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: 08.11.06
Date: Fri, 11 Aug 2006 08:32:43 -0700

RHIZOME DIGEST: August 11, 2006


1. Mark Tribe: Tenure Track Position in New Genres/Video/Sound at Brown
2. skulig AT Faculty position
3. Ross Dalziel: SoundNetwork Open Call

4. Annette Damgaard: International Digital Art Festival in Denmark
5. Marisa Olson: Rhizome 10th Anniversary Festival
6. Marisa Olson: Faultlines Online Exhibition
7. nat muller: Mrabba Electroni[c]que: Global Lebanon Web Jam - 12aug,
15:00 - 19:00 PM CEST

+Commissioned by
8. Dr. Edward A. Shanken: Historicizing Art and Technology: Forging a
Method and Firing a Canon

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

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: Mark Tribe <mark.tribe AT>
Date: Aug 7, 2006
Subject: Tenure Track Position in New Genres/Video/Sound at Brown

Please post or forward to interested parties

Announcement of New Genres/Video/Sound


Position: Brown University Department of Visual Art seeks
dynamic and energetic artist to teach New Genre at the undergraduate

Requirements: Applicants will have earned a MFA, have 3 years
full time equivalent teaching experience at the college level beyond
graduate school, and must be able to teach Video, Sound, and New Genre
(which can include projection and sound installations, robotics,
interactivity, digital animation, or combinations of these). This
candidate should be able to teach a Digital Foundations course.

Qualified candidates must be well versed in contemporary video/sound/ New
Genre practice and supportive applications. A strong exhibition/screening
record and knowledge of contemporary theory and practice is essential. An
interest in developing interdisciplinary courses with the Modern Culture
and Media and Music Departments is a strong plus.

Starting Date: Appointment to begin July 1, 2007.


Procedure: Applicants should send paper copies of CV, letter of
application, CD/DVD (formatted for Mac) and/or website, a portfolio of 10-
20 slides with slide list if applicable, artist statement, teaching
philosophy and 3 letters of recommendation, and SASE to:

Chair, New Genres Search
Box 1861
Visual Art Department
Brown University
Providence, RI 02912

Salary: Competitive and commensurate with
qualifications and experience.

Deadline: To receive full consideration complete applications
must be postmarked by: November 15, 2006.

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


From: skulig AT <skulig AT>
Date: Aug 7, 2006
Subject: Faculty position

Smith College
Assistant Professor in Computing and the Arts

Smith College invites applications for a tenure-track Assistant Professor
position in Computer Science, specializing in computing and the arts.
Candidates will be expected to teach a range of courses in computer
science, as well as courses conjoining computing technology with one or
more of the arts (visual arts, music, dance, theater and performance,
etc.) Cross-disciplinary collaboration with a wide range of disciplines
and departments throughout the College will be a significant aspect of the
position. Smith College, an undergraduate women's college consistently
ranked as one of the nation's top liberal arts colleges, expects an
exceptional record of research, scholarship and/or creative activity.
Applicants must demonstrate a strong interest in teaching; prior
experience is preferred. Candidates are required to have significant
expertise in and demonstrated knowledge of computer science disciplines
and of the visual and/or performing arts. A terminal degree in comp!
uter science or the arts is required (Ph.D., MFA, etc.).

Candidates should send a curriculum vitae, samples of creative and/or
professional work (DVD, CD, electronic media, Web URLs, scholarly papers,
etc.), a list of three references, and a personal career statement
covering both teaching philosophy and ongoing professional scholarship
and/or creative directions, to:

Joseph O'Rourke
Chair, Department of Computer Science
Smith College
Northampton, MA 01063
(413) 585-3673
orourke AT

Review of applications will begin December 31, 2006, and continue until
the position is filled. Smith College is an equal opportunity employer
encouraging excellence through diversity.

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


From: Ross Dalziel <dalzielross AT>
Date: Aug 7, 2006
Subject: SoundNetwork Open Call

Open Call for Submissions: 2 commissions, ?1000 each

SoundNetwork AT Home

Liverpool Biennial 16th September - 26th November 2006

A programme of SoundNetwork events during Liverpool Biennial, including an
exhibition of sound works and installation, collaborations, commissions
and a series of concerts of live sound art, improvised and experimental
music at venues all over the city centre.

2 artist commissions for new sound work in collaboration with non artist
groups in Liverpool. ?1000 each.

Deadline for submissions. 6pm Thursday 10th August. The selection will be
made and the artists informed by Monday 14th August.

An artist or group of artists must submit a proposal that involves and
collaborates with a non-art group based in Liverpool or the North West.

The non-art group might, for example, be a school band, a group of
scientists, architects, doctors, treasure hunters with metal detectors,
fishermen, palaeontologists or dog walkers.

The nature of collaboration can take any form but should be clearly
defined as part of the proposal.

The definition and use of sound is open, but SoundNetwork are particularly
interested in proposals that present sound works that do not rely entirely
on digital technology and speaker systems. Exploration of performance,
presentation, physical transmission of sound and process based work is
especially welcome.

Both commissioned works will be shown or performed as part of the
SoundNetwork AT Home exhibition or concert series over the Liverpool Biennial

Artists must be based in the North West region or work actively in this

The artists must undertake any project management, with assistance and
supervision from SoundNetwork?. This will be outlined in detail in an
artists contract following successful application.

Download an application form from the Downloads page on this website,
here: and email your
completed proposal to info AT

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

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: Annette Damgaard <info AT>
Date: Aug 10, 2006
Subject: International Digital Art Festival in Denmark

On the edge
In-between function and disruption
International Digital Art Festival
November 2006, Aarhus, Denmark

In November 2006 Denmark's biggest international digital art festival so
far, will be unrolled. The festival includes exhibitions, concerts and
real-time events in a number of cultural institutions in Aarhus.

Theme projects:
The exhibition 'On the Edge' and the seminar to match 'Crime and Political
Aspects in New Media Art' focus on the human curiosity and need of posing
questions. The artists challenge the dominant structure and order
represented by society in general, for instance by affecting the very
goal-directed results of research and the technological and commercial
product development. What is in question is art on the edge, that seeks to
tickle and disturb the present order

Satellite projects:
In a local network of cultural institutions, educational institutions and
organisations that hold resources and experience on digital art, the
festival and its collaboration partners present an excellent row of
exhibitions, concerts and performances. Each location that covers the
Festival will, as far as possible, illuminate digital art from their own
point of view and proportional to the locations own perspective on the
digital field. The satellite projects will among other places be shown at:
The Centre for Advanced Visualization and Interaction, The main Library,
The Jutland Academy of Fine Art, Aarhus Film Workshop etc.

Further Informations:

Annette Damgaard

International Digital Art Festival
Skt. Nikolausgade 4
8000 Aarhus C
info AT
Mobile phone: (+45) 60 64 18 16

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


From: Marisa Olson <marisa AT>
Date: Aug 9, 2006
Subject: Rhizome 10th Anniversary Festival

It is with tremendous excitement that Rhizome launches our Tenth
Anniversary Festival of Art & Technology, this week. We've developed a
seven-month season of diverse programs, in partnership with some fantastic
organizations committed to supporting new media art.

You can check out the Festival, here:

Though this Festival is really about looking ahead, this is a good moment
to reflect and say thanks. We're proud of what Rhizome's done and become,
in the last ten years. The organization has grown from a mailing list to
an active membership organization serving a wide audience with multiple
programs. We have our community, especially our members, to thank for

Speaking of community, we also want to encourage you to participate in
Keylines, the Festival's collaborative writing project in which seed posts
on the topics of new media histories & genres, feminism, the environment,
politics, communities, and innovation have already been planted. We hope
you'll help these lines of discussion grow...

Other Festival highlights include Time Shares, a series of online
exhibitions co-presented with the New Museum of Contemporary Art to
emphasize our ongoing commitment to internet-based art, and a number of
offline exhibitions, performances, panel discussions, book launches, and

A big thank-you to all the artists, writers, venues, and sponsors who've
leant their support to the Festival.

We'll be sending out individual announcements about programs as they come
up on the calendar.

With thanks,
The Rhizome Team

+ + +
Marisa Olson
Editor & Curator at the
New Museum of Contemporary Art

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

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>

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


From: Marisa Olson <marisa AT>
Date: Aug 9, 2006
Subject: Faultlines Online Exhibition

Coinciding with the launch of Rhizome's Tenth Anniversary Festival of Art
& Technology is the opening of 'Faultlines,' a Rhizome-curated online
exhibition that is the first in Time Shares, our joint series with the New
Museum of Contemporary Art. Details below...


Over the past decade, as the Internet has become a mass medium, a number
of large, dynamic communities have sprung up online. For instance, social
networking sites like MySpace and Xanga boast millions of subscribers
(mostly teenagers or young adults) and Second Life, which is both a game
and a virtual civilization where players can do anything from organize art
shows to buy condominiums, currently has upwards of 366,662 residents.
Rhizome, itself, was founded as a global, Internet-based community in
1996. Here, as in societies offline, community is expressed as a dynamic,
complicated, disharmonious and productive place. The works in Faultlines
consider the desires, fictions and anxieties embedded in online
communities and also reveal how "real-world" issues, such as commerce and
international politics, drive relationships in the virtual sphere just as
they do offline.

Artists: Mauricio Arango, Anil Dash, Takuji Kogo, Golan Levin with Kamal
Nigam and Jonathan Feinberg, Guthrie Lonergan, Warren Sack, Jon Thomson
and Alison Craighead.

Faultlines is a parallel program with ISEA2006/ZeroOne San Jose (

Organized by Rhizome and co-presented the New Museum of Contemporary Art,
Time Shares is a series of online exhibitions dedicated to exploring the
diversity of contemporary art based on the Internet. Every six weeks,
Rhizome and invited curators will launch a new exhibition featuring an
international group of artists.

+ + +
Marisa Olson
Editor & Curator at the
New Museum of Contemporary Art

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: nat muller <nat AT>
Date: Aug 11, 2006
Subject: Mrabba Electroni[c]que: Global Lebanon Web Jam - 12aug, 15:00 -
19:00 PM CEST

>>>Mrabba Electroni[c]que: Global Lebanon Web Jam. Stop the war!>>>

!!!!please note time change!!!!!!!

Saturday, August 12 2006, 15:00 - 19:00 PM CEST [--> 16:00 - 20:00 EEST]

Live audio/video streaming transmission from Waag Society in Amsterdam, in
direct connection with Beirut and surrounding localities. The event was
initiated by Streamtime, a web support campaign for Iraqi bloggers.

After one month of violence and carnage, this Global Web Jam brings
together live interviews and conversations, video clips, cartoons and blog
blurbs, soundscapes, DJs and VJs, a lively mix of information, art,
protest, party and reflection. We feature the voices, images stories,
reports and initiatives from Lebanon and beyond, with participation of
activists, artists, bloggers, journalists, musicians and many others.

This is a call for an immediate end to the violence and destruction, in
defiance of war, and in search for solidarity.

With contributions and participation of: Wahid el-Solh, Mounira el-Solh,
Sonya Knox, Naeem Mohaiemen, Kanj Hamadi, Jim Quilty, Randa Mirza, Mazen
Kerbaj, Raed Yassin, Charbel Haber, Nathalie Fallaha, Henri Gemayel, Fadi
Tufayli, Tariq Shadid, Peter Speetjens, Chalaan Charif, Martin
Siepermann, Arjan El Fassed, Ruud Huurman, Kadir van Lohuizen, Thomas
Burkhalter and Anna Trechsel, Beirut DC, Tarek Atoui and many others.

This Global Web Jam is an initiative of Jo van der Spek, Geert Lovink and
Cecile Landman (from Streamtime), Nat Muller, Paul Keller and Denis
Jaromil Rojo in Amsterdam; and Tarek Atoui and Rawya el-Chab in Beirut.

info: | mail: beirut AT

This project is supported by Waag Society, Novib (Dutch Oxfam) and X-Y
Solidarity Fund

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


From: Dr. Edward A. Shanken

+Commissioned by
For Keylines, a Project of Rhizome's Tenth Anniversary Festival of Art &

Historicizing Art and Technology: Forging a Method and Firing a Canon

Defining the Problem: Canonocity, Methodology, and Historiography

The development and use of science and technology by artists always has
been, and always will be, an integral part of the art-making process.
Nonetheless, the canon of western art history generally has not recognized
the centrality of science and technology as co-conspirators, ideational
sources, and/or artistic media. Bound up in this problem, there is no
clearly defined method for analyzing the role of science and technology in
the history of art. In the absence of an established methodology (or
constellation of methods) and a comprehensive, canonical history that
would help clarify the interrelatedness of art, science, and technology
(AST) and compel revision, this exclusion or marginality will persist. As
a result, many of the artists, artworks, aesthetic theories, institutions,
and events that might be established as the keystones and monuments of
such a revised history of art will remain relatively unknown to general

Indeed, there is no comprehensive scientific/ technological history of
art, as there are feminist and Marxist histories of art, for example.
This leads one to wonder what a history of art written through an
interpretive lens that emphasizes AST would look like. What would be its
monuments? How would they be related through historical narrative? What
similarities and differences, continuities and discontinuities, might be
mapped onto the use of technology for artistic purposes throughout the
history of art? In other words...

How would the story go if standard survey texts, such as Janson's History
of Art, were re-written with an emphasis on the entwinement of science and
technology in the history of art?

Leading art historians have contributed greatly to the understanding of
AST during the Renaissance, Baroque, and Modern periods and in
photography, though their work seems to have little impact on mainstream
canonical discourses as measured by survey texts (1). In this regard, the
sharp new two-volume set, Art Since 1900, written by Hal Foster, Rosalind
Krauss, Yve-Alain Bois, and Benjamin Buchloh, ignores the history of art
and technology to such an extent that Billy Klüver and E.A.T. are not even
mentioned. Such exclusion from a text that clearly aspires to gain
canonical status has significant, deleterious ramifications for the
history of AST.

Much of the pioneering historical, critical, and theoretical English
language literature on AST has been written by artists (2). A great deal
of influential current literature on new media is being produced by
scholars who apparently know little about the history of AST or the
history of art in general. Rather than argue for the primacy and
originality of the innovative theoretical positions that characterize
AST's history, as embodied in works of art and articulated in artists' and
historians' theoretical writings, much recent criticism, both within and
without the discipline of art history, is dominated by citations of the
usual suspects: Baudrillard, Benjamin, Derrida, Deleuze, Latour, and
Virilio. Summoning such demi-gods to lend authority to an argument,
however, reifies existing structures of power and authority in academic
writing - a result that not only diminishes the importance of AST but
conflicts with the aims of the aforementioned gurus of post-structuralism.

As Suzanne Stone Maretto, the psychopathic TV journalist played by Nicole
Kidman in the film To Die For stated, "you're nobody if you're not on TV."
The same logic applies to any form of public discourse: You're nobody
unless you're footnoted. The historic monuments and historiography of AST
will continue to be excluded from the canon of art history and broader
intellectual history unless their theoretical contributions to critical
and discourses and popular culture are underscored. I'm not suggesting
that writers gut Benjamin from their footnotes but that they highlight
AST's own monuments and cite them as them as the aesthetic and
intellectual core of critical and historical practice.

Art, Science, Technology: Towards Forging a Method and Firing a Canon

>From the invention of one-point perspective and the creation of oil paint
to the development of photography and interactive virtual reality
environments, technical innovation and the use of emerging scientific
ideas and technologies as themes and media have substantial continuity
throughout the history of western art. Similarly, various aspects of
sociology, economics, psychology, and philosophy have been employed in
artistic practice for many years. Yet, while the discipline of art
history has embraced the integration of insights from the humanities and
social sciences in works of art and developed its own interpretive methods
based on them, it neither has recognized the centrality of science and
technology to artistic practice nor developed methods for interpreting the
integration of art, science, and technology. This leads me to ask:

How can art history develop a more comprehensive understanding of AST
without appropriate methods designed to bring this subject into relief?
What would such methods consist of? What insights might emerge into the
interrelatedness of art, science, and technology, particularly with
respect to contemporary practice?

In the absence of established methods to interpret the history,
theoretical content, and practical applications of science and technology,
the canon of art history exhibits an impoverished understanding of both
the role of science and technology in the history of art-making and the
contributions of artists who have been important innovators in that
regard. This is a slippery slope. On the one hand, if one takes
post-structuralism seriously, the reconstruction of a master narrative is
theoretically problematic, if not ethically corrupt. Moreover, many of
the distinguishing characteristics of contemporary AST projects, such as
decentralization, non-linearity, collaboration, self-organization, and
hybridity, would seem to challenge the epistemological foundations that
legitimate grand narratives. In this respect, the canonization of AST is
arguably tantamount to ensuring its failure by its own criteria.

At the same time, canonical revision that reflects the importance of
technology throughout the history of art implies a critical
reconsideration and recontextualization of artists, artworks, art-making
practices, and historical narratives that previously have been excluded,
marginalized, or not understood to their fullest potential. Indeed, this
double-edged sword is not unique to AST but characterizes the conflicts
inherent in the struggle for legitimacy of any subaltern position.

Although theoretical challenges to master-narratives and grand schemes
constitute a valuable corrective to naturalized discursive strategies and
methodological models, the problem of defining a data-set remains.
Discourse depends on and necessitates that participants in it agree that
they have a more or less coherent subject to respond to or talk about.
Canons provide that common ground, a shared database of generally accepted
objects, actors, and moments that are held together by virtue of their
participation in the construction of an evolving discourse. Practically
speaking, a canon can be only so large. It must have sufficient critical
mass to demonstrate its authority, yet its significance is predicated on a
certain exclusivity. So, for each work newly admitted to it, another must
be removed. The sorts of judgments that administer this gatekeeping
function cannot be separated from ideological agendas, personal and
professional ambitions, and financial interests. The elevation of a work
as a canonical monument requires strenuous and ongoing negotiation to
compel and sustain inclusion.

Critics and historians working in the field must not only exhume monuments
of AST from the rubbish-heap of history and develop appropriate methods
for justifying their historical import, but they must become involved in
the process of negotiation and gatekeeping that will enable AST to gain
canonical status (or to enter into the discursive domain of whatever will
replace traditional canonical structures). Such involvement includes
attaining positions of authority in professional organizations, funding
and exhibition institutions, the academy, publishing, and so forth. In
many respects, the AST clan, such as it is, has already begun to
infiltrate these ranks but has a long way to go to achieve a leveling of
the playing field.


1 These include Jonathan Crary, James Elkins, Linda Henderson, Martin
Kemp, and Barbara Stafford.

2 These include Roy Ascott, Jack Burnham, Critical Art Ensemble, Douglas
Davis, Mary Flanagan, Alex Galloway, Eduardo Kac, Margo Lovejoy, Simon
Penny, Peter Weibel, and Steve Wilson to name just a few. Notable
exceptions include the work of Jonathan Benthall, Marga Bijvoet, Dieter
Daniels, Charlie Gere, and Frank Popper, the media-archaeological
scholarship of Oliver Grau and Erkki Huhtamo, and the criticism and
editorial work of Tim Druckery. Survey texts, including Christiane Paul's
Digital Art and Rachel Greene's Net Art, together with anthologies, such
as Ken Jordan and Randall Packer's From Wagner to Virtual Reality, Noah
Wardrip-Fruin and Nick Montfort's New Media Reader, and Judy Malloy's
Women, Art, and Technology (MIT, 2003), as well as the web-based resource,
Media Art Net, also have helped to historicize the field, though it must
be noted that of these works, only the essays in Media Art Net are written
by art historians with doctoral training.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 30. 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

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