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: 05.12.06
Date: Fri, 12 May 2006 11:36:00 -0700

RHIZOME DIGEST: May 12, 2006

++ Always online at ++


1. Steffani Jemison: Amnesty International Firefly Project International
Human Rights Day Commission
2. jake elliott: threadcloud call for contribution
3. Seth Thompson: WIGGED.NET: Call for Works
4. James: Call for Proposals
5. Rencontres internationales Paris/Berlin: LAST CALL. Festival 2006

6. Jeanie Finlay: Home-Maker has a new home online
7. jonCates: [FRAY] Conference + After (Party) Event
8. Cary Peppermint: Practical Performances In The Wilderness Parts I and
II Now On
10. Pauline Jennings: Evolutionary Patterns and the Lonely Owl (Mutation #2)
12. Erik Loyer: Vectors Ephemera issue now live!

+Metadata Thread - Part 3+
13. Lauren Cornell: Metadata

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

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From: Steffani Jemison <commission AT>
Date: May 7, 2006
Subject: Amnesty International Firefly Project International Human Rights
Day Commission

The concept of 'human rights' refers to the minimum standard of legal,
civil, and political freedoms guaranteed to all individuals regardless of
nationality, ethnicity, and other localizing factors. The clear
articulation of these rights in international political conventions and
the ongoing discourse around their legislation and enforcement provide a
global frame of reference and concrete starting point around which
political action--artistic or otherwise--can be organized.

In an effort to support Amnesty International's global advocacy and
educational work and provide a forum for critically considering the
intersection of the human rights framework and contemporary artistic
practices, AI Firefly has announced a juried $3,000 commission for the
creation of a new art work to be presented on or around International
Human Rights Day, December 10, 2006.

Applicants must make a commitment to produce the project by December 2006
for public presentation on and after International Human Rights Day on
December 10; the presentation could include full-scale production of a
theatrical performance, launch of a new media or internet-based project,
premiere screening of a film or video project, opening reception for a
public art project, or similar presentation. Applicants are encouraged to
propose innovative work that critically considers the relationship between
contemporary artistic practices, including 'activist' artistic practices,
and human rights. See website for complete eligibility details.

Download guidelines and an application:

Application deadline: August 4, 2006

Information session: May 24, 2006, 6:30 PM at Alwan for the Arts, 16
Beaver Street. Please visit to RSVP.

Questions? E-mail commission AT

Amnesty International Firefly Project (AI Firefly) is a New York
City-based collective of artists and activists affiliated with Amnesty
International USA as local group #704.

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From: jake elliott <jake AT>
Date: May 9, 2006
Subject: threadcloud call for contribution

this is an open call to contribute to threadcloud at

===about threadcloud===

threadcloud is social artware for collective curatorial activity in
distributed space. the project is developed by 03 skripty kittenz in
chicago: jake elliott + tamas kemenczy + siobhan renfroe. it is part of
the [FRAY] series of events hosted by the dept. of Film, Video and New
Media at the School of the Art Institute of Chicago.

:the threadcloud system is split into 02 components:

01: artcloud (web application front-end)
anyone can access the artcloud at and anonymously submit
links to digital artworks. the artcloud enables users to describe artworks
that have been submitted + descriptively connect them with one another.

02: threadcrab (grid gallery)
the grid gallery is the presentation layer for threadcloud. it is operated
by an automatic software preparator named threadcrab, who accesses sites
with forum or comment functionality (aka blogs, livejournals and online
message boards), and installs references to the artwork along with tags,
descriptions and relationships drawn from the artcloud's database.

:threadcloud is social artware:
threadcloud is an attempt at a self-reflexive + critical social software
platform presented as software art. threadcloud's criticality w/r/t social
software is articulated through its emphasis on anonymity, it's avoidance
of hierarchy, and its reliance on unsolicited insertion into pre-existing,
digitally-mediated communities via the threadcrab.

===about fray===

[FRAY] is a series of interwoven events organized by the Film, Video and
New Media department (FVNM) at The School of the Art Institute of Chicago
(SAIC). [FRAY] is focussed on time, screen and code based experimental New
Media art. [FRAY] consists of the following interrelated aspects: a
conference, discussions and presentations, screenings and clusters of
projects running during the Spring 2006 semester.

thank you for yr time!

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From: Seth Thompson <seththompson AT>
Date: May 10, 2006
Subject: WIGGED.NET: Call for Works

Wigged Productions in collaboration with curator Humberto Ramirez is
seeking Web-based artists working in video, animation and netart to
contribute projects for an online exhibition addressing the concept of
"EXTRAPOLATIONS" We are particularly interested in works situated outside
of mainstream visual strategies, using anachronism, simulacra, radical
denial, historical revision, nonlinear narratives, humor etc. The idea of
critique as an oblique activity, tangential and tactical is central to
this project.

In order to submit your work for consideration, please provide your name,
title of project, short synopsis and URL address by email to
extrapolations AT, or alternatively send DVD with QuickTime movie
or miniDV by May 25, 2006 with requested information to:

P.O BOX 1637
BRATTLEBORO, VT 05302-1637

The online exhibition will run from July 1, 2006 through June 15, 2007 and
the deadline for submissions is May 20, 2006.

Seth Thompson
Wigged Productions
seththompson AT

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Support Rhizome: buy a hosting plan from BroadSpire

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BroadSpire is a mid-size commercial web hosting provider. After conducting
a thorough review of the web hosting industry, we selected BroadSpire as
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From: James <rhizome AT>
Date: May 11, 2006
Subject: Call for Proposals


In this age of increasing data collection, storage, and management, it
becomes necessary to create new visual forms for the representation of
such information. Second Life provides an atmosphere in which the
environment acts as a canvas for temporal representations of data, not
only presented to the user but interacted with, and experienced on a
different level of immersion than more traditional displays. The
management of tools, data, and environments requires the inception of
these interfaces.

Ars Virtua is seeking computational information design projects unique in
nature to the environment Second Life provides. Pieces should contain
unique techniques and methods in presenting information design,
interaction design, communication design, and/or data visualization.
Projects that extend their abilities to interactivity within the virtual
reality environment are highly encouraged to apply.

Proposals should include:
Name and contact information
Description of the project
Screenshot if available

May 19th, 2006.

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From: Rencontres internationales Paris/Berlin <info AT>
Date: May 11, 2006
Subject: LAST CALL. Festival 2006 :: [EN] Call for Entries :: [FR] Appel
a' proposition :: [DE] Teilnahmeaufruf


CALL FOR ENTRIES. LAST DEADLINE: MAY 15th, 2006 (postmarked)
||||| FESTIVAL #11 #12

*** Please forward this information as widely as possible ***

The Call for entries 2006 is open until May 15th (postmarked). In Autumn
2006, the festival 'Rencontres internationales Paris/Berlin' will
present in Paris and Berlin an international programming focusing on
film, video and multimedia, gathering works of artists and directors
acknowledged on the international scene along with young artists and not
much distributed directors. The festival aims at presenting those works
to a broad audience, at creating circulations between different art
practices and between different audiences, as well as creating new
exchanges between artists, directors and professionals.

without any restriction of length or genre. All submissions are free,
without any limitation of geographic origin.

FILM AND VIDEO: * Video art / Experimental video * Experimental film *
Documentary * Fiction
MULTIMEDIA: * Installation * Net art, CDrom, DVDrom * Performance art,
concert, sound work

ALL submissions are sent by mail, enclosed with a filled-in ONLINE ENTRY
FORM, UNTIL MAY 15th, 2006 (postmarked). Entry forms and information
regarding the 'Rencontres internationales Paris/Berlin' are available on
our website

The 'Rencontres internationales' offer more than a simple presentation
of the works. They introduce an intercultural forum gathering various
guests from all over the world - artists and directors recognized on the
international scene along with young artists and directors who still
cannot enjoy a substantial distribution, directors from organizations
and emerging structures - testifying of the vivacity of creation and its
diffusion, but also of the artistic and cultural contexts that often are
in transition or sometimes experiencing deep changes. The festival
reflects specificities and crossings of contemporary art practices, and
work out this necessary time when points of view meet and are exchanged.

||||| FESTIVAL #11 #12

*** Merci de faire circuler cette information le plus largement
possible ***

L'appel à proposition 2006 est ouvert jusqu'au 15 mai (date d'envoi).
Les Rencontres internationales Paris/Berlin présenteront à Paris et
Berlin à l'automne 2006 une programmation internationale inédite
consacrée aux nouveaux cinémas, à la création vidéo et au multimédia,
réunissant des ?uvres d'artistes et de réalisateurs reconnus sur la
scène internationale aux côtés de jeunes artistes et de réalisateurs peu
diffusés. Les Rencontres internationales ont pour vocation de faire
découvrir ces ?uvres à un large public, de créer des circulations entre
différentes pratiques artistiques et entre différents publics, de
susciter des échanges entre artistes, réalisateurs et acteurs de la vie
artistique et culturelle.

ET MULTIMEDIA, sans restriction de genre et de durée. Les propositions
sont gratuites, sans limitation de provenance géographique.

FILMS ET VIDEOS : * Art vidéo / Vidéo expérimentale * film expérimental
* Documentaire * Fiction
MULTIMEDIAS : * Installation * Net art, CD-rom, DVDrom * Performance,

TOUTES les propositions sont reçues, par courrier, accompagnées d'une
FICHE DE PROPOSITION remplie, JUSQU'AU 15 MAI 2006 (date d'envoi). La
fiche de proposition, ainsi que toutes les informations relatives aux
Rencontres internationales Paris/Berlin sont disponibles sur notre site

Plus qu'une simple présentation des ?uvres, les Rencontres
internationales proposent un véritable forum interculturel, en présence
de nombreux invités venus du monde entier, artistes et réalisateurs
reconnus sur la scène internationale aux côtés de jeunes artistes et de
réalisateurs peu diffusés, de responsables d'institutions et de
structures émergentes témoignant d'une vivacité de la création et de sa
diffusion, de contextes artistiques et culturels souvent en
transformation ou parfois connaissant de profondes mutations. Les
Rencontres internationales rendent compte des spécificités et des
convergences des pratiques artistiques, et permettent ce temps
nécessaire où les points de vue se croisent et s'échangent.

||||| FESTIVAL #11 #12

*** Bitte diese Informationen weiterleiten ***

Der Teilnahmeaufruf läuft noch bis zum 15. Mai 2006 (Datum des
Poststempels). Das Festival 'Rencontres internationales Paris/Berlin'
stellt im Herbst 2006 in Paris und Berlin ein internationales Programm
vor, das sich vor allem den Bereichen Film, Video und Multimedia widmet,
und sich aus Werken von international anerkannten Künstlern und
Filmschaffenden, sowie aus Beiträgen weniger bekannter Künstler
zusammensetzt. Das Anliegen der 'Rencontres internationales' ist es,
diese Werke einem breiten Publikum zugänglich zu machen, die
verschiedenen Schaffensbereiche einander näherzubringen und den
Austausch zwischen Künstlern, Regisseuren und Persönlichkeiten aus der
kulturellen und künstlerischen Szene zu fördern. Als

FILM, VIDEO UND MULTIMEDIA, ohne Einschränkungen in Hinblick auf Genre
oder Dauer. Die Bewerbung ist kostenlos und es gibt keine Beschränkungen
hinsichtlich des Entstehungslandes.

FILM UND VIDEO: * Experimentalfilm * Videokunst/ experimentelles Video *
Dokumentarfilm * Fiktion
MULTIMEDIA: * Installationen * Net Art, CD-Rom, DVD-Rom * Performances,

Bis ZUM 15. MAI 2006 (Datum des Poststempels) nehmen wir ALLE
Bewerbungen zusammen mit einem ausgefüllten BEWERBUNGSFORMULAR auf dem
Postweg entgegen. Das Bewerbungsformular, sowie sämtliche Informationen
zu den 'Rencontres internationales Paris/Berlin' finden Sie auf unserer
Website :

Die Rencontres internationales sind mehr als nur eine einfache
Ausstellung. Jede Ausgabe ist gleichzeitig ein interkulturelles Forum
mit zahlreichen Gästen aus der ganzen Welt. International anerkannte
Künstler und Filmemacher neben jungen, aufstrebenden Kollegen, Leiter
bedeutender Kunsteinrichtungen neben Betreibern alternativer Strukturen
zeugen von der Lebendigkeit des Schaffens und seiner Verbreitung, von
der Situation der künstlerischen Praxis in den jeweiligen Ländern, von
denen sich manche in einer Übergangsphase befinden oder tiefgreifende
Veränderungen erleben. Die Rencontres internationales zeigen die
Besonderheiten und Konvergenzen der verschiedenen künstlerischen
Praktiken auf und schaffen den notwendigen Zeit-Raum, in dem Sichtweisen
aufeinandertreffen und ausgetauscht werden können.

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Rhizome Exhibitions

The GIF Show, open May 3-June 3, at San Francisco's Rx Gallery, takes the
pulse of what some net surfers have dubbed ?GIF Luv,? a recent frenzy of
file-sharing and creative muscle-flexing associated with GIFs (Graphic
Interchange Format files). Curated by Rhizome Editor & Curator at Large,
Marisa Olson, the show presents GIFs and GIF-based videos, prints,
readymades, and sculptures by 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). 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.

Become MySpace friends with the exhibit!

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From: Jeanie Finlay <info AT>
Date: May 6, 2006
Subject: Home-Maker has a new home online

Home-Maker by Jeanie Finlay is now available to view online
What makes a house a home, how does this change if you can?t leave?

Home-Maker, the interactive documentary project has been touring UK venues
for the last 2 years. At the final venue, Hatton Gallery, a team from
Heaton Used furniture came in and turned off the computers, packed up the
dolls, furniture and ornaments and dismantled the set as they would
whenever they perform a House Clearance. Now the only place to view
Home-Maker is online.

In an online flash environment built by Gareth Howell you can visit
Florrie, Roy, Lilian, Betty, Aiko-san, Emi-san and Monji-san in their new
online home and hear the stories linked to the belongings in their
Derbyshire and Tokyo living rooms in over an hour of streaming mini

"This largely unprecedented, highly novel approach to portraiture brings
up all kinds of touching details of life as it is lived between four
walls, amid the dreadfully small collections of significant belongings,
haunted by the enduring presence of lost loved ones...." Mick Martin, The

Home-Maker is the result of two residencies which took place in the living
rooms of seven housebound, older people in South Derbyshire, England, and
Tokyo, Japan. Jeanie Finlay spent time with each of the seven people,
getting to know their histories, preoccupations and passions, creating
video and panoramic portraits of each of them in their homes.

A Ruby project made with Peoplexpress and Muse Company. In association
with On the Edge Research. Supported by Arts Council of England , EM
Media, UK Film Council, YOTA and Esmée Fairbairn Charitable Trust. Design
by Ruby. Flash online exhibition by Gareth Howell. Winner of a Canon
International Digital Creators Web Award.
Jeanie Finlay
Ruby Digital
jeanie AT

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

For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected
to create original works of net art.

The Rhizome Commissions Program is made possible by support from the
Jerome Foundation in celebration of the Jerome Hill Centennial, the
Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and
the New York City Department of Cultural Affairs. Additional support has
been provided by members of the Rhizome community.

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From: // jonCates <joncates AT>
Date: May 9, 2006
Subject: [FRAY] Conference + After (Party) Event

[FRAY] Conference
Film, Video & New Media Dept AT The School of the Art Institute of Chicago
Room 1307 in the MacLean Building
112 S. Michigan Ave

Join [FRAY] for discussions and presentations on connective and
collaborative New Media and Digital Arts with Annette Barbier
(UNREAL-ESTATES and Interactive Arts and Media Department Columbia
College), Ryan Griffis (The Temporary Travel Office and The School of Art
& Design University of Illinois at Champaign Urbana), Mark Hansen
(Professor in English Language & Literature, Cinema & Media Studies;
University of Chicago), Lynn Marie Kirby (California College of the Arts),
Rob Ray (DEADTECH and dorkbot Chicago), Lincoln Schatz (The Upgrade!
Chicago) and Daniel Tucker (AREA Chicago).

The [FRAY] Conference consists of the following discussions:

2 PM - 4 PM

Ryan Griffis (The Temporary Travel Office and The School of Art & Design
University of Illinois at Champaign Urbana)
Rob Ray (DEADTECH and dorkbot Chicago)
Lincoln Schatz (The Upgrade! Chicago)

The Multiplicities discussion focuses on connective + collaborative New
Media + Digital Arts praxis in the context of internationalized efforts
such as Ryan Griffis' The Temporary Travel Office, Rob Ray's initiation +
running of dorkbot Chicago + Lincoln Schatz's development of The Upgrade!
Chicago. The Temporary Travel Office, dorkbot Chicago + The Upgrade!
Chicago are all effort to organize platforms or networks of New Media +
Digital Arts praxis that foreground collaborations, sharing +
international connectivities. As platforms, these systems act as
connection points or hubs in an emerging + growing network of artistic

4 PM - 6 PM

Annette Barbier (UNREAL-ESTATES and Interactive Arts and Media Department
Columbia College)
Mark Hansen (Professor in English Language & Literature, Cinema & Media
Studies; University of Chicago)
Lynn Marie Kirby (California College of the Arts)

The Connectivities discussion directs our attention to New Media + Digital
Arts projects that traverse multiple histories, theories + practices such
as Annette Barbier's UNREAL-ESTATES, Mark Hansen's New Philosophy for New
Media + Lynn Marie Kirby's Latent Light Excavations. Annette Barbier's
collaborative works such as Path of the Dragon are playable New Media
experiences that tell poetic + alternative histories of specific places.
Mark Hansen's theoretical work on the multiple connections between +
departures from philosophic traditions in New Media art emphasizes lived
experiences + embodiment rather than mechanical metaphors for technology.
Lynn Marie Kirby's Latent Light Excavations operate out of a poetics of
space as well as an interest in digital processing + recording
technologies to remember + reconnect to specific locations. Together these
projects present varying takes on poetic + philosophic connections between
specific human experiences of New Media.

Then, after the [FRAY] Conference join us for the...

[FRAY] After (Party) Event ++ Performance Inside Out
Chicago Art Department
1837 S. Halsted

The Chicago Art Department hosts the [FRAY] After (Party) Event. the
[FRAY] After (Party) Event event is co-presented by the Film, Video & New
Media and Performance Departments. Students of the Film, Video & New Media
and Performance Departments are organizing and curating Performance Inside
Out, a program of performance in the context of New Media that will take
place AT the Chicago Art Department and online during the After (Party)

The Chicago Art Department:

// jonCates
# Assistant Professor - Film, Video & New Media
# The School of the Art Institute of Chicago

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From: Cary Peppermint <cp70 AT>
Date: May 9, 2006
Subject: Practical Performances In The Wilderness Parts I and II Now On

6 Chapters from the database DVD "A Series of Practical Performances In
The Wilderness - Summer 2005" are now up on including "Digging
for Chicory," "Doable," and "Home Economics." Take a look!

Chapters 4, 5, and 6

To view Chapters 1, 2, and 3

A Series of Practical Performances In The Wilderness, Summer 2005 is a
video performance work made in the woods and on rural back-lots.
Performative chapters on the DVD include, Move This Rock, Waiting On Bob,
DoAble, Home Economics, Sticks Like Snakes, Digging for Chicory, and
Springwater Finale. This video is the first in a series of forthcoming
performance-art videos by Peppermint & Nadir which engage issues, ideas,
and mythologies of the American concepts of wilderness, space, the
frontier, and humans' ethical relation to animals, forestlands, and

This project is part of Cary Peppermint and Christine Nadir's series of
performance-art videos begun in 2002. Peppermint is an artist who works
with new media technologies to create networked environments incorporating
the internet, physical installations, experimental music and sound, and
live performance. Until recently, Cary directed the Digital Art and Design
program of Hartwick College, and in Fall 2006 he will assume the digital
media position at Colgate University's Department of Art and Art History.
Christine Nadir teaches literature at State University of New York College
at Oneonta and is a doctoral candidate at Columbia University where she is
completing her dissertation. Its working title is "The Future of the
World: Sacrifice, Economy, and Ethics in Environmental Literature and

Christine feels that these videos capture some of the energy, activities,
and thoughts that she and Cary have experienced as New Yorkers living in
the wilderness for four months every year: trying to establish a
functional home without running water, electricity, or maintained roads;
developing relationships with locals; un-learning the romanticization of
nature while re-learning humanity's dependence on the environment for
survival; and researching the details of the history of the land and the
surrounding area (its previous deforestation, its logging, its near use
for an auto salvage yard, its use as farmland and grazing ground one
hundred years ago, the precolonial possession by Native Americans for
centuries before that).

Cary says: The North American concepts of wilderness are informed by
nationalist ideologies and concepts of freedom as a wild, un-checked
frontier of possibility. I don't believe there is any such thing as
wilderness as we Americans are inclined to see it. How could one know or
understand that which is truly wild much less employ it toward
nation-building? Also, I find a certain intellectual humor in the offering
of performances that purport to be both practical and wild.

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From: Marisa Olson <marisa AT>
Date: May 9, 2006

The Yes Men....

---------- Forwarded message ----------
From: Halliburton Emergency Products Development Unit
<epdu AT>
Date: May 9, 2006 9:50 PM
To: "" <mo AT>

May 9, 2006

Contact: mailto:EPDU AT

SurvivaBalls save managers from abrupt climate change

An advanced new technology will keep corporate managers safe even when
climate change makes life as we know it impossible.

"The SurvivaBall is designed to protect the corporate manager no matter
what Mother Nature throws his or her way," said Fred Wolf, a Halliburton
representative who spoke today at the Catastrophic Loss conference held at
the Ritz-Carlton hotel in Amelia Island, Florida. "This technology is the
only rational response to abrupt climate change," he said to an attentive
and appreciative audience.

Most scientists believe global warming is certain to cause an accelerating
onslaught of hurricanes, floods, droughts, tornadoes, etc. and that a
world-destroying disaster is increasingly possible. For example, Arctic
melt has slowed the Gulf Stream by 30% in just the last decade; if the
Gulf Stream stops, Europe will suddenly become just as cold as Alaska.
Global heat and flooding events are also increasingly possible.

In order to head off such catastrophic scenarios, scientists agree we must
reduce our carbon emissions by 70% within the next few years. Doing that
would seriously undermine corporate profits, however, and so a more
forward-thinking solution is needed.

At today's conference, Wolf and a colleague demonstrated three SurvivaBall
mockups, and described how the units will sustainably protect managers
from natural or cultural disturbances of any intensity or duration. The
devices - looking like huge inflatable orbs - will include sophisticated
communications systems, nutrient gathering capacities, onboard medical
facilities, and a daunting defense infrastructure to ensure that the
corporate mission will not go unfulfilled even when most human life is
rendered impossible by catastrophes or the consequent epidemics and armed

"It's essentially a gated community for one," said Wolf.

Dr. Northrop Goody, the head of Halliburton's Emergency Products
Development Unit, showed diagrams and videos describing the SurvivaBall's
many features. "Much as amoebas link up into slime molds when threatened,
SurvivaBalls also fulfill a community function. After all, people need
people," noted Goody as he showed an artist's rendition of numerous
SurvivaBalls linking up to form a managerial aggregate with functional
differentiation, metaphorically dancing through the streets of Houston,

The conference attendees peppered the duo with questions. One asked how
the device would fare against terrorism, another whether the array of
embedded technologies might make the unit too cumbersome; a third brought
up the issue of the unit's cost feasibility. Wolf and Goody assured the
audience that these problems and others were being addressed.

"The SurvivaBall builds on Halliburton's reputation as a disaster and
conflict industry innovator," said Wolf. "Just as the Black Plague led to
the Renaissance and the Great Deluge gave Noah a monopoly of the animals,
so tomorrow's catastrophes could well lead to good - and industry must be
ready to seize that good."

Goody also noted that Jean-Michel Cousteau's Ocean Futures Society was set
to employ the SurvivaBall as part of its Corporate Sustenance (R) program.
Another of Cousteau's CSR programs involves accepting a generous
sponsorship from the Dow Chemical Corporation, whose general shareholder
meeting is May 11.

Please visit for photos, video,
and text of today's presentation.

# 30 #

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From: Pauline Jennings <dv AT>
Date: May 9, 2006
Subject: Evolutionary Patterns and the Lonely Owl (Mutation #2)

Evolutionary Patterns and the Lonely Owl (Mutation #2)

When: May 26-27 [Fri-Sat] 8:30-11:00pm [Ongoing]
Where: CELLspace, 2050 Bryant Street, San Francisco
Cost: $12 [$8 with ArtSFest Arts Action Pass]

Intermedia performance group DOUBLE VISION will be presenting a
large-scale event including simultaneous acts of dance, music, video, art
and technology as part of the ArtSFest 2006. The event, entitled
Evolutionary Patterns and the Lonely Owl, is part of a series during which
the audience roams freely, exploring inflatable projections, mirrored
matrices, pulsating pods, and radioactive sonic-works.

Throughout the night, curious onlookers may dine with a family of PAlien
sculptures who transmit telepathic communications throughout the venue.
The fearful may look above to spot a teleo-operated spy blimp or gaze at
an inflatable orchestra of hypnotic video automata. The adventurous can
get personal with dancers wielding magic lassos, human-hybrid mud totems,
or Pierre's cries for help.

DOUBLE VISION, led by Sean Clute and Pauline Jennings, is group of
performers, musicians, dancers and video-artists. By experimenting with
different methods of collaboration through the adaptation of social
systems, transvergence of scientific models, and mapping of algorithmic
structures, DOUBLE VISION unifies multifaceted art forms and ideas.

DOUBLE VISION's artists strike a balance between unity, complexity, chaos
and ritual. The collective ingenuity includes constructions by Steven
Baudonnet, Matt Bell, Liz Bootz, Sean Clute, Amanda Crawford, Brian
Enright, Simran Gleason, Jammin' Ammon, Ron Goldin, Jessica Gomula, Dave
Holton, Pauline Jennings, Jason B. Jones, Elisabeth Kohnke, Chris Kruzic,
Amy Leonards, Michelle K. Lynch, Wendy Marinacchio, Amy Nielson, Cecelia
Peterson, Tim Thompson, Bill Wolter, Nicole Zvarik.

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From: Andrea Ackerman <mullaneyandackerman AT>
Date: May 11, 2006

Tuesday, May 23rd, 8PM
Re'ut Ben-Ze'ev, soprano, Stephanie Griffin, viola, Blair McMillen, piano,
The Cygnus Ensemble, Electro-acoustic, chamber and text pieces


ANDREA ACKERMAN -- computer sound composition by Matthew Greenbaum

Program notes on "Woman Waking":

Andrea Ackerman created "Woman Waking", a 3D computer animation using
Maya, a software program used in the film and special effects industry.
Ackerman is specifically interested in creating a new kind of 3D
character, one with a sense of an emotionally complex inner life, and thus
creating a meaningful sense of seamless continuity - digital to human. The
virtual monochrome gray woman is at once mysteriously natural yet
obviously artificial. She undergoes a series of ambiguously expressive
transformations, related to the transformations evoked in the music, and
in the process blurs the boundaries between inner worlds and outer worlds,
between the senses, visual, auditory, and kinesthetic, and between the
natural world and the synthetic one.

Andrea Ackerman is a digital artist living in New York. In her previous 3D
computer animation, "Rose Breathing", a synthetic rose is imbued with such
human qualities as respiration and locomotion. "Rose Breathing" has been
shown internationally, including in a recent show at the San Jose Museum
of Art, "Brides of Frankenstein", curated by Marcia Tanner and at the Wood
Street Galleries, in "Allure Ellectronica", curated by Murray Horne.
Ackerman's just published catalog essay for the show "Can We Fall in Love
with a Machine?" curated by artist Claudia Hart also at Wood Street
Galleries, is a cultural analysis of the role of artists as mediators in
our growing relationship to artificial and virtual life. Currently,
Ackerman and Hart are working on "Diaphonous", a project to promote women
artists working in computer animation, interactivity and robotics.

Tuesday 5/23 at 8pm

$20/$10 students, seniors

556 West 22nd Street, New York, NY 10011
tel 212.255.0719 e-mail contact AT
open Tuesday through Saturday Noon to 6 pm
Thursday Noon to 8 pm - $3 after 6 pm
closed Sunday and Monday
$6 adults, $3 students and seniors, free for members and visitors 18 and

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From: Erik Loyer <erik AT>
Date: May 12, 2006
Subject: Vectors Ephemera issue now live!

Vectors Journal of Culture and Technology in a Dynamic Vernacular is
pleased to announce the launch of its Spring 2006 issue devoted to the
theme of Ephemera:

This issue of Vectors features a range of projects related to the theme of
ephemera, from the perspectives of history, anthropology, cultural
geography, film, media studies, video games, tourism, politics, art and
literature. Contributors include Rick Prelinger, Judith Jackson Fossett,
Amelie Hastie, Melanie Swalwell, Jeffrey Schnapp, Kim Christen, Chris
Cooney, the Center for History and New Media and the Transcriptions
Project at UC Santa Barbara.

Vectors is an international peer-reviewed electronic journal dedicated to
expanding the potentials of academic publication via emergent and
transitional media. Publishing two issues a year, Vectors proposes a
thorough rethinking of the dynamic relationship of form to content in
academic research, focusing on the ways technology shapes, transforms and
reconfigures social and cultural relations. Vectors is edited by Tara
McPherson and Steve Anderson with creative direction by Erik Loyer and
Raegan Kelly.

Please share this announcement widely. We also invite you to explore past
issues devoted to the themes of Evidence and Mobility in the Vectors
Archive and contribute to an ongoing dialogue with project creators and
readers via the Vectors Forums.

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From: laurencornell AT <laurencornell AT>
Date: May 8, 2006
Subject: Re: Metadata

Hi Rick, and all

I agree with your proposed approach below: controlled vocabularies as well
as a social tagging/ folksonomy element. To your point of "shared
standards", I do think its important to emphasize similarities between
systems of metadata, as there are so many, and the controlled vocabularies
are an area we can do this. We would like to expand our current
controlled vocabularies, and suggestions of terms people would like to see
added or sources from which to draw from would be helpful. It does go back
to "who is the ArtBase for." To answer that partially now, I'd say the
artists, and also "professionals" as you say. Rhizome membership is
constituted significantly by academic communities, also curators,
researchers and writers go to the Artbase to learn more about particular
artists or genres or uses of different kinds of technologies. So, yes
"professionals" , but also importantly, the ArtBase is also the first
place people go to learn about about digital and new media art. So, there
is a wide audience to speak to..


On 5/3/06, Richard Rinehart <rinehart AT> wrote:
> Hi everyone,
> The tagging sounds very interesting indeed. Would this be the same as
> the folksonomy or parallel to it (same system)? I could see the two
> types of terms living in the ArtBase easily: controlled vocabularies
> and the folksonomic terms. On the former, controlled vocabularies,
> Lauren's question is important: who is it for? I have found that
> controlled vocabularies are mainly for "professionals" in the field
> as they are more precise terms (ie. the AAT prefers 'serigraph'
> instead of 'silkscreen'), but the main benefit of controlled vocabs
> are manifold. First, they can, if done well (AAT does this, and
> Rhizome's hybrid model could too) provide a mapping between the
> "popular" and "professional" versions of a term (the thesaurus
> model), they provide a consistency that allows for consistent results
> during machine manipulation of the data (ie searching), and perhaps
> more importantly they provide a standard so that the any particular
> data-set that uses them can be shared and transported between systems.
> In the cultural heritage field there's been increasing emphasis on
> broad sharing of data; we all know that our data needs to live on our
> own websites, yes, and we can provide great functionality with that,
> but we need to be able to share the data-source in such a way that it
> can be incorporated into other systems too. For instance, I can
> easily see in the future, that Rhizome might want to export the
> entire ArtBase and allow the records to be used inside another
> portal/system such as one of the following: Univ. of California
> Digital Library (,Univ. of Michigan OAIster
> (, or the Library of
> Congress' American Memory (
> Additionally, some might want to incorporate the ArtBase terms
> (rather than the records/data) in software tools like the Variable
> Media Questionnaire ( To achieve any of
> these, there has to be some structure to the ArtBase that others will
> understand (ie. shared standards). The benefits of this sharing
> include: new functionality, new data-contexts, new audiences and
> uses. Some of this sharing can be achieved via dynamic linking/API's
> while other forms require static record export/import. This does not
> prohibit local practices or folksonomies, but it argues for a hybrid
> system.
> Terms for the ArtBase could come from two streams. First is the
> folksonomies/tagging aggregated by the ArtBase from us. The second
> could be existing controlled vocabularies (such as the AAT) that are
> mined for appropriate terms and incorporated into a list for the
> ArtBase (Rhizome members could suggest sources). Submitters of new
> works to the ArtBase could be encouraged to both choose a
> "controlled" term or two, some previously "tagged" terms, or a new
> term.
> Whew...what do you all think?
> Richard Rinehart
> ---------------
> Director of Digital Media
> Berkeley Art Museum/Pacific Film Archive
> ---------------
> University of California, Berkeley
> ---------------
> 2625 Durant Ave.
> Berkeley, CA, 94720-2250
> ph.510.642.5240
> fx.510.642.5269

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Rhizome Digest is supported by grants from The Charles Engelhard
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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN:
1525-9110. Volume 11, number 18. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
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