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: 08.25.06
From: digest@rhizome.org (RHIZOME)
Date: Fri, 25 Aug 2006 13:02:34 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: August 25, 2006

Content:

+opportunity+
1. Marisa Olson: Rhizome seeks Curatorial Fellow
2. digital AT junction.co.uk: Artist placement with Adobe: opportunity for
UK based artists
3. sharonlintay AT yahoo.co.uk: Call for Online New Media/Digital Art:
Undisclosed Recipients at FLEFF 2007

+announcement+
4. marc: Month Of Sundays A/V Performances - Archived
5. Christiane Paul: DANUBE TELE LECTURES on Art, Media and Image Science
6. Brett Stalbaum: ISEA/ZeroOne on Youtube
7. Lauren Cornell: A blogblog proj / JODI

+Commissioned by Rhizome.org+
8. Randall Packer: Where Art Thou Net.Art? On Zero One/ ISEA 2006

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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 http://rhizome.org/info/org.php for
more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org

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1.

From: Marisa Olson <marisa AT rhizome.org>
Date: Aug 23, 2006
Subject: Rhizome seeks Curatorial Fellow

Please forward...

JOB OPPORTUNITY:
Curatorial Fellow
(part-time, unpaid)
RHIZOME.ORG

Rhizome.org is a leading new media arts organization and an affiliate of
the New Museum of Contemporary Art. Currently celebrating our tenth
anniversary, Rhizome's programs support the creation, presentation,
discussion and preservation of contemporary art that uses new technologies
in significant ways. These include online publications and discussion
lists, exhibitions (online & offline), performances, screenings, public
talks and events, the ArtBase archive, artists' commissions, and other
educational programs. For more information about Rhizome, visit:

http://rhizome.org/info/

Rhizome seeks a Curatorial Fellow to assist with the research, planning,
and production of exhibitions and public programs, as well as writing and
editing content for Rhizome's website and publications. This position is a
unique opportunity for a person interested in pursuing a career in the new
media arts field to further their engagement with the community and hone
their professional skills.

The Curatorial Fellow must be based in New York and must be able to commit
to 15 hours of work per week, for an academic year, beginning in September
2006 and ending in the summer of 2007. These hours may include occasional
evening and weekend events. This position is unpaid, but academic credit
may be arranged.

Reporting directly to Rhizome's Editor & Curator, the Curatorial Fellow
will work on all phases of the exhibition and editorial processes,
including researching new projects, writing copy, and assisting with the
implementation of current programs. The Curatorial Fellow will also
develop crucial experience in development and communications. The Fellow's
primary responsibilities may include:

* Becoming a Site Editor and assisting with the management of reBlog content
* Writing and editing occasional Rhizome News articles and other texts
* Researching editorial ideas and writers
* Liaising with artists, public program participants, and venues
* Assisting in the promotion of events
* Co-coordinating the Rhizome ArtBase, including researching art works
* Planning, production, and on-site coordination of public events

As the Curatorial Fellow advances, there may be opportunities to curate an
exhibition or event, and to write feature articles. In general, the Fellow
will play an important role in helping to strategize and execute strong,
dynamic programs and editorial content.

QUALIFICATIONS:
Candidates should have a level of familiarity with new media and its
histories and discourses. They should also possess or expect to complete a
Master's degree by 2007. At least one year of arts administration
experience is required and preference will be given to candidates with
prior curatorial and/or editorial experience. At a minimum, the candidate
should have very strong writing, editing, and analytical skills, and very
high internet literacy. Knowledge of Microsoft Office software is also
required and basic Photoshop skills are preferred.

TO APPLY:
Please email a cover letter, resume or c.v., three references, and three
writing samples (url's or attachments) to Marisa Olson at
marisa(at)rhizome.org. Review of applications will begin immediately and
all materials must be submitted by Wednesday, September 13, for
consideration.


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Marisa Olson
Editor & Curator
Rhizome.org at the
New Museum of Contemporary Art

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2.

From: digital AT junction.co.uk <digital AT junction.co.uk>
Date: Aug 25, 2006
Subject: Artist placement with Adobe: opportunity for UK based artists.

Arts Council England, Adobe/Macromedia, Montalvo Arts Center in Saratoga
California and The Junction are pleased to announce an opportunity for an
artist to work with Adobe's San Jose and San Francisco based research labs
while in residence at Montalvo's Lucas Artists Program.

Adobe/Macromedia are interested in exploring the creative boundaries of
their product vision for mobile technology. They wish to collaborate with
an artist who has an established practice in visual, narrative,
communicative or interactive/social media, and a high level of computer
skill. The artist will be expected to collaborate with Adobe staff,
potentially including technicians, programmers, designers and product
development teams.

This placement will explore the boundaries between creative, social and
technical practice and could focus on audio/visual, sensory, graphical and
video presence within geographic, conceptual or social spaces. The chosen
artist will be invited to question notions of performance and audience,
and the part that mobile technology can play within dispersed collective
social experience.

The placement will be managed by the Junction, providing support for the
artist and giving opportunities for the presentation of work in progress.

For further information and to download an application form please visit
www.junction.co.uk/diffraction or contact chris AT junction.co.uk

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3.

From: sharonlintay AT yahoo.co.uk <sharonlintay AT yahoo.co.uk>
Date: Aug 25, 2006
Subject: Call for Online New Media/Digital Art: Undisclosed Recipients at
FLEFF 2007 (01/11/2006; 26/0302/04/2007)

Radically reconfigured for the 21st century in 2006, the Finger Lakes
Environmental Film Festival (FLEFF) is a multimedia festival that explores
the theme of sustainability and the environment within a large global
conversation that embraces a range of political, economic, social, and
aesthetic issues, including labour, war, health, disease, music,
intellectual property, fine art, software, remix culture, economics,
archives, AIDS, women's rights and human rights. The festival will take
place from 26 March to 2 April 2007 in Ithaca (New York), USA, and on the
internet.

The curators of 'Undisclosed Recipients,' the online digital art
exhibition for FLEFF 2007, are looking for submissions of online new
media/digital art that explore issues related to the four 'content
streams' of this year's festival: maps and memes, metropoli, soundscapes,
and panic attacks. (See details below.) We are particularly interested
in works that underscore the aesthetics of the political and the
politicisation of the aesthetic. Submissions from artists living and
working in the global South are of particular interest. Selected works
will be exhibited and archived on the festival's official web site. The
exhibition aims to deploy potentially progressive aspects of
globalization, such as digital technologies and internet communication, as
a means to prompt critical dialogues on the often repressive aspects of
globalization, including the rapidly accelerating disparity among
populations in terms of wealth, power, and access to basic human rights.
'Undisclosed Recipients' aims to bring new media/digital art that is
artistically innovative, socially engaged, and politically urgent to a
larger audience of 'undisclosed recipients.'

1. MAPS AND MEMES
Mapping marks the intersections and exchanges between the real and the
virtual, the material and the abstract, the environment and the
conceptual, the colonial and the emancipatory, the lost and the locatable,
the lived and the imagined. Maps and mapping stage power relations,
control and surveillance but they also can create trajectories for
resistance, subversion, detours, reorientations. Memes are contagious
ideas that travel through social networks and spaces--often without a map.

2. METROPOLI
Fostered by the violent enclosure of the commons and the ruthless
manipulation of nature, the early modern European city personified
capitalist ascendency, imperial ambition, and utopian fantasy. The
21st-century metropolis, however, is a shifting outpost in the global
imaginary: sprawling, fractured, unmappable, unsustainable,
hypercapitalized, terrorized, transfrontiered, post-suburban, subtopian,
ex-urban, new urban, eco-urban, anarcho-urban, cyber-urban, megalopic.

3. PANIC ATTACKS
Panic skirts the borders of its own indeterminacy, undermining faith in
the legitimate fear of calamity. Panic implies overreaction,
irrationality, intense misperception, loss of self, mental and physical
suffocation. As a social process, panic polices the territories of
morality, propriety, sexuality, racial and gender difference. Oddly,
people court panic, at amusement parks and horror flicks, on cliff sides,
in gambling casinos, and via the intake of psychotropic substances. Panic,
after all, reminds us that we're still alive and still want to be.

4. SOUNDSCAPING
The environment often fuses with the empirical: the visible and the
measurable. But sound also constitutes its own environment, an endlessly
mutating, mobile, and ephemeral experience inscribing our bodies through
rhythm, pitch, tonality, dynamics. Soundscaping reconsiders sound as a
sensual, interactive process beyond sight. It immerses us in material,
natural, and social environments. Soundscaping transforms the aural
landscape, reorganizing our relationships to sound.'
See <www.ithaca.edu/fleff/content_streams.php> for expanded descriptions
of this year's content streams. The FLEFF web site also includes links to
works included in 'EcoPoetics,' the net art exhibition for FLEFF 2006.

Please send submissions, with links and a brief bio, to *BOTH* Dale Hudson
<dhudson AT amherst.edu> *AND* Sharon Lin Tay <s.tay AT mdx.ac.uk> no later than
01 November 2006. Only work that can be exhibited online can be
considered for this exhibit. Artists working in offline formats, whether
analogue or digital, should submit work to FLEFF under other calls.

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Support Rhizome: buy a hosting plan from BroadSpire

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Reliable, robust hosting plans from $65 per year.

Purchasing hosting from BroadSpire contributes directly to Rhizome's
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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
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2002, and have been very impressed with the quality of their service.

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4.

From: marc <marc.garrett AT furtherfield.org>
Date: Aug 19, 2006
Subject: Month Of Sundays A/V Performances - Archived.

Month Of Sundays A/V Performances - Archived.

http://www.furthernoise.org/index.php?url=page.php&ID=134&iss=57

Furthernoise.org hosted a month of Sunday afternoon live audio visual
internet performances throughout June 06 in the online file mixing
platform Visitors Studio. It featured some of the most innovative
international A/V artists mixing remotely in various geographic locations
and time zones. Mixes were broadcast to audiences at E:vent, (London)
Watershed, (Bristol) & The Point CDC Theatre, (New York). Each featured
artist's performance was also followed by contributions to an Open Mix by
audienes online as well as in participating venues.

We are now proud to present archives of each performance in full colour &
glorious stereo.... so turn your sound system up & the lights down and
take a journey that will both educate & enthrall.

Artists/Performers:
John Hopkins, Paul Wilson & James Smith, John Kannenberg & Glenn Bach,
Roger Mills & Neil Jenkins, Ruth Catlow & Marc Garrett.

To view current edition of FurtherNoise - http://www.furthernoise.org
To view or create (in) Visitors Studio - http://www.visitorsstudio.org

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5.

From: Christiane_Paul AT whitney.org <Christiane_Paul AT whitney.org>
Date: Aug 21, 2006
Subject: DANUBE TELE LECTURES on Art, Media and Image Science

:: Inauguration of the DANUBE TELE LECTURES at Danube University Krems ::

The Center for Image Science at Danube University Krems starts a new
international lecture series in early September with prominent scientists
of our time. The lectures will be presented by live online streaming
technology. The series is realized in co-operation with the
Österreichische Filmgalerie and the ORF Niederösterreich (Austrian
Broadcast Corporation), and will be held in the Filmgalerie Cinema at
Danube University Krems. For the inaugural Tele Lecture, internationally
renowned scholars deal with key topics of Image Science and Media Art:

www.donau-uni.ac.at/cis

:: Lecture / Debate Topics ::

September 5, 2006 19:30-22:00
"DOES THE WEST STILL EXIST? Are There Boundaries of West, East and
Far-East in the World of Images Now?"
Lectures and debate with Sarat MAHARAJ and Machiko KUSAHARA

Hollywood, computer games, net and media art, micromovies, new devices*
images are undergoing a new internationalization never known before, and
are increasingly being charged as a vehicle of ideologies and worldview.
Seemingly bygone clashes between image opponents and image believers are
reanimated in contemporary media to include all areas of art, science,
politics and economy - now on a global scale. Can we still speak of images
of the west today? Do we witness the arousal of a global visual language
enriched universally by the various cultures, or are we at the brink of an
?image war?, representing extremes between the old and new economic powers
and their visual culture?


September 6, 2006 19:30-22:00
?PYGMALION TENDENCIES: Bioart and Its Precursors?
Lectures and debate with Gunalan NADARAJAN and Jens HAUSER

Art and the natural sciences are forming a new interconnection that is
closer than in past centuries. Recent developments in art such as Bioart,
Techno-art, Genetic or Transgenic Art bring artists into the scientific
laboratories and carry their visions to the general public. Not only do
artists work cross-pollinated, they also create new creatures, frequently
revealing spectacular spaces of reflection on new possibilities.
International experts discuss these tensions oscillating between body and
nature on one hand and artificial life and illusion on the other - none
the least, in their historical contexts.



:: International Discussion over the Net - Innovative Image Direction ::

The DANUBE TELE LECTURES is a continuation and extension of the first
international conference on MediaArtHistories Refresh!, which was held
under the direction of Oliver Grau in Banff/Canada last fall und will see
a remake called re:place in Berlin next year. Two cameras innovatively
echo the studio character and seek a virtual intimacy with the lecturers
and their audience. Internet viewers from all over the world have the
possibility to pose email questions, broadening the international debate
character of this event.
Videos of the Danube Tele Lectures will be available in an online archive.

:: More at http://www.donau-uni.ac.at/cis ::

You can join us live in Krems or watch online and participate in the
discussion via email.


The CENTER FOR IMAGE SCIENCE at Danube University Krems is an institution
for inovative research and teaching on the complete range of image forms.
The Center is situated in the beautiful Wachau, Austria - a UNESCO world
heritage site - in the Goettweig Monastery and is housed in a fourteenth
century castle. It is the base of the public documentation
platformswww.virtualart.at and www.mediaarthistory.org. The Center's new
low residency postgraduate master's programs in MEDIAARTHISTORIES,
PHOTOGRAPHY, and IMAGE MANAGEMENT are internationally unique.


:: contact for information on ::

wendy.coones AT donau-uni.ac.at
+43 (0)2732 893-2543

directions to Krems - 60km west of Vienna towards Linz -
www.donau-uni.ac.at/route
shuttle Krems-Vienna offered,
reserve your seat at the Filmgalerie Cinema (entrance is free),
future Danube Tele-Lecture series

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6.

From: Brett Stalbaum <stalbaum AT ucsd.edu>
Date: Aug 24, 2006
Subject: ISEA/ZeroOne on Youtube

In my position my primary responsibility is undergraduate education. I did
a lot over the course of the past year to convince our undergraduate
students that going to festivals like zeroOne and generally looking at a
lot of art (and reading rhizome!) are important ways to understand
emerging new media art world(s) which are constantly in flux. Not
surprisingly, I saw a great many UCSD students in San Jose, but
interestingly and probably not surprisingly, I only saw our *graduate*
students. I did not see one of our undergrads (that I knew), even after a
year of communication with them. (And, indeed, many of our students are
from San Jose or the South Bay Area.) This left me wondering how I could
use ops like isea/zeroOne (which only rarely come to our relative
neighborhood), as teaching opportunities for undergrads.

After the conference was over, I started searching around youtube and
realized that looking at isea/zeroOne through the lens of youtube is a
pretty good way to get some sense of the variety of practices that
constitute new media. So I put some selected youtube videos on a page that
I will show my large intro lecture classes this year as part of an
introduction to new media. (I expect it to change as more is posted...)
Much of the documentation is raw, often unedited clips from cell phones,
but having been there the various clips do seem to constitute some
reasonable sample of what what a very large festival with over 400 artists
is like... and indeed youtube also filled me in on some of the events I
missed, (like the dj/vj work at the Glo nightclub.)

Anyway, for what it is worth:
http://dimension.ucsd.edu/~bstalbaum/isea.html Of course, searching for
isea or zeroOne on youtube is a better interface for exploring.

Brett

--
Brett Stalbaum, Lecturer, PSOE
Coordinator, Interdisciplinary Computing and the Arts Major (ICAM)
UNIVERSITY OF CALIFORNIA, SAN DIEGO
Department of Visual Arts
9500 GILMAN DR. # 0084
La Jolla CA 92093-0084
http://www.c5corp.com
http://www.paintersflat.net

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Rhizome.org 2005-2006 Net Art Commissions

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

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

http://rhizome.org/commissions/

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

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7.

From: Lauren Cornell <laurencornell AT rhizome.org>
Date: Aug 25, 2006
Subject: A blogblog proj / JODI

New project by jodi:


a blogblog proj
((((((------with a guest appearance of Cory A as" 1234bornintheusa"

http://blogroll.jodi.org/index.html


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8.

From: Randall Packer <rpacker AT zakros.com>
Date: Aug 25, 2006
Subject: Conference Report: Where Art Thou Net.Art? On Zero One/ ISEA 2006

+Commissioned by Rhizome.org+

Conference Report:
Where Art Thou Net.Art? On Zero One/ ISEA 2006
by Randall Packer

The long awaited Zero One/ ISEA 2006 took over San Jose, California, two
weeks ago in a sprawling, city-wide, mega-festival celebrating art and
technology in the heart of Silicon Valley. Much has already been written
about it, from daily observations in the local papers to a feature in the
New York Times, from the Blogosphere to the listservs. As one who has been
immersed in the new media scene since the late 1980s, I would like to
contribute a bit of historical context to the discussion: I offer my
commentary from a pre-millennial perspective, when the dream emerged in
the 1990s, during an era of optimism and promise, the dream of a new art
form that would side-step a mainstream art world mired in curators,
museums, galleries, objects, and old aesthetic issues. This was the dream
of Net.Art, a revolutionary new international movement of artists,
techies, and hackers, led in large part by the unassuming, unabashedly
ambitious new media curator from the Walker Art Center, Steve Dietz, now
director of Zero One.

These were heady times indeed. I met Steve in 1997 while I was in
residence at the San Jose Museum of Art. His research had brought him to
the holy Mecca of new media, Silicon Valley and the community of artists
in the Bay Area who had been working with new technologies since the dawn
of the personal computer. He wanted to meet Joel Slayton (who would later
become director of the 2006 ISEA Symposium), so I escorted him over to San
Jose State University where Joel is head of the CADRE Laboratory for New
Media.

Shortly thereafter, Steve launched two groundbreaking Net.Art exhibitions,
Shock of the View, and Beyond Interface, both of which brought together
leading Net artists exploding on the scene: Mark Amerika, Natalie
Bookchin, Masaki Fujihata, Ken Goldberg, Eduardo Kac, Jodi, Mark Napier,
Alexei Shulgin, to name just a few. It was a time of artistic
transformation, new paradigms, hypernovels, distributed authorship, and
globally extended, real-time, robotic, collective art. It seemed anything
was possible. By 1999, David Ross was Director of the San Francisco Museum
of Modern Art, Intel was pouring millions into Artmuseum.net, and there
seemed no end to the surging tide of experimental new media art. It was at
that time that early discussion began of an international festival of art
and technology in Silicon Valley. Beau Takahara founded the organization
Ground Zero, which would later become Zero One.

But with the new millennium the tides would turn: Natalie Bookchin
announced the death of Net.Art, the tech boom was a bust, and both David
Ross and Steve Dietz were ousted from their museum jobs for harboring
visionary aspirations in an economic downturn. So with the announcement
that the Zero One Festival and the ISEA Symposium would launch in 2006 in
San Jose, with Steve Dietz at the helm, it was something like the Phoenix
rising from the ashes.

And it rose with a bang! ?Seven Days of Art and Interconnectivity,? with
over 200 participating artists, an international symposium, city-wide
public installations, exhibitions, concerts, performances, pubic
spectacles, performative-live-distributed cinema, wi-fi interventions,
container culture, skateboard orchestras, digital dance, sine wave
surfing, datamatics, surveillance balloons, a pigeon blog, the
squirrel-driven Karaoke Ice Battle on wheels, and to top it off a
nostalgic, bombastic blast-from-the-past from Survival Research
Laboratories. The 13th International Symposium on Electronic Art
Exhibition took over the sprawling South Hall at the Convention Center.
Its themes: Interactive City, Pacific Rim, Transvergence, Edgy Products,
and on and on? spoke of enough technology to wire a third world nation.

And so, with all the buzz, and the sheer largesse of this ambitious
festival of new media, I couldn?t help ponder how it was connected to the
original Net.Art dream, when a new art form arose from networking every
computer on every desktop and engaging a global audience in new, pervasive
ways that became possible as technology was increasingly ubiquitous and
transparent. The Net.Art dream would call into question our relationship
to the new media, as art has always aspired, to critique its impact on our
lives, our culture, our communications systems, our relationships, our
view of the world, our own changing humanity in a technological world. I
couldn?t help but to wonder, what exactly happened to that dream, once
driven by a small fringe core of artists, writers, thinkers, and curators,
and now practiced by literally thousands of techno-artists emerging from
every university and art school across the planet, many of whom converged
in San Jose for Zero One / ISEA.

The first thing that came to mind was that art and technology no longer
exists on the fringe of the artworld, and in fact, the demarcation between
art and engineering has blurred considerably. At Zero One you couldn?t
tell the artist from the engineer (Billy Klüver must be rolling in his
grave). Joseph Beuys?s notions of social sculpture, or Allan Kaprow?s
participatory Happenings now inform the new systems of art that have
dissolved the distinction between artist and non-artist, between performer
and audience. For example, the Interactive City theme, organized by Eric
Paulos, sought ?urban-scale projects for which the city is not merely a
palimpsest of our desires but an active participant in their formation.?

In the installations of Jennifer Steinkamp at the San Jose Museum of Art,
I saw suburban moms taking snapshots of their kids in strollers bathed in
layers of colored light. In the Listening Post by Mark Hansen and Ben
Rubin, also at SJMA, the artists orchestrated chat room discussion, in
real-time, from around the globe. Etoy?s mesmerizing Mission Eternity
involved a trailer installation parked outside SJMA in the downtown Plaza,
which investigated personal data storage for the afterlife (ashes to
ashes, bits to bits).

There was good art and there was bad art, but everywhere you turned there
was art or something like art permeating the physical spaces of downtown
San Jose (including the mobile light rail cars and the dome of City Hall),
as well as the invisible ether of the airwaves, from bluetooth networks to
cellular tours (the latest rage). There was very little time to spend with
any particular work. Everyone was engaged in high gear, moving from one
venue to the next. In Bill Viola?s keynote address, he made the prescient
remark, ?artists are jumping into a train for a high speed ride while
they?re still laying the tracks ahead.?

The hyper-adrenalin flow resonated in the on-line commentary as well,
where, if you read the considerable Blog chatter surrounding Zero One/
ISEA, you would find that the experience became concentrated on sheer
movement and the social networking that reigns supreme at all conferences
and festivals.

And so what about the dream of Net.Art? Those of us who have spent
countless hours, in the past decade, bemoaning the loss of the dream could
now say that the dream had been realized (for better or for worse). I
heard artist friends complain about the democratization of Net.Art, the
selling out of Net.Art, the ?mainstreamization? of Net.Art, and other
remarks I won?t mention here, and yet, I think that we would all agree
that the uber-dream of Net.Art -- to dismantle the precious nature of the
object, an art that would defy the walls of the museum, that would, as
expressed in Roy Ascott?s Museum of A Third Kind, reject the notion of the
physical museum space altogether, the dream of Net.Art as a force that
would rewire the experience of art, a ?fantasy beyond control? according
to Lynn Hershman -- had become a living, breathing reality in San Jose for
those compressed seven days.

And if you turned to the Blogosphere there were plenty of critics: Patrick
Lichty wrote, ?There are many topics, like locative media, data mapping,
ecologies, and so on that are being explored. On a rhetorical level I have
to ask whether these are the right ones and why these are the ones that
are compelling to us.? And on the CRUMB list, I found an insightful
comment by Molly Hankwitz, who said, ?I think the process of interaction
must be done very carefully. The worst thing is the mainstreaming of
situationism into a middle class playground.?

Finally, I turn to Mark Amerika, one of the original dreamers, for a
closing observation: ?Net art is in many ways still the most alive and
accessed art movement ever to NOT be absorbed into the commercial art
world? and that's fantastic!? Perhaps the success of Zero One / ISEA was
in its commitment to concentrate on experimental media art, to emphasize
media art?s inclusive, democratic, and participatory nature, and lastly,
that contemporary art must embrace the new technologies - shamelessly,
fearlessly, defiantly. Net.Art may be dead, but Net Art 2.0 is alive and
kicking.


Randall Packer is a widely-exhibited artist, composer, educator, and
scholar. He is Assistant Professor of Multimedia at American University in
Washington, DC, and the author of Multimedia: From Wagner to Virtual
Reality.

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Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the
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Rhizome Digest is supported by grants from The Charles Engelhard
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Visual Arts, and with public funds from the New York State Council on the
Arts, a state agency.

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN:
1525-9110. Volume 11, number 32. Article submissions to list AT rhizome.org
are encouraged. Submissions should relate to the theme of new media art
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