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: 07.14.06
Date: Fri, 14 Jul 2006 10:49:33 -0700

RHIZOME DIGEST: July 14, 2006


1. Judith Fegerl: OPEN CALL paraflows 06 EXHIBITION Vienna
2. prouvost: / DVD - CALL FOR SUBMISSION
3. yu265753 AT CALL FOR SUBMISSIONS - Digital Feminisms: Gender
and New Technologies

4. Brett Stalbaum: C5 Landscape Database API version 2.0
5. alex galloway: Carnivore -- new Version 2.2 now available

6. marc garrett: Archived 'Month of Sundays' Real-time Internet Performances
7. Nick Hallett: BAPLab: Festival of Electronic Music and Digital Art
8. newmediamarketing AT SPACE Media Arts announces 4
new artist commissions focussed on RFID

9. vandegrift2003 AT Paradigmatic Performance- Sean Ulbert

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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: Judith Fegerl <email AT>
Date: Jul 10, 2006
Subject: OPEN CALL paraflows 06 EXHIBITION Vienna

PARAFLOWS 06 / annual convention for digital arts and cultures
09.-16.09.2006, Vienna, Austria
paraflows 06 / EXHIBITION
The exhibition PARAFLOWS 06 invites you to submit contributions. The
exhibition deals with current artistic positions within digital media and
net cultures. We will present productions which ? using new media as a
cultural tool ? aim for a better understanding of today?s society, thus
also being able to utter criticism in order to redesign society. We are
eager to see works highlighting and scrutinising the decisive role of new
technologies in the development and the perception of presentday culture.
This year?s exhibition will focus on the idea of a ?net behind the net?
which can mean both the digital behind the social net, and the social
behind the digital net. Paraflows (the Greek prefix ?para? meaning:
beside, near, moreover) emanates from the main motors of freedom of the
net and its para-experts, the wikipedias and slashdots of all areas within
which consumers help each other voluntarily to become and remain critical
users and experts in their fields. We are interested!
in works augmenting our understanding of data protection and privacy,
decentralisation, and self-publishing, works that deal with the
implications of free ?social software? (web 2.0, blogs, wikis, etc.) in
realspace, and in works analysing the importance of computer programming
as a cultural technique.
paraflows 06 / LOCATIONS exhibitions
The exhibition will be held in various locations of the Viennese art and
culture scene, ranging from art spaces to clubs, production sites and
gallery spaces (details below). We explicitly encourage contributions
which are generated for or in accordance with one of the locations, though
spatial reference is by no means compulsory. For the seven days of the
exhibition, there will be a ? taking place at a different
location every day, intended to provide opportunities for artists and
producers to communicate with each other.
location_1 / ARTWARE-LOUNGE
Keywords: Exhibition space of, quite slick environment. Space:
2 rooms, 120m2 and 40m2, in the basement. Equipment: 1 projector, dvd
player, internet. Comment: the basement is highly suitable for
projections. Contact: paraflow coordinator Judith Fegerl, jdth AT,
location_2 / BLUMBERG
Keywords: art collective and contemporary art platform, concept art, art
installations, design, media art, performance & discussions. Space: 120m2,
former shop with shop windows, very open, neutral environment. Equipment:
collective ressources available, open Wlan, leased line. Comment: no loud
sound-projects. Contact: Florian Harmer, office AT,
Keywords: newly renovated rooms, ground floor of a corner house, project
?Kunst-im-Stadtteil? [?art-in-the-quarter?], immigrants, participative
projects. Space: 2 rooms, 55m2, 35m2. Equipment: Wlan, leased line,
optional: 1 projector, dvd player, computer. Comment: interventions
welcome. Contact: Ula Schneider, ula.schneider AT,
location_4 / METALAB
Keywords: social open space for collaboration and knowledge exchange with
interdisciplinary magicians and technically creative enthusiasts,
grant-aided net culture. Space: 200m2 spread over several rooms, no white
cube but expert atmosphere. Equipment: 1 projector, several computers
(Linux), open Wlan, leased line. Comment: projects with conceptual and,
even more so, technical expertise are preferred. Contact: Christopher
Clay, mail AT,
location_5 / UMRAUM
Keywords: artists/architects duo, art concepts, process art, promoters of
spatial phenomena, outer-institutional art, internet as fragment of the
public. Space: anteroom 12m2, studio 36m2, shop 16m2, rather neutral,
basement, corner house, partially reclaimable outdoor space. Equipment: 2
projectors, several monitors, 4 dvd players, 1 computer (Apple), open
Wlan, leased line. Comment: suitable for installations, production,
exhibitions. Contact: Kurt Weckel, umraum AT,
location_6 / VEKKS
Keywords: classic underground subculture with Freebie Shop at the
entrance, quarter socialisation. Space: about 120m2, blue walls, back
yard, rustic basement of about 70m2. Equipment: Hi-fi system, 1 computer,
leased line. Contact: Georg Stejskal, vekks AT, and
location_7 / werkzeugH
Keywords: digital living room, 400m2 + 200m2 outdoor space, big glass
façade towards the street, space for architectonic interventions,
discourse space and DIY academy. Space: 170m2 (13 by 13m). Equipment:
power, water, Wlan, leased line. Comment: happily accepted: installations
with reference to realspace, outdoor space/architecture. Contact: Manfred
Wuits, manfred AT,
paraflows 06 / SUBMISSION exhibition
DEADLINE: August 4th 2006, 24:00:00 MET
Project submissions will only be accepted in digital form as one single
pdf-file sent to office AT
1) Name, institution (if existent), address, email, phone number, website/s
2) Submitted work: title, medium, author/s, year of production
3) Please choose up to three of the following catchwords as key aspects
for your submitted work: interface, database, software, device, game,
animation, immersive, narrative, linear, non-linear, analogue, found
footage, sonic, visual, tactile, interactive, reactive, auto-active,
participatory, generative, performative, locative, networked, shared, DIY,
political, archival, documentary, site-specific, urban, communal,
contemplative, poetic, humoristic, therapeutic.
4) Description of the project (1 page maximum), please note preferred
5) Technical explanations, spatial/system needs (hardware, operating
system, additional software)
6) Further information
7) Biographies
8) Documentation of former projects (website/s is sufficient)
Language: only works in German or English, respectively works with
subtitles in one of these languages will be accepted.
Works in other languages must come with a list of texts in German or English.
We explicitly encourage artists and producers from outside Austria to
enter the competition.
Jury: The projects will be selected in consensus with the organisers of
the particular location and with the exhibition management.
paraflows 06 / FRAME
PARAFLOWS 06, the annual convention for digital arts and cultures, is
taking place for the first time, it features an exhibition, a symposium,
workshops, and various social events. The four Paraflows 06-panels
(September 10th ? 11th 2006) at the Semperdepot of the Academy of Fine
Arts Vienna will mark the beginning of a week of work and discussion for
the NetzNetz community the following days.
paraflows 06 / CONTACT
office AT
Festival Manager: Guenther Friesinger , Assistance: Sabine Maierhofer
Exhibition: Angela Dorrer, Support: Judith Fegerl
Symposium: Leo Findeisen
Office: MQ Musumsquartier, c/o monochrom, A-1070 Wien, Museumsplatz 1,
Paraflows06 is funded by the City of Vienna, MA7 Netculture.
Supported by the Academy of Fine Arts Vienna and the University of Vienna.

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From: prouvost <laure AT>
Date: Jul 10, 2006

To: Artists based in the UK
For: Moving Images of max 3mins long & made after 2000 new project is the release of a unique DVD, featuring an
exceptional selection of 25 short moving image works from UK-based
Each work should be no longer than three minutes and must have been made
in the last six years (created after December 31, 1999).

Entry is open to all artists living/working in the UK.

The final selection for the disc will be made by an appointed panel of
curators and arts executives including: Hans-Ulrich Obrist / Ben Cook &
Mike Sperlinger (The Lux) / Stuart Comer (Tate Modern) / Michelle Cotton
(Salon S1 Sheffield) / Rose Cupit (Film London) / Christine Van Assche
(Centre Pompidou New Media) / Kathrin Becker (NBK Berlin)

The DVD will be widely distributed for sale by Thames & Hudson, in the UK
and abroad.
The short-listed artists will receive £250 each and have their work
promoted internationally.
A quarter of the produced DVDs will be given out to educational
institutions, public libraries and local cultural centres, reaching more
people with the best in moving images from the UK.

This project is funded by the National Lottery through Arts Council England.

Submission forms can be downloaded from:

Deadline for submissions: 31st July 2006

Please complete the form, and send it together with your work to:
5th floor
49-50, Great Marlborough Street
London W1F 7JR is an inspirational showcase of contemporary moving images /
dedicated to exhibiting and promoting moving images in a free and
accessible way, acts as a platform for the new, innovative
work in film and video

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From: yu265753 AT <yu265753 AT>
Date: Jul 12, 2006
Subject: CALL FOR SUBMISSIONS - Digital Feminisms: Gender and New

Digital Feminisms: Gender and New Technologies

The complexity of new technologies has altered the way we think about
time, space and ourselves in the digital age. Whether it is business,
media, entertainment, advocacy, art, education, social action, politics,
paid and unpaid work, or a myriad of other sites of contention, the
ability of new technology to converge with and transform past, present and
future ways of interacting with the world in which we live has immense and
wide-ranging implications.

Given this context, we are seeking contributions to a special issue of
Atlantis focused on Gender and New Technologies. We invite submissions
that contribute to an inquiry on how new technologies have informed
gender's self expression and histories; affected gender, race and culture;
influenced the representation of gender; and changed the way in which
gender issues are viewed or pursued. In pursuit of a diverse and
wide-ranging debate, the issue seeks contributions from a broad range of
areas, including Women's Studies, Gender Studies, New Media, Cultural,
Film and Communications Studies, History, Visual Arts, Computer Science
and any other area relevant to the discussion. Given the complexities of
new technologies, we wish to encourage submissions that think across
geographical divides, histories and media, including (but not limited to)
the Internet, digital arts, locative media, WiFi, aesthetic and narrative
analysis, film, video, television, educational software/deliver!
y, medical technologies, and visual and digital art.

Interdisciplinary approaches combining target areas are also welcomed.
Possible topics for this issue include, but are not limited to:
* New technologies, gender and self * Gender and digital art
* New technologies, gender and race * Gender and convergent technologies
* New technologies, gender and media * Gender and the digital body
* New technologies, gender and history * Gender and digital networking
* New technologies, gender and environmentalism * Gender and discourses in
computer science
* New technologies, gender and social action * Gender and digital identities
* Gender and issues of access to new technologies

All contributions should be accessible to an audience from many different
backgrounds interested in participating in the creation and sharing of
feminist knowledge. Atlantis articles are peer reviewed. They contribute
to a publication that strives to meet the most significant academic and
feminist expectations of our colleagues. Articles submitted for
consideration must be no longer than 6000 words (including notes,
references, appendices, etc.) and must be typed double-spaced. Please send
submissions, in sextuplicate, addressed to Cecily Barrie at the Atlantis
address below.

Information regarding the contributors' guidelines may be found at the web
site (, or by contacting the Atlantis office.
Please note: When an article is accepted for publication in Atlantis, we
ask that the contributor subscribe to the journal for one year. Like many
other journals, our fiscal base is vulnerable. Subscribers to Atlantis
create the possibility for the dissemination of feminist knowledge in the
form of peer reviewed articles, community voices, curriculum reflections
and book reviews. As contributors of peer reviewed articles, their
subscriptions will assist in keeping the journal in print and available to
the larger community of feminist thinkers and doers. In exchange, they
will receive both the
spring and fall editions plus an extra copy of the edition carrying their

GUEST EDITORS: Sheila Petty and Barbara Crow

Institute for the Study of Women / Mount Saint Vincent University Halifax
NS Canada B3M 2J6 / tel: 902-457-6319 fax: 902-443-1352

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Support Rhizome: buy a hosting plan from BroadSpire

Reliable, robust hosting plans from $65 per year.

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

About BroadSpire

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

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From: Brett Stalbaum <stalbaum AT>
Date: Jul 11, 2006
Subject: C5 Landscape Database API version 2.0

C5 Landscape Database API 2.0
An Open Source GIS API for Digital Elevation Model processing and performance

C5, in association with Futuresonic 2006, is proud to release the C5
Landscape Database 2.0 API to the public, in celebration of ten years of

*New Release*
C5 Landscape Database API 2.0

New Features in version 2.0:

* Virtual Hikers
* Support for GPS data such as track logs and waypoints
* Ability to image GPS data onto dem data
* Java3d support
* Ability to read land use data (CTG files)
* New analytic capabilities for landscape searching

Version 1.0.3 features:

* DEM input packages
* RDBMS packages for DEM data
* Support for processing DEM data dynamically
* Analytic table support for landscape searching
* Simple GUI (demtool) for viewing DEMs
* Support for data export and management

(c) C5 corporation 2002-2006, under the GNU Lesser Public License (pre-2.0
libraries) and C5/UCSD AESTHETIC USE LICENCE (2.0 libraries: see source
code for details)

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From: alex galloway <galloway AT>
Date: Jul 13, 2006
Subject: Carnivore -- new Version 2.2 now available

Carnivore -- new Version 2.2 now available

new features include the ability to log packets to a text file and the
ability to record and playback capture sessions.

questions/comments/suggestions always welcome..

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Version 2.2, July 2006

+ moved java class files around so that there is a "core" engine
responsible for all the sniffing. The Processing and CPE versions now
simply act as clients for the core.

+ reorganized class files significantly.

+ CarniPacket class is now called CarnivorePacket

+ the class accessed by Processing is now called CarnivoreP5 (not carnivore)

+ cleaned up format of output string: added milliseconds to packet
timestamp; changed ip/port separator to ":" which is more standard.
Clients *will* have to update their parsing routines.

+ reinstated console window

+ got ride of Mac authentication launcher app -- too complicated.

+ added ability to log packets to text file

+ added ability to record and playback capture sessions

+ dropped linux support (which was never really "supported" anyway due to
difficulty of testing and debugging.) adding linux support again in the
future should be easy however.

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BNMI Announces International Co-production Labs
BNMI has launched its new co-production residency model which includes
three exceptional programs led by three peer advisors. Apply today for one
of these outstanding opportunities!

Co-production Lab: Almost Perfect
Program Dates: November 5 - December 2, 2006
Application Deadline: July 15, 2006
Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest
(DK, UK)

Co-production Lab: Liminal Screen
Program Dates: March 5 - March 30, 2007
Application Deadline: October 2, 2006
Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih)

Co-production Lab: Reference Check
Program Dates: June 24 - July 21, 2007
Application Deadline: December 1, 2006
Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj

For more information visit:
or email <bnmi_info AT>

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From: marc garrett <marc.garrett AT>
Date: Jul 10, 2006
Subject: Archived 'Month of Sundays' Real-time Internet Performances.

Archived recordings of 'Month of Sundays', ready for viewing of the
Real-time, Internet Performances.

Session 1, Roger Mills and Neil Jenkins

Session 2, Paul Wilson and James Smith

Session 3, John Hopkins

Session 4, John Kannenberg and Glenn Bach


Every Sunday afternoon throughout June, hosted live
audio-visual internet performances in the online file mixing platform,
Visitors Studio - in real-time.

The events featured some of the most innovative international AV artists
mixing remotely from various geographic locations and time zones.

Which included audiences and workshops at the Watershed, Bristol.
Audiences and participants at E:vent, (London) UK.
Audiences and collaborations at The Point CDC Theatre (New York) US.

If you want to know more about Visitorsstudio visit link below:

If you want to know more about the venues/groups/organisers involved visit
links below:
Watershed -
E:vent -
The point -
Furthernoise - www.Furthernoise.or & are projects,
supported by Arts Council England.

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From: Nick Hallett <nick AT>
Date: Jul 10, 2006
Subject: BAPLab: Festival of Electronic Music and Digital Art

For more information on the following event, please contact the email
address mentioned in the press release...

For Immediate Release:

Contact: info AT

A One Day Festival of Electronic Music and Digital Art
Saturday, July 22nd 4pm - 6am at 3rd Ward
195 Morgan Ave, Brooklyn, NY

On July 22, Bushwick Art Project (BAP) presents BAPLab, a festival
celebrating digital art, music and culture with 16 hours of new media art
installations, video work and electronic music from across the audio and
visual spectrum. Culling artists from the rosters of the MoMA, The Whitney
Museum, and the Venice Biennial along with musicians from labels such as
M-NUS, Line, Kranky, Ghostly International and Clink Recordings, BAPLab is
featuring over 80 musicians, performers, visual artists, new media
installations and DJs side by side. BAPLab is a call to arms to the
disparate tribes of New York?s digital-futurists, drawing together from
among the best and the brightest of a new generation of artists and

BAPLab provides attendees with a snapshot of the contemporary digital and
new media arts scene, with an international roster of both emerging and
established artists such as Guy Ben-Ner and Benton-C Bainbridge . The
atmosphere is part high tech museum and part digital community workshop,
opening participants, not just contributors, to a free-form dialog on
evolution, technology, and identity in this modern era. Consider two
fledgling yet world-class events, a junior Sonar and a cosmopolitan
Biennial-in-training, and you have BAPLab.

In contrast to the BAP Fall Festival 2005, which drew over 4000 people and
was anchored by dance music legend John Tejada, this year?s installment
focuses on emerging talent ? the hungry generation destined to knock down
doors in the near future. The BAPLab seeks to become an integral part of
moving this upcoming pool of talent forward to a position of prominence by
developing a symbiotic network of creative expression and high profile

BAPLab hosts musicians that are exemplary in their fields including the
ultra minimalist, MOMA approved Richard Chartier (LINE / Raster-Noton),
Harvard Sound Lab?s Keith Fullerton Whitman (Kranky), laser koto virtuoso
Miya Masaoka, URB?s ?Next 100? Veteran Lusine (Ghostly International) and
folktronica maestro Khonnor (Type Records).
A cross section of the producers and DJs currently redefining techno round
out the night, including Richie Hawtin label mate Ryan Crosson, Magda and
Troy Pierce favorite Camea and Insideout (Clink Recordings), Force Tracks?
Hakan Lidbo, and Ghostly International?s Ryan Elliot.

BAPLab also hosts over 40 sound, video and new media artists. Among the
talent presented this year is video artist Guy Ben-Ner, who recently
represented Israel at the 51st Venice Biennale. Curated spaces by
electromagnetic arts collective, free103point9, present an exploration of
Transmission Arts, featuring air-wave invading installation works by
artists 31 Down, Paul Davies, and Tarikh Korula. The full roster boasts
artists who have exhibited in venues from Reina Sofia in Madrid to the ICA
in Philadelphia, the Contemporary Art
Center in Cincinnati and the MoMA here in NYC, all the while giving equal
time and exposure to the lesser known community of experimental geniuses
who inhabit the far reaches of Bushwick and beyond. New art and new
music, a perfect point-counterpoint to the digital revolution. The BAPLab
will envelop you in a day of wonder, amazement and celebration. Do not
miss this event.

The BAPLab is made possible through the generous support of our Fiscal
Sponsor La Lutta NMC inc, which has enabled us to become a non-profit
organization, and by 3rd Ward, the organization that has donated the use
of their brand new Art Production Facilitates to host the festival.

The BAPLab is July 22nd 2006 at 3rd Ward in Bushwick, from 4pm til 6am.

Located at 195 Morgan Ave. Brooklyn, NY. 11237 (on the corner of Stagg St.
and Morgan Ave)

Subway: L train to Morgan Ave.

Confirmed Artists:

Craig Colorusso
Judd Greenstein
Jackson Moore
Miya Masaoka
Richard Chartier
Keith Fullerton Whitman
Stars Like Fleas
Change The Station
Nate Boyce
Lance Blisters
David Linton, Charles Cohen, Anthony Coleman Trio
Harkness A/V Salon featuring Mighty Robot A/V Squad
Nick Hallett
Sonogrammar: Richard Garet, Andy Graydon, MPLD, Ian Epps and Ben Owen
Benoit Pioulard
Landau Orchestra
Insideout & Camea
Ryan Elliott
Ryan Crosson
Hakan Lidbo
Surprise Guest
RJ Valeo
David Last
Nicholas Sauser
Tim Xavier
Nick AC (Robots)
Wolf + Lamb
Eva & Igal (Loft N Space)
Bruce Tovsky
Ray Sweeten
Fair Use Trio: Zach Layton, Luke DuBois & Matty Ostrowski
David First
Morgan Packard
Ezekiel Honig

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

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

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

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

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From: newmediamarketing AT
Date: Wed, 12 Jul 2006
Subject: SPACE Media Arts announces 4 new artist commissions focussed on RFID

***SPACE Media Arts announces four new artist commissions focussed on RFID***

SPACE Media Arts is pleased to announce the commissioning of four new
artworks focussed on Radio Frequency Identification (RFID) technology by
artist collectives C6, boredomresearch, Processing Plant (Louis Philippe
Demers and Philippe Jean), and Mute-Dialogue (Yasser Rashid and Yara

Even if you don?t know what a Radio Frequency Identification (RFID) tag
is, you?ve probably used one, whether it?s at your local grocery store
checkout, using an Oyster Card or in your passport at the airport. RFID is
the barcode of the future. The tags can be read through radio waves
without any contact and, potentially, without your knowledge. With
widespread adoption across many commercial and public industries, RFID is
set to shape societies of the future.

Through these commissions, SPACE Media Arts is encouraging artists,
technologists and ?end-users? to explore RFID technology from alternative
perspectives. These works, along with a site-specific Oyster Card
performance by artist Paula Roush, will be exhibited in //Tagged//,
opening at SPACE on 5 October and running through to 18 October 2006. A
newly-commissioned text by Armin Medosch will accompany the exhibition.

For more information, contact Heather Corcoran on +44 (0)208 525 4339 or
by email at heather AT

***Further information:***

REALSNAILMAIL is a project in development by *boredomresearch*, employing
RFID technology to enable real snails to carry and deliver electronic
messages. Is there a place in our speed obsessed lives for a service that
takes time?

iTAG by *Processing Plant* is an ironic statement about the electronic
pollution that surrounds us ? a portable device that reads RFID tags from
surrounding products and generates ambient musak inspired from this
collected data.

*Mute-Dialogue* will create an interactive installation exploring tagged
objects and their histories in ORIGINS AND LEMONS. The project subtly
critiques the use of technology to access histories, and asks how we know
the world we live in through interactions with material objects.

*C6* will implement RFID technology in the ANTISYSTEMIC DISTRIBUTED
LIBRARY PROJECT, an alternative distributed library of community shared
books, videos, and music. With institutional libraries acting as one of
the earliest adopters of RFID technology, how does RFID fit in with more
radical ideas of librarianship? And what are the radical politics of RFID

//SPACE Media Arts is at 129 ? 131 Mare Street, Hackney, London, E8 4AA

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From: vandegrift2003 AT
Date: Fri, 7 Jul 2006 23:38:07
Subject: Paradigmatic Performance- Sean Ulbert

Paradigmatic Performance
by Sean Ulbert (June 2006)

?Paradigmatic Performance? is the concept of performing something in
a way that follows a set of assumptions, concepts, values, and
practices that constitutes a way of viewing reality for the community
that shares them, especially in an intellectual discipline. An
example of this can be found in the article, ?Max at Seventeen,? by
Miller Pucket. His work is responding to newer technologies
associated with the growing computer music movement. He describes his
work on a computer environment where he can realize live computer
With this creative and performative environment come three programs,
Max/MSP, Jmax, and Pd, which he says is part of the ?Max paradigm.?
(Pucket p.1) ?The Max paradigm can be described as a way of combining
pre-designed build ing blocks into configurations useful for real-time
computer music performance. This includes a protocol for scheduling
control and audio sample computations, an approach to modularization and
component intercommunication, and a graphical representation and editor
for patches. These components are realized differently in different
implementations; and each implementation also offers a variety of
extensions to the common paradigm. On the surface, Max appears to be
mostly concerned with presenting a suitable ?graphical user interface? for
describing real-time MIDI and audio computations. However, the graphical
look and editing functions in Max aren?t really original at all, and most
of what is essentially Max lies beneath the surface.? (Pucket p.1)

Because there is a set of assumptions, concepts, values, and
practices now associated with his work, he can now describe it more
clearly. Furthermore, he can now say what it does well, what it does
not do well, how it can be improved, or modified, etc. The concept
of ?Paradigmatic Performance? is important because when it is
expected to be followed, and is not, the break from the norm is that
much more noticed. A stimulating or surprised feeling may occur when
an audience assumes a performer is following one paradigm, but later
find out he/she is following another.

A lack of guidelines can often make critiquing art problematic. This is
expressed in the editor?s vision at the New Media Caucus Journal online:

?As new media artists and educators we often face the challenges of a lack
of familiar guideposts for assessing excellence both for our selves and
our students and in articulating these standards to the institutions with
and in which we do our work. In reviewing submissions we will look
especially for those artworks, research reports and essays, which will
help our community, define itself in academic and professional contexts.
To this end submissions will be subject to a rigorous peer review process
based on criteria articulated by the editorial board. As well as
showcasing the work of new media artists, we are looking for submissions
that will launch new inquires or prompt debate. Artists and authors should
ask themselves what is at stake more generally in their submissions, how
their ideas advance and support the nature of and our understanding of new
media. Most of all, we would like submissions to be provocative, lively,
engaging, distinctly voiced, and well executed.? !

Constraining oneself to a paradigm while performing something can
make for fascinating results. An artist may want to respond to
popular reality TV trends, along with rapidly growing online networks
like Myspace, and create his/her own paradigmatic performance. This
performance could be a reality show, played on a Myspace page video
player, where contestants compete to make their Myspace page the most
visited. The paradigm could include only being able to use Myspace
as their communication to the outside world. Being that Myspace is
heavily music based, the same concept could be applied to competing
bands, with a record contract being the incentive for the winners.
Working in conjunction with Myspace, the artist would be both
exposing his paradigmatic performance project to a possibly huge
audience while altering Myspace?s own paradigm as a peer-to-peer
network/marketing tool, into a television show-like vehicle. With
the popularity of Myspace having over 83 million!
members ( and just behind website like Google and Amazon, a
successful project like this could tip already dropping television
ratings even further in favor of internet entertainment. The
entertainment industry is already responding to the technology that the
Internet offers with online ?television? and ?radio? shows, ?magazines?,
and more. Therefore, it seems only inevitable that the Internet will
eventually be the center of household entertainment.

Television and the Internet themselves have paradigms of their own. This
would be an important thing for the artist to consider because as he
converges two paradigms, it should be noted what is compatible with each
other, what is prohibited, and what emerges. Of course, the Internet
would be the governing vehicle, and therefore the most prevalent. Our
view, as a society, of television shows would most likely play a role
however, in determining what kind of show could be played, or how
successful it would become.

It is not only the performance paradigm that is changing, but also the
paradigm that markets the performance. Probably the most noticeable part
of the entertainment business that has had to change their traditional
paradigm is the music industry. Record sales are generally lower while
online music sales, from sites like iTunes, continue to rise. Record
executives now know that online marketing and sales are essential for a
successful album. Interestingly, when there is a lack of something
online, it can also create more of a demand. Some record companies have
recently held off on releasing singles online before an album debuts with
encouraging results. (Rolling

Even the way many mainstream bands sell tickets for their performances
are evolving. After tiring of scalpers buying large quantities of
tickets early on, then bidding them for incredibly high prices on Ebay,
mainstream musicians adopted the same tactic and now wait until concert
dates draw closer and bid tickets for good seats, many times for sold out
shows. (Rolling

Another example of artists using the paradigm of an ?unconventional?
outlet to express themselves is Anne Marie Schleiner?s series of
modification to Counterstrike, a popular online first person shooter,
called ?Velvet Strike.? Within the constraints of the online video game,
along with a few unintended program modifications, Schleiner expressed a
series of anti-war protests and interventions with mixed results from the
regular players. Game modifications like this are known to some as
?artist games,? which helps illustrate the fact that these are not just
programmers tweaking game play, but artist creating works for people to
interact with. Even Counterstrike, which has been overwhelming embraced,
is a modification of a game called Half-life.

It is important to realize that using one paradigm to express something
that is typically thought to be a part of another practice can often
alter the state of the utilized paradigm forever. Schleiner believes that
?computer games are becoming an adult creative medium, like film or
literature. As people grow up playing games they dont just stop at a
certain age. Creative people who live and breathe games also want to make
new kinds of games.? It is obvious when comparing retro games like Pong
or Donkey Kong, that it is not only the graphics and technology that have
improved. Creative design and concepts make up a huge part of the new
generation of games. Video game companies do not just hire programmers,
but pay large sums to individuals involved in the visual arts and
musicians. (

Putting visual artists and musicians to work in the video game industry
is a very good example of paradigmatic performance. They are not only
confined to what is appropriate for the game and what the company is
looking for, but what the game can actually handle and utilize. Their
completed work will typically not be interacted with where music and
visual art is usually dealt with (i.e. concert halls, arenas, museums,
schools). The players will be able, in most cases, to manipulate the
work, and it will be watched and heard by viewers in homes and other
recreational places.

Most good artists know that a paradigm for their performance does not
have to be a constraining idea. Knowing what the boundaries are and what
is typical can often lead to a more focused outcome. Furthermore, any
deviation will be that much more pronounced, contentious, or amazing.

The longer a paradigm is used in an art form the higher its chance of
being considered cliché. In pieces by New York artists Jennifer and
Kevin McCoy, they refer to film material conjured from popular culture.
They restage and rearrange scenes into new assemblies with the use of
software developed for doing so. ?In some of their works the viewer
decides, what he wants to see; in others, the computer makes the decision
on editing and course of action. Using digital technology, they examine
the narrative structures of film and TV and re-enact conditions of
production in filmsettings en miniature. Their performances, web-based
works, computer installations and video arrangements combine mass media
clichés of mainstream cinema and popular TV series with personal
experiences and memories. Apart from the appropriation and the remake of
existing film sequences into complex sculptural re-enactments, their own
private life is staged as a filmic experience.? (!

In ?The Randomness of ?Randomness of Certainty,? Zev Robinson
discusses his project artafterscience which he formed with Adrian
Marshall ?to explore the intersection of art, science and technology,
and as an open-ended project in collaboration with others.? They
often use randomness not merely as a paradigm, but also as a way of
operating. It has developed into a foundational component in
creating their projects.
They used the program Flash to create a project where the viewer never
sees the same thing twice. The colors, movements and juxtapositions were
totally random. The argument on whether or not a computer can actually
generate randomness, or whether randomness even exists, was not a question
considered in the paradigm. ?What is important is that a series of images
and events occur that the viewer cannot predict nor will see again.?

Robinson became interested in a performance by John Cage?s while in
art school. This performance entailed Cage reading Finnegan?s Wake
while random images were presented in a slide show. Ideas like this,
which were concerned with free-association in art helped create the
paradigmatic performance of some of his later works with
artafterscience. This entailed, ?Going out and videoing chance
occurrences, whatever comes across the camera or whatever the camera
comes across, then cutting it up and reassembling it into a broken,
non-linear narrative based on music has been the process in the
creation of many of my video works. Unlike the Flash-based pieces,
the form is fixed, but randomness and free-association are still
central to them.?

John Cage?s ideas also appear in other artafterscience projects like Air
Waves. This project merges the ideas of reproducing his Imaginary
Landscape No.4, for twelve radios, for the digital age, with the clichéd
monotony of mass media and marketing. This helps illustrate that once a
paradigm is developed, by an artist it is tempting to keep some aspects
of it. Having a multiple performances with the same paradigm in mind can
often help an artist to develop a personal style.

Robinson says, ?Sometimes it seems that Cage himself is part of the
random process of artafterscience.? He then talks about how he was
introduced to the Italian pianist Claudio Crismani, who is interested in
creating ?The Prometheus Projec?t, an audio-visual project based on the
synaesthesia of Russian composer Alexander Scriabin Crismani has also
recorded a double CD of Cage?s ?Etudes Australes,? which is being used
for a video installation based on Edward Lucie-Smith?s poem on
Caravaggio. He told one of the scientists who had been interviewed for
?Randomness and Certainty? about his various projects, including the one
on synaesthesia, and the scientist suggested he contact another scientist
doing research in that field. ?We will be developing a sci-art project
with her, perhaps within the context of ?The Prometheus Project?, perhaps
separate from it.?

In an essence, having a paradigm for his projects to work with created a
situation where various works of his were connected, creating a full
circle. Robinson stated, ?What seems like a series of random
coincidences, or perhaps a confluence of events, has created a momentum
and Zen-like flow within artafterscience. The randomness element is
important not only as subject matter but as a way of working and of

Robinson goes on to talk about collaborating on a new media piece,
gradually creating it over the path of several months and gatherings,
until distilled into ?Randomness and Certainty.? He would ask scientists
how their professional familiarity has affected their individual
perception of life. He is doing this with Barbara Zanditon, who has an
enthusiastic interest in both science and the arts. ?The interviews are
then edited and included in a Flash-based work, in random order and
juxtaposed randomly with a variety of images. If scientists are being
objective, then why do they disagree on just about everything? As the
focus of much of artafterscience's work has been how context affects
meaning, ?Randomness and Certainty? explores to what extent this (the
imagery, the other interviews) affects what they are saying. __A
fascinating coincidence often occurs between what is being said and the
imagery, as well as between the interviews themselves ? it is as if the
are often talking to each other.__The dichotomy between the subjective
and the objective is another aspect of the question, or at least our
idea behind the question, and that is that science is a human activity,
created by humans, of interest to humans, and affecting us all. A wide
variety of subjects are talked about, including the relationship between
science and religion, between humans and nature, being a woman in a
male-dominated environment, the role of knowledge and of education in
peoples? lives, and how and why they became (and, in a few cases,
stopped being) scientists.? This is a good example of the interesting
results that can result from a performance based on a paradigm of

Robinson also talks about the distinction between paradigms being broken
down between science and art. Hence, he plans to create additional
projects, which merge new media and digital art in the future. Again,
although he subscribes himself to one kind of paradigm he does not
constrict himself to all that he is expected to follow stating that,
?Artists no longer have to be confined to gallery spaces, but can use web
sites, CD-ROM?s, DVD?s and video screenings to show their work and
promulgate their ideas, undermining many recent theoretical assumptions
and myths about what is and is not art. It has made many of our projects
and ways of working possible.?

Paradigmatic performance is important because it creates a set of
assumptions, concepts, values, and practices to associate with a piece of
work. It can be described more easily and it is more clear what it does
well, what it does not do well, and how it can be improved, or modified.
Conversely, the concept of paradigmatic performance is important because
when it is expected to be followed, and is not, the break from the norm
is that much more noticed. When rules are broken in fascinating ways, or
contexts, it allows a form to grow, or gives birth to new ideas

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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 27. 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
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