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: 06.16.06
Date: Fri, 16 Jun 2006 10:29:51 -0700

RHIZOME DIGEST: June 16, 2006


1. Digital Art Projects: CALL FOR SUBMISSIONS
2. christa.sommerer 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

5. Christiane Paul: intelligent agent Vol. 6 No. 1 - interfacing | free
radical | reviews
6. mbslaats AT 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
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 for
more information or contact Lauren Cornell at LaurenCornell AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Digital Art Projects <stephan AT>
Date: Jun 12, 2006


For more information visit

The Gao Brothers invite you to collaborate in


A joint venture between Beijing New Art Projects / China, the Institute
for New Media, Frankfurt a.M. / Germany and Digital Art Projects / UK

The Factory 798 Art District, 4 Jiuxianqiao Road, Chaoyang District,
Beijing / China

1 ? 16 September 2006 >>>>>> DEADLINE 15 August 2006

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.

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.

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.

- 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

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

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: christa.sommerer AT <christa.sommerer 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
(4 semester)

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

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:

Professors Dr. Christa Sommerer and Dr. Laurent Mignonneau, media artists
and researchers

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:

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: 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: AT

Interface Culture Brochure downloadable at:
Dr. Christa Sommerer Professor for Interface Culture
Institut for Media University of Art and Design Linz
Sonnensteinstrasse 11-13 4040, Linz Austria

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Scott Berry <scott AT>
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:

* 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
* Participating in programming related aspects of Images Festival publicity,
i.e. conducting interviews w/print, television, radio & web-based media
* 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.

*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.

* Assist with creating and maintaining a marketing strategy and timeline;
* Service media requests for materials and information (as needed by the
* Work with the Publicist and staff to develop PR materials, such as press

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

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 (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
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

401 Richmond Street West, Suite 448
Toronto. Ontario M5V 3A8 CANADA

(T) 001+ 416.971.8405
(F) 001+ 416.971.7412

20th Edition ////// 5-14 April 2007

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Support Rhizome: buy a hosting plan from BroadSpire

Reliable, robust hosting plans from $65 per year.

Purchasing hosting from BroadSpire contributes directly to Rhizome's
fiscal well-being, so think about about the new Bundle pack, or any other
plan, today!

About BroadSpire

BroadSpire is a mid-size commercial web hosting provider. After conducting
a thorough review of the web hosting industry, we selected BroadSpire as
our partner because they offer the right combination of affordable plans
(prices start at $14.95 per month), dependable customer support, and a
full range of services. We have been working with BroadSpire since June
2002, and have been very impressed with the quality of their service.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: LEE WELLS <lee AT>
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
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."


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:
(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

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 Wells
Continuing to blur the classic expectations of film and video.

Brooklyn 11222
917 723 2524

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Christiane_Paul AT <Christiane_Paul AT>
Date: Jun 10, 2006
Subject: intelligent agent Vol. 6 No. 1 - interfacing | free radical |

intelligent agent Vol. 6 No. 1
Articles now available at

Vol. 6 No. 1:
// interfacing //
// free radical //
// book reviews //

All content is available in html and as pdf files.

+ 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.

+ 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

+ 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,

+ 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
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!

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: mbslaats AT <mbslaats AT>
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

The project opens as a part of the Games, Learning and Society Conference
taking place in Madison, WI June 15-16.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2005-2006 Net Art Commissions

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

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

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

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Greg Smith <smith AT>
Date: Jun 13, 2006
Subject: announcing vague terrain 03:generative art 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


greg smith
smith AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Hans Bernhard <play AT>
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, [], 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

?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, [] 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

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 ( 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,

Institute of Contemporary Art
Overgaden Neden Vandet 17
DK-1414 Copenhagen K
Phone +45 32 57 72 73
Mail info AT
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

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Carlos Castellanos <carlos AT>
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
switch AT

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
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.


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.

Carlos Castellanos
Managing Editor

Carlos Castellanos
carlos AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Thomas Beard <thomas AT>
Date: Jun 9, 2006
Subject: Review of Alexander R. Galloway's 'Gaming: Essays on Algorithmic

+Commissioned by

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

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

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
at Galapagos Art Space
70 North 6th Street
Brooklyn, NY 11211

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 ISSN:
1525-9110. Volume 11, number 23. Article submissions to list AT
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT

To unsubscribe from this list, visit
Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +