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: 06.16.06 From: digest@rhizome.org (RHIZOME) Date: Fri, 16 Jun 2006 10:29:51 -0700 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: June 16, 2006 Content: +opportunity+ 1. Digital Art Projects: CALL FOR SUBMISSIONS 2. christa.sommerer AT ufg.ac.at: Interface Culture Master in Linz - accepting applications 3. Scott Berry: Images Festival [Toronto] Employment Opportunity 4. LEE WELLS: Cinema-Scope Hamptons Last Minute Call for Video and New Media +announcement+ 5. Christiane Paul: intelligent agent Vol. 6 No. 1 - interfacing | free radical | reviews 6. mbslaats AT hotmail.com: Augmented Reality - My Name is Madison 7. Greg Smith: announcing vague terrain 03:generative art 8. Hans Bernhard: Heath Bunting: ?Cutting, Climbing, Crossing? / UBERMORGEN.COM: ?[F]originals. Authenticity as Consensual Hallucination? 9. Carlos Castellanos: SWITCH: Issue 22 +Commissioned by Rhizome.org+ 10. Thomas Beard: Review of Alexander R. Galloway's 'Gaming: Essays on Algorithmic Culture' + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Digital Art Projects <stephan AT digitalartprojects.net> Date: Jun 12, 2006 Subject: CALL FOR SUBMISSIONS >>>>>>> PLEASE MAIL THIS TO A FRIEND >>>>>>>> For more information visit http://www.field-of-vision.net/Beijing The Gao Brothers invite you to collaborate in FIELD OF VISION : BEIJING A joint venture between Beijing New Art Projects / China, the Institute for New Media, Frankfurt a.M. / Germany and Digital Art Projects / UK AT BEIJING NEW ART PROJECTS The Factory 798 Art District, 4 Jiuxianqiao Road, Chaoyang District, Beijing / China 1 ? 16 September 2006 >>>>>> DEADLINE 15 August 2006 DESCRIPTION Following the success of FIELD OF VISION : NEW YORK and FIELD OF VISION : EXTREMES, FIELD OF VISION : BEIJING will be the third in this series of combined internet / physical world events. This time the organising artists are asking everyone to submit images and text about China, everything Chinese or influenced by China. CRITERIA The Gao Brothers and artists group Digital Art Projects invite you to submit ANY KIND of images and text showing China AS YOU SEE IT, whether you live there, have been there or not. These could be abstract or figurative. They are particularly looking for images containing the colour red, images of Chinese text in any form and they would be really pleased if you send a short note, comment, statement or even a longer essay accompanying your work. All images are printed out postcard size and a selection of about 500 will be assembled on location into a billboard format collage. MEDIA Photographs, pictures downloaded from the internet or magazine cuttings, small artworks for example paintings, scanned objects, drawings, collages and electronically generated imagery are all acceptable but must be digitised and sent as e-mail attachments or uploaded to our server. GUIDELINES - You can submit as much images and text as you like - Image file formats: .jpeg, .gif, .png - File size: max 1 megabyte per image EMAIL TO beijing AT field-of-vision.net OR UPLOAD AT http://www.field-of-vision.net/Beijing/Upload If you wish to be credited include your name, city and country. Successful entries will be notified by e-mail and presented on the project web site. CURATED BY: The Gao Brothers, China / Marcel Hager, Germany / Stephan Hausmeister, Germany, UK ORGANISING ARTISTS: Paul Dacey, USA / Zang Dali, China / Alison Dalwood, UK / Lu Fei Fei, China / Malcolm Ferris, UK / Wang Guofeng, China / Ma Han, China / Jens Heise, Germany / Sybille Hoffter, Germany / Simon Hyde, UK / Sam Jury, UK / Jenny Kao, Taiwan, USA / Sun Lei, China / Fei Liu, China / Helen Marshall, UK / Wang Peng, China / Huang Rui, China / Ji Shengli, China / Michael Wright, UK / Cang Xin,China / Miao Xiaochun, China / Xu Zong, China + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: christa.sommerer AT ufg.ac.at <christa.sommerer AT ufg.ac.at> Date: Jun 12, 2006 Subject: Interface Culture Master in Linz - accepting applications Master Study Interface Cultures at University of Art and Design in Linz Austria (4 semester) http://www.interface.ufg.ac.at/ The Interface Culture masters degree program, founded by media artists Christa Sommerer and Laurent Mignonneau, is an artistic-scientific study to educated media artists and media researchers in creative and innovative interface and interaction design. The study lasts two years and concentrates on project-oriented and theory-based training in interactive digital media, combining art with research, the development of projects and prototypes with scholarly publication. Subjects thought include: interactive art, interaction design, game design, tangible interfaces, auditory interfaces, fashionable technologies, wearable devices, intelligent ambiences, sensor technologies, telecommunication and new experimental forms of human-machine, human-human and machine-machine interactions. Artistic expressions include among others: interactive art, net art, software art, robotic art, sound art, noise art, games and story telling, mobile art as well as new hybrid areas like genetic art, bio art, space art and nano art. A specialty of the program is its strong collaboration with the Ars Electronica in Linz, where students can show their projects on a yearly basis and thus get in contact with the top experts of the media art and design field. Previous projects of student works at Ars Electronica 2005 can be found at: http://www.interface.ufg.ac.at/Ars2005/index.php Professors: Professors Dr. Christa Sommerer and Dr. Laurent Mignonneau, media artists and researchers Lecturers: Dipl. Ing. Christopher Lindinger, Computer Scientist / Media Artist, director of research and innovation of the Ars Electronica Futurelab. Mag. Sabine Seymour, Researcher/Designer in Fashionable Technologies TIMES UP, media art initiative Mag. Andreas Weixler, Composer / Media Artist in Audio-visual interaction Dr. Sabine Payr, Researcher in multimodal interfaces and e-learning Mag. Gebhart Sengmüller, Artist / Media Archaeologist, Vinyl Video Dipl.Ing. Martin Kaltenbr, Researcher / Ph.D. candidat Dipl. Ing. Robert Praxmarer, Researcher / Artist, Mag. Simon Bauer, media technician and developer First Entrance Interview Date: July 6thand 7th2006 Deadline for Application to First Interview: June 23rd2006 Second Entrance Interview: September 4th and 5th (during Ars Eleectronica) Deadline for Application to Second Interview: Sept 12006 Application forms can be downloaded at: http://www.ufg.ac.at/portal/DE/zum_studium/studienabteilung/238.html Please send your filled in application form & required documents (curriculum vitae & passport copy) by June 23 2006/September 1st to the study department at: Study Administration University of Art and Industrial Design, Linz Hauptplatz 8, first floor, room 1.24 4010 Linz, Austria Telephone: 0043/732/7898 Internet: http://www.ufg.ac.at/studienabteilung studien.office AT ufg.ac.at Required materials for the entrance examination on July 6thand 7th2006/September 4th and 5th 2006 Candidates are asked to bring examples of their digital works and digital productions, for example from their previous studies as well as a copy of their bachelor thesis and any other examples of their practical works as well as an expose (can be in written, image, auditory or interactive form) of what type of work and research they want to conduct during the Interface Culture master study program. More information about the Interface Culture study at: http://www.interface.ufg.ac.at institut-medien.office AT ufg.ac.at Interface Culture Brochure downloadable at: http://www.ufg.ac.at/files/17282/interface_brochure_6.pdf ========================================================= Dr. Christa Sommerer Professor for Interface Culture Institut for Media University of Art and Design Linz Sonnensteinstrasse 11-13 4040, Linz Austria http://www.interface.ufg.ac.at http://www.interface.ufg.ac.at/christa-laurent ========================================================= + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Scott Berry <scott AT imagesfestival.com> Date: Jun 12, 2006 Subject: Images Festival [Toronto] Employment Opportunity Position: Artistic Director, The Images Festival, Toronto, CANADA Organization: The Images Festival, entering its 20th year, features Canadian and international film and video, and related new media, installations and performances. This Toronto-based festival combines theatrical exhibition with gallery-based installations and features symposia, artists' retrospectives, special curated programs and publications alongside its annual competition selection of artists' film and video. Images is a dynamic annual forum for excellence and innovation in the media arts. Summary: The Artistic Director of the Images Festival will play a pivotal role in the media arts sector in Toronto and beyond. The AD oversees programming for the Images Festival, working closely with other members of programming staff. Responsibilities: The Artistic Director's responsibilities include, but are not limited to, the following: Programming: * Establishing the overall programming direction for the Images Festival, in conjunction with, and with the approval of, the Executive Director and the Board; * Researching, soliciting and selecting films, videos, and related works for presentation at the Images Festival (including works in performance, installation and new media); * Writing curatorial statements, program descriptions and descriptions of individual works; * Working with an ad-hoc 20th Anniversary Committee, guest curators, programmers, screening committees, awards juries, writers and/or organizations on specific projects, including publications and commissioning projects, where required; * Arranging (or supervising the arrangement of) bookings, and acting as a liaison with local, national, and international distributors and with all participating artists, directors, producers, etc.; * Arranging rental and negotiating fees with exhibiting artists and/or distributors; * Participating in programming related aspects of Images Festival publicity, i.e. conducting interviews w/print, television, radio & web-based media outlets; * Programming for members screenings, outreach and touring projects. Working in conjunction with the Programmers and other staff to: * Coordinate certain aspects of catalogue production including gathering photo stills and other relevant materials; *Coordinate print traffic prior to and during the Images Festival; *Arrange hospitality, travel, accommodation, and support for guests of the Images Festival; *Host guests during the Festival *Arrange and manage technical and logistical details regarding venue, equipment, projectionists, etc. Administrative: *Prepare and submit grant requests and grant reports related to programming; *Develop and work within an established programming budget and timeline, develop budgets and timelines pertaining to specific programming projects, and manage expenses and revenue related to programming; *Work with ED and programming staff to ensure that all programming adheres to mandate and organizational priorities of the Images Festival. *Work with the ED and Festival Manager to select the appropriate Images Festival venues; *Ensure that all programming databases are up-to-date. Sponsorship development: * Assist with planning and proposals for aspects of fund development related to Images Festival programming, including special initiatives and focused projects. Publicity: * Assist with creating and maintaining a marketing strategy and timeline; * Service media requests for materials and information (as needed by the Publicist); * Work with the Publicist and staff to develop PR materials, such as press releases. Skills Required: -Extensive experience in media arts programming. -Familiarity with the not-for-profit arts sector. -Strong oral and written communication skills. -Highly organized, able to multitask, work under pressure and meet deadlines. -Computer literacy (word processing, excel, email, web). The following will be considered assets: -Strong interest/experience in media arts study, education and practice. -Experience with critical arts writing, publishing, and related fields. -Fluency in both official languages. Salary and Benefits: -Salary is based on a full-time-equivalent range of $30,000 - $35,000 per annum (commensurate with experience) Health benefits, opportunities for international travel and professional development. Deadline: Friday 07 July 2006, 5:00 pm Start Date: August 2006 Apply in writing to: Hiring Committee, The Images Festival, 401 Richmond Street West, Suite 448, Toronto, Ontario M5V 3A8 Canada Fax: (416) 971-7412 Email: images AT imagesfestival.com (With RTF or PDF attachments only) No phone calls please. The Images Festival is an equal opportunity employer. For more information about the festival please visit our website at www.imagesfestival.com We thank all applicants for their interest; however, only those selected for an interview will be contacted. ****** The Images Festival is made possible thanks to our gracious funders: The Canada Council for the Arts, the Ontario Arts Council, the Department Canadian Heritage, the City of Toronto through the Toronto Arts Council, Telefilm Canada, The Ontario Trillium Foundation and the Department of Foreign Affairs. ******* -- Scott Miller Berry Executive Director THE IMAGES FESTIVAL 401 Richmond Street West, Suite 448 Toronto. Ontario M5V 3A8 CANADA (T) 001+ 416.971.8405 (F) 001+ 416.971.7412 http://www.imagesfestival.com 20th Edition ////// 5-14 April 2007 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: LEE WELLS <lee AT leewells.org> Date: Jun 15, 2006 Subject: Cinema-Scope Hamptons Last Minute Call for Video and New Media Cinema-Scope Hamptons Last Minute Call for Video and New Media Deadline: Monday July 3, 2006 -- (FUTURE PERFECT) The future perfect is used to describe an event that has not yet happened but is expected or planned to happen. "Think of it. We are blessed with technology that would be indescribable to our forefathers. We have the wherewithal, the know-it-all to feed everybody, clothe everybody, and give every human on Earth a chance. We know now what we could never have known before -- that we now have the option for all humanity to make it successfully on this planet in this lifetime. Whether it is to be Utopia or Oblivion will be a touch-and-go relay race right up to the final moment." BUCKMINSTER FULLER, Critical Path -- This year in the Hamptons we will have an impressive video art complex featuring some really top notch international artists striving to be ahead of the curve. We will also be featuring the 2nd incarnation of the "Perpetual Art Machine" interactive video installation. For more info goto: http://www.perpetualartmachine.com (sign up its free) We are looking for additional screen based videos (HD and SD) no longer than 10 minutes and computer based new media projects, websites, vblogs and anything else that you would consider to be art on a computer. All projects must have been created after 2001. Video Requirements Quicktime (.mov) or NTSC video DVD New Media Requirement Internet URL or Stand alone MAC formatted applications (Special thanks to Tekserve NYC for sponsoring us with the Cinema-scope MAC New Media Gallery) -- Deadline: All work must arrive by Monday July 3, 2006 Late entries will not be accepted -- Please send your entry to: Lee Wells / Cinema-scope Scope Art Fair 521 West 26th Street New York, NY 10001 T: 917 723 2524 E: lee AT leewells.org Please have disk and materials properly marked with artist name and artwork information. Please include a self addressed stamped envelope if you would like your entry returned. Please contact me for further details by email or by phone at 917 723 2524. All the best, Lee -- Lee Wells Cinema-scope Continuing to blur the classic expectations of film and video. http://www.scope-art.com http://www.leewells.org http://www.ifac-arts.org http://www.perpetualartmachine.com Brooklyn 11222 917 723 2524 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Christiane_Paul AT whitney.org <Christiane_Paul AT whitney.org> Date: Jun 10, 2006 Subject: intelligent agent Vol. 6 No. 1 - interfacing | free radical | reviews intelligent agent Vol. 6 No. 1 Articles now available at http://www.intelligentagent.com Vol. 6 No. 1: // interfacing // // free radical // // book reviews // All content is available in html and as pdf files. //editorial// + Patrick Lichty, Hello, Katrina! So Much for New Media Art In the context of the techno infrastructure breakdown during hurricane Katrina, Patrick Lichty discusses the (im)possibilities of independence from information grids and the long-term viability of platforms for creating new media art. //interfacing// + Andruid Kerne, Doing Interface Ecology: The Practice of Metadisciplinarity The interface can be modeled as an ecosystem -- connected, dynamic, and characterized by relationships -- and can be understood as a border zone between heterogeneous systems of representation. Andruid Kerne uses notions of sensation, embodiment, and semiotics to initiate a process of metadisciplinarity that addresses the range of systems of representation involved in the writing and production of his paper. + Yuli Ziv, Parallels between Suprematism and the Abstract, Vector-Based Motion Graphics of Flash Yuli Ziv explores parallels between aesthetic concepts surfacing in both the suprematist art movement in the beginning of the 20th century and the abstract, vector-based motion graphics associated with the Macromedia Flash software / authoring environment. The subject of analysis is not the influence of Suprematism on Flash as a tool in general but on the -- to a certain degree standardized -- abstract forms that the software produces. + Naoko Tosa, Cultural Computing: ZENetic Computer Through her project ZENetic Computer -- which projects the style of communication developed by Zen schools over hundreds of years into a virtual world -- Naoko Tosa explores "Cultural Computing" as a form of cultural translation that uses scientific methods to represent aspects of culture. + Paul Hertz, Drunk on Technology, Waiting for the Hangover: A Test Plot Paul Hertz's structures 16 short texts on topics ranging from "activism" and "network" to "collaboration" and "bandwidth" by means of a Graeco-Latin Square of order 4 -- a combinatorial structure frequently used in agricultural test plots, typically for combining plant strains with different fertilizers in such a way that no plants or fertilizers are repeated in any row or column of the square. (Plants: Network, Collaboration, Art, Emergence; Fertilizers: Activism, Bandwidth, Naming, Wildcard) + Juan Teodosio Pescador, Thirteen Ignodicta About This Art Pescador's thirteen short statements reflect on possible effects of art and suggest appropriate viewer responses. "This art is loaded with cultural values. Fight, run, or surrender." //free radical// + Andrea Polli, The Sound of Fear Using a frightening experience on a flight from Chicago to São Paulo as a starting point, Andrea Polli discusses the effects of ultrasound and infrasound on the body; the connection between sound and memory points; and whether the emotional, narrative content of sound might enhance the understanding of abstract information. //book reviews// + Ceri Myers reviews "Carnal Art: Orlan's Refacing" by C.Jill O'Bryan Ceri Myers reviews C. Jill O'Bryan's book on the works of the French artist Orlan and their conceptual foundations. + Leigh Clemons, "Whale!" by K.L. Evans Leigh Clemons reviews "Whale!," a poetic, intense, and complex reading of Herman Melville's famous tale of obsession and fate through the lens of Wittgenstein's theories. In several ways, "Whale!" relates to concerns of new media practitioners, such as metastructures of subjects, objects, practice, and theory. +++++++++++++++++++++++++++++++++++++++ intelligent agent Editor-in-Chief: Patrick Lichty Director: Christiane Paul http://www.intelligentagent.com intelligent agent is a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies for production and presentation. ++++++++++++++++++++++++++++++++++++++++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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! http://www.myspace.com/gifshow + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: mbslaats AT hotmail.com <mbslaats AT hotmail.com> Date: Jun 13, 2006 Subject: Augmented Reality - My Name is Madison My Name is Madison Artist - Matthew Slaats Taking Madison, WI as its subject, My Name is Madison is an Augmented Reality Game that allows users to explore and interact with the urban landscape from a multitude of perspectives. This project approachs the city as a layered environment. Players understand the development of place through the eyes of history, culture and fantasy. Using GPS enabled hand held computers, participants take on the roles of both recipient and creator, performance in context. While walking about the streets, they are provided with information that enhances their understanding of the environment and then gives them the tools to create their own interpretations of place. Documentation of these events will be posted to www.mynameismadison.blogspot.com. The project opens as a part of the Games, Learning and Society Conference taking place in Madison, WI June 15-16. www.glsconference.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Greg Smith <smith AT serialconsign.com> Date: Jun 13, 2006 Subject: announcing vague terrain 03:generative art Vagueterrain.net the Toronto-based digital arts quarterly, has just launched its third issue: vague terrain 03:generative art. This issue is dedicated to an exploration of generative art through various texts and multimedia projects which document and illustrate the tools, techniques, and discourse surrounding "automated" production. This diverse body of work contains contributions across multiple mediums from: Ben Bogart, Mantissa, Marius Watz, Meta, Neil Wiernik, Paul Webb, Peter Nyboer, Philip Galanter, Rob Myers, William Farkas and also features an interview with Ben Fry and Casey Reas by Donna Vakalis. To view the journal please visit http://www.vagueterrain.net ,g -- greg smith http://www.serialconsign.com http://www.vagueterrain.net 416.877.4281 smith AT serialconsign.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Hans Bernhard <play AT ubermorgen.com> Date: Jun 13, 2006 Subject: Heath Bunting: ?Cutting, Climbing, Crossing? / UBERMORGEN.COM: ?[F]originals. Authenticity as Consensual Hallucination? OVERGADEN ? Institute of Contemporary Art in Copenhagen OVERGADEN, in collaboration with Artnode ? Independent Centre for Computer-based Art and Culture, Copenhagen, [plug.in], Basel, and Hartware MedienKunstVerein, Dortmund presents: UBERMORGEN.COM: ?[F]originals. Authenticity as Consensual Hallucination Heath Bunting: ?Cutting, Climbing, Crossing? Bunting vs. UBERMORGEN.COM: "dayplandrugblog. two ways to live your life as a (former) net artist? Curated by Jacob Lillemose June 15 ? July 16, 2006 Private view: Wednesday June 14, 2006, 5 pm ? 8 pm Hours: Tuesday-Sunday 1 pm ? 5 pm On June 14, 2006 OVERGADEN ? Institute of Contemporary Art in collaboration with Artnode will open two solo exhibitions by Heath Bunting and UBERMORGEN.COM as well as a special exhibition that joins the work of the two artists. Heath Bunting and the duo UBERMORGEN.COM. Two pioneers, rebels and stars of net art. This is the first time they exhibit together. Almost without computers! ?Cutting, Climbing, Crossing? will present a number of Heath Bunting?s recent works which deal with issues of borders, identity and physical space. Central to the exhibition will be the world premiere of Bunting?s ongoing project ?The Status Project?, a mapping of the multi-layered logic of the mobility and legal routes of the social system. The work will be presented as wall-mounted diagrams, an interactive database and a 4,200-page manual! ?[F]originals: Authenticity as Consensual Hallucination? is the third and closing part of an international joint venture between OVERGADEN ? Institute of Contemporary Art /Artnode, [plug.in] and Hartware MedienKunstVerein. The exhibition will be a classical painting show, consisting of 6 large square canvasses with digital prints of the official seals from UBERMORGEN.COM's projects from the last five years. The paintings are ?[F]originals? ? originals and forgeries ? and refer to the ambiguous status of the 'documents' that UBERMORGEN.COM produce through their dealing with issues of our technology-based culture. ?dayplandrugblog. two ways to live your life as a (former) net artist? features another world premiere or actually many works that deal with diaries. Heath Bunting will show 365 of his daily what-to-do maps (one for each day of 2005) drawn by hand on paper, while UBERMORGEN.COM will show prints of one month of the online ?drug blog? together with the video ?PsychOS?. In connection with the project a number of publications will be available. Heath Bunting will print his ?Day Plan Guide? along with the ?Project Status Manual? and for the UBERMORGEN.COM show a catalogue edited by Alessandro Ludovico (neural.it) will be published in late August. The project is the result of an ongoing collaboration between OVERGADEN ? Institute of Contemporary Art and Artnode with the ambition to bring international computer-based contemporary art to Denmark and to get computer-based contemporary art out of the new media ghetto. The project is generously supported by Pro Helvetia ? Schweizer Kulturstiftung, British Council in Denmark, the Austrian Embassy in Copenhagen and the Danish Arts Council. UBERMORGEN.COM are currently exhibiting at Hartware MedienKunstVerein, Dortmund: http://www.hmkv.de/dyn/d_programm_ausstellungen/detail.php?nr=1050&rubric=ausstellungen&; OVERGADEN Institute of Contemporary Art Overgaden Neden Vandet 17 DK-1414 Copenhagen K Phone +45 32 57 72 73 Mail info AT overgaden.org Web http://www.overgaden.org Tuesday-Sunday 13-17 Hans Bernhard UBERMORGEN.COM / etoy.holding Skype Hans_Bernhard Studio +43 1 236 19 85 Mobile +43 650 930 00 61 Email hans AT ubermorgen.com http://www.ubermorgen.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Carlos Castellanos <carlos AT ccastellanos.com> Date: Jun 15, 2006 Subject: SWITCH: Issue 22 HI everyone. Just wanted to announce the new issue of SWITCH: SWITCH : The online New Media Art Journal of the CADRE Laboratory for New Media at San Jose State University http://switch.sjsu.edu switch AT cadre.sjsu.edu SWITCH Journal is proud to announce the launch of Issue 22: A Special Preview Edition to ISEA 2006/ ZeroOne San Jose. As San Jose State University and the CADRE Laboratory are serving as the academic host for the ZeroOne San Jose /ISEA 2006 Symposium, SWITCH has dedicated itself to serving as an official media correspondent of the Festival and Symposium. SWITCH has focused the past three issues of publication prior to ZeroOne San Jose/ISEA2006 on publishing content reflecting on the themes of the symposium. Our editorial staff has interviewed and reported on artists, theorists, and practitioners interested in the intersections of Art & Technology as related to the themes of ZeroOne San Jose/ ISEA 2006. While some of those featured in SWITCH are part of the festival and symposium, others provide a complimentary perspective. Issue 22 focuses on the intersections of CADRE and ZeroOne San Jose/ ISEA 2006. Over the past year, students at the CADRE Laboratory for New Media have been working intensely with artists on two different residency projects for the festival ? ?Social Networking? with Antoni Muntadas and the City as Interface Residency, ?Karaoke Ice? with Nancy Nowacek, Marina Zurkow & Katie Salen. Carlos Castellanos, James Morgan, Aaron Siegel, all give us a sneak preview of their projects which will be featured at the ISEA 2006 exhibition. Alumni Sheila Malone introduces ex_XX:: post position, an exhibition celebrating the 20th anniversary of the CADRE Institute that will run as a parallel exhibition to ZeroOne San Jose/ ISEA 2006. LeE Montgomery provides a preview of NPR (Neighborhood Public Radio) presence at the festival including a special daily show collaboration with our SWITCH Team. San Jose State University and CADRE are proud to host the Pacific Rim New Media Summit prior to the Symposium on August 7th and 8th. In addition to these special issues, SWITCH will be covering the Festival and Symposium by updating their current issue with fresh content during ZeroOne San Jose/ ISEA2006; providing pod casts of events, interviews, and happenings throughout out downtown San Jose; and working with NPR (Neighborhood Public Radio) to broadcast our own daily news show throughout the week of ZeroOne San Jose/ISEA2006. About SWITCH SWITCH is the new media art journal of the CADRE Laboratory for New Media of the School of Art and Design at San Jose State University. It has been published on the Web since 1995. SWITCH is interested in fostering a critical viewpoint on issues and developments in the multiple crossovers between art and technology. Its main focus in on questioning and analyzing, as well as reporting and discussing these new art forms as they develop, in hopes of encouraging dialogue and possible collaboration with others who are working and considering similar issues. SWITCH aims to critically evaluate developments in art and technology in order to contribute to the formation of alternative viewpoints with the intention of expanding the arena in which new art and technology emerge. SWITCH is overseen by CADRE faculty Joel Slayton and Rachel Beth Egenhoefer. Thanks, Carlos Castellanos SWITCH Managing Editor =========================== Carlos Castellanos carlos AT ccastellanos.com http://ccastellanos.com =========================== + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Thomas Beard <thomas AT ocularis.net> Date: Jun 9, 2006 Subject: Review of Alexander R. Galloway's 'Gaming: Essays on Algorithmic Culture' +Commissioned by Rhizome.org+ Review of Alexander R. Galloway¹s 'Gaming: Essays on Algorithmic Culture' By Thomas Beard The literature of video games is a curious one. Ranging from Martin Amis¹s all but forgotten debut, Invasion of the Space Invaders?a compendium of hot tips for arcade classics like Defender?to the coin-op psychologizing of Charles Bernstein¹s ³Play It Again, Pac-Man² and beyond, it somehow manages to encompass at once the enthusiasms of that British belletrist and analyses from every imaginable clique of critical theory. Different as those two camps might be, a recent addition to this growing body of work, Alexander R. Galloway¹s Gaming: Essays on Algorithmic Culture, has drawn from both. An NYU professor, media theorist, and founding member of Radical Software Group (RSG), Galloway states from the outset that his is a book ³about loving video games,² setting him firmly apart from the more clinically-minded of his peers. That said, the book is hardly the stuff of fanboy effusion, but rather a skillful address to the broad intellectual histories of gaming and a likely source of new debates. Beginning with the idea that video games are actions, as opposed to traditional forms of image or story, Galloway attempts to outline a poetics for the medium. Much like the film scholars of previous decades, making their case about the unique qualities of the art they treasured, he situates the study of games as needing new conceptual frameworks, new models of thought, presenting a four-part schema to outline the nature of action within them. He claims that the medium¹s most fundamental relationships exist between two axes, that of the operator-machine on the one hand, and the narrative world of a game?its diegesis?and exterior properties, on the other. Simply put, each quadrant translates to one type of action. There are diegetic-machine acts, ambient rustlings where the game is running without operator input (day turns to night, a fireplace crackles), nondiegetic-operator acts like setting preferences or choosing weapons, diegetic-operator acts like moving or firing those weapons, and finally nondiegetic-machine acts, which include both disabling acts like ³game over² and network lags as well as enabling acts like power ups. Structured with an Aristotelian rigor, these categories could prove quite pertinent to the future of video game criticism, accounting as they do for the cybernetic dynamism so basic to the experience of gameplay. Equally thoroughgoing is Galloway¹s history of the first-person shooter, whose roots he traces through a study of subjective camerawork in film. Citing such examples as Notorious¹s drugged-up Ingrid Bergman, Robert Montgomery¹s failed noir experiment, Lady in the Lake, and the knife-wielding predators of Psycho and Halloween, he positions the perspective as almost exclusively marginal within cinema, frequently used to depict mental affection, detachment, or monstrosity. Of course, according to Galloway, there is one exception to this otherwise awkward way of seeing, the cyborg. He argues that we view the subjective POV of Robocop and the Terminator, all bleary video and cursor prompt, as more acceptable than that of a character in, say, Dark Passage precisely because conflating the machine of the camera with an already mechanized body makes for a far less dubious pairing than with that of a human. So it¹s through a movie like Predator that Galloway sees a link, aesthetically speaking, to video games, where the first-person perspective is hardly marginal. Instead, it¹s quite crucial to the vision, the action of play. ³Where film failed,² he writes, ³games succeed.² A thoughtful mapping out of Marshall McLuhan¹s proposal about finding old media in new ones, the essay points toward the larger project in digital aesthetics, a quest of origins. Traditional notions of realism are parsed in a similar fashion, revealing their unique relevance to gaming. Looking outside the verisimilitudes offered by ever-increasing polygon counts, Galloway considers gaming ³a third moment of realism,² after those based in image and narrative. Since the gamer is required to act, not simply look or read, Galloway sees the realism of a game as inextricably bound to the social context in which it is played. ³Any game that depicts the real world must grapple with this question of action,² he maintains, positing that America¹s Army, despite its high-end design, is actually not realist insofar as it¹s disconnected from the lived realities of the vast majority who play it. Games like Under Ash, however, by setting their conflicts within the Israeli occupation, are occasions for genuine realism, at least by the Palestinians who play them, if not others. Theories of allegory are also revised and updated by Galloway in what is perhaps the most provocative essay in the collection. Following Gilles Deleuze and expanding some of the ideas in his earlier book, Protocol, he contends that video games are consummate expressions of what it means to live in a network society. Deleuze saw the highway as epitomizing a major phenomenon of late twentieth century culture, allowing endless mobility that was nonetheless entirely controlled. So too with video games, Galloway argues, which, despite appearing to offer a liberating smorgasbord of option and outcome, simply hide the lateral system of information control that characterizes contemporary existence. Unlike earlier, ³deep² allegory, as typified by forms like cinema, what Galloway calls ³allegories of control² are not ideological manipulations, but a complex process of masking new forms of control as an escape from older ones. Though I wonder about this last point, and the limits it places on the possibility of alternative play. By centering a means of control in the deep-seated architectures of gaming, Galloway recalls older critiques of Hollywood. He puts forth, for instance, that a seemingly progressive update of the imperialist Civilization would still be subject to the same regulatory principles as the original. In much the same way, certain theorists in the seventies saw narrative film of all stripes as a political dead end. Outlandish as the claims of Laura Mulvey and company might look now, they instigated critical dialogue that was nothing short of vital; perhaps Galloway¹s article will do the same. The book then closes, appropriately enough, with a discussion of counter-gaming, something of a new media analogue to counter-cinema, a la Peter Wollen, in which Galloway considers the work of artists like JODI, Cory Arcangel, and Anne-Marie Schleiner. But no matter how virtuosic their respective manipulations might be, for Galloway, a true avant-garde of video games is still ahead of us. Moving beyond a dominant preoccupation with visual elements, he ends by calling for creative intervention into more basic concerns: ³We need radical gameplay, not just radical graphics.² Such a statement leads one to think about what the future holds for video game criticism as well. Who will be the Greil Marcus of Mario? The Sontag of Shenmue? The Hoberman of Halo? Those are all questions that will no doubt answer themselves in coming years, but, given his project of analyzing the poetics of these particular social forms, one might say already that, in Galloway, the medium has found a contender for its Fredric Jameson. Thomas Beard is the Program Director of Ocularis, a non-profit media arts organization based in Brooklyn. He has also served as a programmer at the Cinematexas Film Festival, and curated screenings and exhibitions at such as venues as Aurora Picture Show and the Museum of Modern Art, New York. -- Thomas Beard Program Director Ocularis at Galapagos Art Space 70 North 6th Street Brooklyn, NY 11211 http://www.ocularis.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 23. 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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