksonomies, or a hybrid model, knowing how to map between them would be terrific. Although, if one did use a hybrid model, then that would itself create the mapping (each work would have both standardized terms and folksonomic terms applied, so averaging among many works, you'd be able to tell what terms mapped to each other. Your note on the AAT is very (VERY) well taken. Yes, the AAT is not yet a good resource for terms for new media art, yet it is the single standard used most by museums and other organizations collecting new media art. So, one strategy would be to ignore the AAT as irrelevant; but another might be to work with the Getty to update and improve the AAT with relevant terms so that (digital) community-specific practice becomes (museum) community specific practice rather than creating a ghetto (though I'm not sure which is the ghetto of the other here :) In the past, the Getty unit that had maintained the AAT had expressed interest in updating the AAT based on feedback from the relevant community (us). +Ryan Griffis replied:+ > 1) Do Rhizome's vocabularies need to be compatible with other metadata > standards? If so, which, and how much? i would think a multi-tiered system would address a lot of Rob and other's (myself included) preference for folksonomic methods. having worked in situations where a more cohesive standard was needed, i also understand the function of a hierarchal meta-data system. this gets at the question of audiences as well. for many uses, a folksonomy system works great, but for others it's not the ideal. translations of those systems into multiple languages, for example can be very problematic in the most standardized of systems. in terms of the artbase, i would think that a folksonomic system works well for "keywords" (just like the tagging process already described) while the classification of "type" "genre" - i would add some other standards for "technology" and some contextual options for "geography" or something - could be something linked up to larger needs, whether it's the Getty or whatever. the hierarchal system however, seems like it would need to be managed based on a coherent and consistent, yet easily applied, set of rules, so that artists aren't subscribing a "type" (for example) that's only based on some idiosyncratic interpretation of "net.art" or "web art" thus foiling the purpose of standardization. i guess i'm saying that those properties of artbase works could/should be managed by some collective, responsible party (someone at Rhizome or a set of volunteers) rather than by the artists. let the artists/"localized" community deal with the folksonomy and tagging. the community tagging process (letting others attach keywords of relevance i.e. del.icio.us) could also be very useful here. i guess as an artist and someone who's had to go through lots of archives, i'm more invested as an artist in the keywords (the "intellectual access points") than the definitions of "type" or "genre" - i'm sure that for conservators however, notions of type, technology, etc are pretty crucial. just my $0.02, but thanks for including us all in the discussion. +Richard Rinehart replied:+ Thanks Ryan, You also brought up something I neglected to mention (I thought my email too long already :) and that is vocabularies for "technology". I'm just thinking out-loud that this might be the easiest metadata to populate with vocab terms, because can't we just use MIME types for this? Right now I think all the Rhizome "tech" terms are software rather than hardware based, so it seems we could just solve that little nugget by adopting a well-known and used existing standard, no? +Pall Thayer replied:+ I just want to remind everyone that the original idea behind my proposition of extending the ArtBase to accept open-sourced code for projects was a way to bring 'preservation' back into the ArtBase which is being used more often to link to projects than to clone them. So if a project is based on a server-specific setup in a way that it can't be cloned and remain functional, cloning of the source- code would still provide an element of preservation in the ArtBase. +Richard Rinehart replied:+ Pall, Good idea. Did you go into how you'd get the source code for proprietary software? Or how the legal issues might work out in doing that? I'd be curious to know. Source code is really, REALLY, nice to have for preservation purposes; I agree. +Pall Thayer replied:+ Hi Richard, The suggestion generated a bit of discussion and the thread is available here: http://rhizome.org/thread.rhiz?thread=20893&page=1#40140 The suggestion was just for open-sourced code and didn't address proprietary software at all. The idea is that if the need or desire arises to reconstruct the work when technology has changed then the reconstruction could be based on the functionality of the original code rather than being based on some vague memories and screenshots. +rob AT robmyers.org replied:+ Quoting Richard Rinehart <rinehart AT berkeley.edu>: > I'm curious about the statement you made below Rob, that any > folksonomy can be made compatible with standards using a good > thesaurus. Do you have an example of this? I don't have an example I'm afraid. It's more a strategy I had in mind for paintr (http://paintr.robmyers.org/). Folksonomies and taxonomies are both formalisations of human language, so if my RDF doesn't contain the word "blue" but it does contain the word "color" I can locate my tag in the RDF using wordnet or a thesaurus. > Your note on the AAT is very (VERY) well taken. Yes, the AAT is not > yet a good resource for terms for new media art, yet it is the single > standard used most by museums and other organizations collecting new > media art. So, one strategy would be to ignore the AAT as irrelevant; > but another might be to work with the Getty to update and improve the > AAT with relevant terms so that (digital) community-specific practice > becomes (museum) community specific practice rather than creating a > ghetto (though I'm not sure which is the ghetto of the other here :) > In the past, the Getty unit that had maintained the AAT had expressed > interest in updating the AAT based on feedback from the relevant > community (us). Yes I think that might be a very good project. Possibly collaborating to make AAT net.art aware and having a process to add more terms relatively quickly as they come up? So in artbase have a list of terms you can choose followed by an "other" checkbox that people could add terms they felt weren't in the taxonomy. We (the Rhizome community) could then keep an eye on those and see if they should go into AAT. A folksonomy might be more democratic & easier to implement though. :-) On the subject of proprietary software it might be an idea for Rhizome to get licenses for Windows, ASP, IIS and so on so that software unfortunately written for them can still be run in the future. In a few years time having this stuff available for galleries to hire might actually provide a revenue stream. ;-) +Sal Randolph replied:+ I second rob & david's arguments about why folksonomies are great, and I think they would mix amazingly well with rhizome membership (all members would get to tag the artbase as they like). tag cloud of the artbase indeed!! It would naturally evolve as the field of inquiry evolves. Also as someone who has implemented a tagging system with freetag recently, it's *really* easy to do (freetag is php, and I know rhizome's using ruby, but it doesn't look all that hard to write one either, just from surveying the code). Personally I would advocate for a double system, as some have done: free folksonomy tagging by everyone, and then a layer of curated language for either genre or keyword. multiple points of intellectual access are a good thing. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 11, number 16. 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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-RHIZOME DIGEST: 10.21.05 -RHIZOME DIGEST: 10.14.05 -RHIZOME DIGEST: 10.07.05 -RHIZOME DIGEST: 9.30.05 -RHIZOME DIGEST: 9.23.05 -RHIZOME DIGEST: 9.16.05 -RHIZOME DIGEST: 9.9.05 -RHIZOME DIGEST: 9.2.05 -RHIZOME DIGEST: 8.26.05 -RHIZOME DIGEST: 8.22.05 -RHIZOME DIGEST: 8.14.05 -RHIZOME DIGEST: 8.07.05 -RHIZOME DIGEST: 7.31.05 -RHIZOME DIGEST: 7.24.05 -RHIZOME DIGEST: 7.17.05 -RHIZOME DIGEST: 7.10.05 -RHIZOME DIGEST: 7.03.05 -RHIZOME DIGEST: 6.26.05 -RHIZOME DIGEST: 6.19.05 -RHIZOME DIGEST: 6.12.05 -RHIZOME DIGEST: 6.05.05 -RHIZOME DIGEST: 5.29.05 -RHIZOME DIGEST: 5.22.05 -RHIZOME DIGEST: 5.15.05 -RHIZOME DIGEST: 5.08.05 -RHIZOME DIGEST: 4.29.05 -RHIZOME DIGEST: 4.22.05 -RHIZOME DIGEST: 4.15.05 -RHIZOME DIGEST: 4.01.05 -RHIZOME DIGEST: 3.25.05 -RHIZOME DIGEST: 3.18.05 -RHIZOME DIGEST: 3.11.05 -RHIZOME DIGEST: 3.04.05 -RHIZOME DIGEST: 2.25.05 -RHIZOME DIGEST: 2.18.05 -RHIZOME DIGEST: 2.11.05 -RHIZOME DIGEST: 2.04.05 -RHIZOME DIGEST: 1.28.05 -RHIZOME DIGEST: 1.21.05 -RHIZOME DIGEST: 1.14.05 -RHIZOME DIGEST: 1.08.05 -RHIZOME DIGEST: 1.01.05 -RHIZOME DIGEST: 12.17.04 -RHIZOME DIGEST: 12.10.04 -RHIZOME DIGEST: 12.03.04 -RHIZOME DIGEST: 11.26.04 -RHIZOME DIGEST: 11.19.04 -RHIZOME DIGEST: 11.12.04 -RHIZOME DIGEST: 11.05.04 -RHIZOME DIGEST: 10.29.04 -RHIZOME DIGEST: 10.22.04 -RHIZOME DIGEST: 10.15.04 -RHIZOME DIGEST: 10.08.04 -RHIZOME DIGEST: 10.01.04 -RHIZOME DIGEST: 9.24.04 -RHIZOME DIGEST: 9.17.04 -RHIZOME DIGEST: 9.10.04 -RHIZOME DIGEST: 9.03.04 -RHIZOME DIGEST: 8.27.04 -RHIZOME DIGEST: 8.20.04 -RHIZOME DIGEST: 8.13.04 -RHIZOME DIGEST: 8.06.04 -RHIZOME DIGEST: 7.30.04 -RHIZOME DIGEST: 7.23.04 -RHIZOME DIGEST: 7.16.04 -RHIZOME DIGEST: 7.09.04 -RHIZOME DIGEST: 7.02.04 -RHIZOME DIGEST: 6.25.04 -RHIZOME DIGEST: 6.18.04 -RHIZOME DIGEST: 6.11.04 -RHIZOME DIGEST: 6.04.04 -RHIZOME DIGEST: 5.28.04 -RHIZOME DIGEST: 5.21.04 -RHIZOME DIGEST: 5.14.04 -RHIZOME DIGEST: 5.07.04 -RHIZOME DIGEST: 4.30.03 -RHIZOME DIGEST: 4.16.04 -RHIZOME DIGEST: 4.09.04 -RHIZOME DIGEST: 04.02.04 -RHIZOME DIGEST: 03.27.04 -RHIZOME DIGEST: 03.19.04 -RHIZOME DIGEST: 03.13.04 -RHIZOME DIGEST: 03.05.04 -RHIZOME DIGEST: 02.27.04 -RHIZOME DIGEST: 02.20.04 -RHIZOME DIGEST: 02.13.04 -RHIZOME DIGEST: 02.06.04 -RHIZOME DIGEST: 01.31.04 -RHIZOME DIGEST: 01.23.04 -RHIZOME DIGEST: 01.16.04 -RHIZOME DIGEST: 01.10.04 -RHIZOME DIGEST: 01.05.04 -RHIZOME DIGEST: 12.21.03 -RHIZOME DIGEST: 12.13.03 -RHIZOME DIGEST: 12.05.03 -RHIZOME DIGEST: 11.28.03 -RHIZOME DIGEST: 11.21.03 -RHIZOME DIGEST: 11.14.03 -RHIZOME DIGEST: 11.07.03 -RHIZOME DIGEST: 10.31.03 -RHIZOME DIGEST: 10.25.03 -RHIZOME DIGEST: 10.18.03 -RHIZOME DIGEST: 10.10.03 -RHIZOME DIGEST: 10.03.03 -RHIZOME DIGEST: 9.27.03 -RHIZOME DIGEST: 9.19.03 -RHIZOME DIGEST: 9.13.03 -RHIZOME DIGEST: 9.05.03 -RHIZOME DIGEST: 8.29.03 -RHIZOME DIGEST: 8.22.03 -RHIZOME DIGEST: 8.17.03 -RHIZOME DIGEST: 8.09.03 -RHIZOME DIGEST: 1.17.03 -RHIZOME DIGEST: 1.10.03 -RHIZOME DIGEST: 1.03.03 -RHIZOME DIGEST: 12.20.02 -RHIZOME DIGEST: 12.13.02 -RHIZOME DIGEST: 12.06.02 -RHIZOME DIGEST: 11.29.02 -RHIZOME DIGEST: 11.22.02 -RHIZOME DIGEST: 11.15.02 -RHIZOME DIGEST: 11.01.02 -RHIZOME DIGEST: 10.25.02 -RHIZOME DIGEST: 10.18.02 -RHIZOME DIGEST: 10.11.02 -RHIZOME DIGEST: 10.04.02 -RHIZOME DIGEST: 9.27.02 -RHIZOME DIGEST: 9.20.02 -RHIZOME DIGEST: 9.13.02 -RHIZOME DIGEST: 9.6.02 -RHIZOME DIGEST: 8.30.02 -RHIZOME DIGEST: 8.23.02 -RHIZOME DIGEST: 8.16.02 -RHIZOME DIGEST:8.9.02 -RHIZOME DIGEST: 8.02.02 -RHIZOME DIGEST: 7.26.02 -RHIZOME DIGEST: 7.19.02 -RHIZOME DIGEST: 7.12.02 -RHIZOME DIGEST: 7.5.02 -RHIZOME DIGEST: 6.28.02 -RHIZOME DIGEST: 6.21.02 -RHIZOME DIGEST: 6.14.02 -RHIZOME DIGEST: 6.7.02 -RHIZOME DIGEST: 6.2.02 -RHIZOME DIGEST: 5.26.02 -RHIZOME DIGEST: 5.19.02 -RHIZOME DIGEST: 5.12.02 -RHIZOME DIGEST: 5.5.02 -RHIZOME DIGEST: 4.28.02 -RHIZOME DIGEST: 4.21.02 -RHIZOME DIGEST: 4.14.02 -RHIZOME DIGEST: 4.7.02 -RHIZOME DIGEST: 3.31.02 -RHIZOME DIGEST: 3.23.02 -RHIZOME DIGEST: 3.15.02 -RHIZOME DIGEST: 3.8.02 -RHIZOME DIGEST: 3.3.02 -RHIZOME DIGEST: 2.24.02 -RHIZOME DIGEST: 2.17.02 -RHIZOME DIGEST: 2.10.02 -RHIZOME DIGEST: 2.1.02 -RHIZOME DIGEST: 1.27.02 -RHIZOME DIGEST: 1.18.02 -RHIZOME DIGEST: 1.12.02 -RHIZOME DIGEST: 1.6.02 -RHIZOME DIGEST: 12.30.01 -RHIZOME DIGEST: 12.23.01 -RHIZOME DIGEST: 06.29.01 -RHIZOME DIGEST: 12.2.00 |