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: 09.01.06
From: digest@rhizome.org (RHIZOME)
Date: Fri, 1 Sep 2006 11:41:27 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: September 1, 2006

Content:

+opportunity+
1. Adam Brown: CALL FOR ENTRIES :: The Uprgrade! International
2. Rebecca Zorach: Call for proposals/contributions: PATHOGEOGRAPHIES
3. info AT cwow.org: CALL FOR CURATOR
4. Jessica McMahon: 2007 Artist Residency
5. David Familian: Call for Proposals:Beall Center for Art and Technology

+announcement+
6. dave.miller.uk AT gmail.com: SHIRLEY BASSEY GETS MIXED UP
7. Geert Dekkers: Opening Digital Bodies Saturday Sept 2nd 4 - 6 PM
8. nat muller: Cinema Lebanon: Benefit Screening In De Balie Sep 9
9. Ken Goldberg: atc AT ucb: fall 06 - spring 07 program
10. Lauren Cornell: Art, Play and Community on Sept 8th

+Commissioned by Rhizome.org for KEYLINES+
11. Bruce Sterling: Watching Stuff Rot, or, Society, Technology &
Environment

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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: Adam Brown <awbrown AT ou.edu>
Date: Aug 31, 2006
Subject: CALL FOR ENTRIES :: The Uprgrade! International

Call For Entries
Upgrade! International: Oklahoma City

Upgrade! OKC
811 N Broadway
Oklahoma City, OK, 73102
December 1st ? 29th

DIY Exhibition:
DIY (do-it-yourself) is the overarching theme for the exhibit. We live in
an era of increased technological dependency in which the phrase,
?Do-it-Yourself? has and will continue to take on new cultural meanings.
The Upgrade! OKC and IAO (Individual Artists of Oklahoma) are inviting
local and regional artists working with digital and electronic media to
submit examples and interpretations of this concept to be exhibited as
part of the 2006 Upgrade! International Symposium. These works will be
shown at the IAO Gallery with a net art exhibition curated by
Tubulence.org and Rhizome.org. The Symposium will be a four-day event
running from Thursday, November 30th?Sunday, December 3rd. However, this
exhibition will remain on display through December 29th.

About Upgrade!:
Upgrade! is an international, emerging network of autonomous nodes united
by art, technology, and a commitment to bridging cultural divides. While
individual nodes present new media projects, engage in informal critique,
and foster dialogue and collaboration between individual artists, Upgrade!
International functions as an online, global network that gathers annually
in different cities to meet one another, showcase local art, and work on
the agenda for the following year.

About the Upgrade! International Symposium:
The UIOC will be the second annual international gathering where
individual Upgrade! organizations and their artists converge in one
physical location to present art and ideas to each other and the
community. Included in the event will be workshops on art and technology,
audio/video performances and presentations, and an exhibition of
international and regional artists. Workshops will cover topics such as
net art and creating content for the world wide web for children, creative
application of open source software, social mapping as a medium of self
expression, and much more.

Submission guidelines:
Please submit a detailed proposal that includes documentation,
installation information, and contact information. An artist?s statement
is recommended but not required. Documentation may be in the form of, but
not limited to: sketches, video, CD or DVD. Installation, performance, net
art, single and multi-channel video, sound/noise art, are all acceptable
candidates. Please be clear about what, if any, multi-media equipment your
work requires. Installations and/or works requiring extra set-up time
must be installed by November 29th. Artists will be responsible for the
installation of these works. This is a regional call for entries open to
artists in the state of Oklahoma and surrounding areas including Texas,
Kansas, Missouri, Arkansas, Colorado, New Mexico, and Arizona. By
submitting work to the exhibit, the artist agrees to let their work be
reproduced in a catalog and marketing materials. Artists selected to
participate in the exhibit will also be granted free admission to all
workshops, performances, etc.

Delivery:
Proposals may be mailed to:
PO Box 60824
Oklahoma City, OK 73146

Emailed to:
iaogallery AT coxinet.net

Or, delivered in person to:
IAO Gallery
811 N Broadway
Oklahoma City, OK 73102

Sales:
No commission will be retained on sales from the exhibition. IAO Gallery
will provide artists? information upon request to potential buyers. A 30%
donation to IAO would be appreciated.

Liability:
The artist is responsible for safe delivery and timely pickup of work.
IAO Gallery will take every precaution to keep work safe for the period
from November 22, until the final pickup date, Wednesday January 3rd,
2006. The artist is responsible for damage or loss after this date. By
submitting work to this exhibition, the artist agrees to abide by the
terms set forth here.

Important Dates:
September 27th - Submissions should be RECEIVED by this deadline.
October 18th - Notification of acceptances
November 22nd - Artwork due at IAO
December 1st - Opening
December 29th - Last day of exhibition
January 2 - 3rd, 2007 - Pick up work at IAO


Curators:

Adam Brown:
Brown directs the Oklahoma component of Upgrade!. He has a diverse
undergraduate educational background in Biomedical Engineering and
Intermedia. He completed all of his graduate work at the University of
Iowa, and obtained his M.F.A. there in May 2000. While at Iowa, Brown was
instrumental in creating a new digital media art program called Digital
Worlds. Since 2000, Adam Brown has been a Professor at the University of
Oklahoma where he teaches courses in electronic media, computer science,
interactivity, video and theory. He currently resides in Oklahoma City.

Jeff Stokes:
Stokes grew up in Oklahoma and received a B.F.A from Oklahoma State
University in 1990, and an M.F.A. in painting from Wichita State
University in 2004. Stokes has curated numerous contemporary art exhibits
in Kansas and Oklahoma museums and galleries, as well as showing his own
sculpture, drawings and paintings in Kansas, Oklahoma, and New York.
Stokes taught art in the secondary schools, and was an adjunct instructor
in drawing at both Oklahoma State and Wichita State before accepting a
position as Executive Director at Individual Artists of Oklahoma (IAO) in
2005. IAO is a not-for-profit arts organization committed to supporting
Oklahoma artists in all media, including the visual arts, poetry,
performance art, and film & video.

Julia Kirt:
Kirt has served as the Executive Director for the Oklahoma Visual Arts
Coalition since 1999 where she works with more than 2,500 artists
statewide for professional development, grants, exhibitions and
publications. She has planned and led more than two dozen workshops for
artists, spoken to hundreds of students, and coordinated public
educational events around the state. She instigated the Momentum
exhibition and event for young artists that was attended by more than 2100
people this year and the Virtual Gallery online, which highlights hundreds
of artists' artwork. She served on the board of the National Association
of Artists' Organizations from 2000 until 2004, for which she acted as
Treasurer in 2002 and 2003. Kirt has been a grant panelist twice for the
National Endowment for the Arts in Access, Preservation, Visual Arts
Creativity and Organizational Capacity categories.

Joseph Daun:
Daun graduated from Florida State University in 1990 with a Bachelor?s of
Fine Arts with an emphasis in Photography. In 1994, Daun earned his
Master?s of Fine Arts from the University of Texas San Antonio with an
emphasis in both Photography and Sculpture. Daun was selected as Chair of
the Art Department at the University of Central Oklahoma. In 2005, Daun
earned a tenure appointment at UCO.

During his academic career, Daun has shown in numerous art galleries and
spaces across the United States including a prestigious artist?s residency
at ArtPace in San Antonio, One person Exhibit at Hallwalls Contemporary
Art Center in Buffalo, NY, A large installation at Fotouhi-Cramer Gallery
in New York, NY, a one-person exhibit at 621 Gallery in Tallahassee, FL,
large installation at Transylvania University in Lexington, KY, One person
exhibit at Texas A&M University in Corpus Christie, TX. His work is in
numerous university and private collections, including the University of
Texas at San Antonio and the University of Central Oklahoma.

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2.

From: Rebecca Zorach <rezorach AT uchicago.edu>
Date: Aug 29, 2006
Subject: Call for proposals/contributions: PATHOGEOGRAPHIES

CALL FOR PROJECTS/CONTRIBUTIONS
Pathogeographies (or, other people's baggage)
Feel Tank Chicago <www.feeltankchicago.net>
March and June/July 2007
'At the Edge' series, Gallery 400, University of Illinois at
Chicago

Feel Tank is a Chicago collective that's been taking the emotional
temperature of the body politic for four years. We are now investigating
the making of that temperature. We're interested in the political
potential of 'bad feelings' like
hopelessness, apathy, anxiety, fear, and numbness. For Pathogeographies,
we're also interested in other people's baggage. The term 'pathogeography'
is modeled on the Situationists' psychogeography but substitutes pathos
(feeling) for psyche (the soul) to emphasize the emotional investments and
ephemeral experiences circulating throughout the political and cultural
landscape. We invite other collectives and individuals--artists and
non-artists alike--to create 'suitcases' (real or imagined) carrying tools
to create, collect, and record political/emotional scenes. Projects will
take place in the city of Chicago and elsewhere. We ask only that you
return something from your project to the gallery to be inspected,
collated, discussed, distributed, and diverted to new uses. How do you
carry your pile of political feelings, and how do you want to encourage
others to carry theirs? We want to foment exuberant political imaginaries.
To this end, we call on you, your ideas, energy, and participation.

The project will function in four parts: Raw Material, Moving Company,
Slow Feeling, and the Body Politic. Raw Material will be a site in the
gallery--a location where people can gather, discuss, brainstorm and
work--and the aggregation of materials/tools that participants will bring
and that Feel Tank will provide. Moving Company extends the project out
into the pathopolitical world, as participants wander through the city or
direct themselves to specific destinations, carrying suitcases/toolkits to
make scenes and produce situations, conversations, and interventions. Slow
Feeling, a space in the gallery, will include small temporary exhibitions,
video screenings, memory banks and archives, a reading room, and an audio
tent. Body Politic concludes the project, manifesting as projects in the
gallery and as public happenings that coalesce and articulate the results
of individual and collaborative projects/research. The project begins
March 6-9 and reconvenes in and out of the gallery June 15-July 7. It will
conclude July 4-7, 2007 with the long-awaited Fifth Annual International
Parade of the Politically Depressed.

PRELIMINARY CALL FOR PARTICIPATION: A CALL FOR SUITCASES A suitcase may be
large or small, real or conceptual. We define a suitcase as a container of
any shape for a collection of tools, objects, instructions, necessities,
and/or ideas that you want to activate. It might also contain emotional
baggage, ripe for unpacking. Ideally, a suitcase will be accompanied by a
willingness to carry out and document a Moving Company project for which
it provides the tools. (These projects need not take place in Chicago.) It
might contain Raw Material that visitors to the gallery can use as they
wish. It might also, simply, be a list of instructions. Send a short
description of what you have in mind to bodypolitic AT gmail.com with the
subject line 'Suitcase' by November 1, 2006. Please limit it to no more
than 250 words. We'll be in touch about specifics/logistics.

A CALL FOR PROPOSALS for Slow Feeling We're also interested in proposals
and suggestions for discussions, demonstrations, performances, videos,
audio pieces, and projects for Slow Feeling events (not all of them slow).
Please send ONLY a short proposal of no more than 250 words with the
subject line 'Slow Feeling' to bodypolitic AT gmail.com, by November 1, 2006.

Preliminary call for proposals ONLY

PLEASE DO NOT SEND ACTUAL WORK OR DOCUMENTATION AT THIS
TIME!

Thanks, and we look forward to hearing from you!
www.feeltankchicago.net

- Please circulate widely - Please circulate widely - Please circulate
widely -

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3.

From: info AT cwow.org <info AT cwow.org>
Date: Aug 30, 2006
Subject: CALL FOR CURATOR

CALL FOR CURATOR. City Without Walls (cWOW), New Jersey's oldest
alternative art space, is seeking a curator for its third annual
1800Frames exhibit, which features recently produced, independent,
non-commercial one-minute videos.

SCHEDULE. Show dates for 1800 Frames are December 7, 2006 - January 11,
2007. Curator selection and a call for work will be posted by
mid-September. The curator's final selection of approximately 40 works and
completion of a brief catalogue essay are due by late October.

CURATORIAL PROCESS. The curator is free to select any artist of their
choosing. The curator is not required to select cWOW members, and selected
artists are not required to become members. However, curators must review
all member entries, and are encouraged to ask artists to join. This
process ensures high-quality, independent selection, while also building
our membership base, which provides crucial support for programming such
as the 1800Frames exhibition.

EXHIBITION DETAILS. cWOW's gallery in downtown Newark is a
state-of-the-art facility with over 1,600 square feet of exhibition space,
including a main gallery, a project room, 9-foot screen, several
flat-screen TVs, and other video projection equipment. Videos may also be
made accessible through our website at www.cwow.org <http://www.cwow.org>
, and will be available as a tax-deductible premium compilation disc to
support cWOW.

MISSION AND FUNDERS. City Without Walls, in continuous operation since
1975, is a not-for-profit urban gallery of emerging art that advances the
careers of artists while building the audience for contemporary art. cWOW
is funded in part by Prudential Foundation, Geraldine R. Dodge Foundation,
NJ State Council on the Arts/Department of State, JPMorganChase and the
City of Newark. cWOW is a three-time recipient of the prestigious NJSCA
"Citation of Excellence."

CONTACT. William Ortega, Gallery Director, City Without Walls, 6 Crawford
Street, Newark, NJ 07102-2412, tel 973.622.1188, fax 973.622.2941,
William AT cWOW.org, www.cWOW.org <http://www.cWOW.org> .

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Support Rhizome: buy a hosting plan from BroadSpire

http://rhizome.org/hosting/

Reliable, robust hosting plans from $65 per year.

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

About BroadSpire

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

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4.

From: Jessica McMahon <ipark2002 AT ureach.com>
Date: Sep 1, 2006
Subject: 2007 Artist Residency

Announcement: 2007 Residency Season at the Artists' Enclave at I-Park
Application Deadline: October 31, 2006

I-Park announces its seventh season hosting The Artists' Enclave.
Artists' residencies, self-directed/project oriented, will be offered from
May through October 2007. Most sessions are four weeks in duration, with
a six-week session planned for October-November. Residencies will be
offered to visual (including digital) artists, music composers,
environmental artists, landscape and garden designers and architects.
Work samples will be evaluated through a competitive, juried process.

There is a $20 application processing fee required and artists are
responsible for their own transportation to the area. They also provide
for their own food and work materials. The facility is otherwise offered
at no cost to accepted artists.

I-Park is a 450-acre natural woodland retreat in rural East Haddam,
Connecticut.
Accommodations include comfortable private living quarters in an 1850's
farmhouse, shared bathroom facilities and a private studio on the grounds.
An electric kiln, music equipment and library facilities are provided.

International applicants welcome.

For additional project information, go to our website: www.i-park.org.
Application materials for 2007, including an in depth FAQ, will be
available for direct download from the website (Residency Program section)
in early September

E-mail: ipark2002 AT ureach.com. Phone: 860-873-2468.

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5.

From: David Familian <dfamilia AT uci.edu>
Date: Sep 1, 2006
Subject: Call for Proposals:Beall Center for Art and Technology

The Beall Center for Art and Technology seeks projects of high artistic
merit that use technology in innovative ways. We offer honorarium and
project costs of up to $20,000, to realize the project in our 2500 sqf
space. We are also interested in collaborating with other institutions to
fund projects of larger scale. We are currently soliciting proposals for
exhibition years 2007 and 2008. The proposals will be reviewed in November
of 2006 by the Beall Center Curatorial Review Committee, and artists
notified in early Winter of 2007.

The Beall Center produces exhibitions and performances in the visual arts,
theater, dance, and music, and particularly seeks works that successfully
integrate new forms or uses of technology with artistic production or
performance. In addition, as the Beall Center has an exceptionally well-
developed and flexible infrastructure, and knowledgeable staff that is
found in very few art and technology centers, preference will be given to
works that can not easily be displayed or performed elsewhere.

Eligibility
Artists, curators, or institutions are eligible to submit proposals.
Priority is given to cross-disciplinary projects. Artists or
organizations that have previously received funding from the Beall Center
must wait at least two years before reapplying. Women and artists of color
are encouraged to apply.

Available Facilities
The Beall Center is a 2500 square foot black box with a highly
configurable network grid, and connectivity to gigabit speed Ethernet. See
'Facility' http://beallcenter.uci.edu for additional information.

Deadline for Application:October 20, 2006
Award Notification: Winter 2007

Proposals
Proposals should be submitted only in electronic format (pdf) and should
include :
1) Contact Information (name of lead applicant, address, email, phone)
2) Project abstract: 100 words
3) Project description (500 word max.)
4) Resume or curriculum vitae for applicant and all participants.
5) One page itemized budget.
6) List of equipment and other resources required. If you will require
technical assistance, please outline the nature of that support (hardware,
software, expectations of personnel, and programming skills that will be
required).
7) Copy of any matching awards or copy of funding request for external and
internal sources.

Priority will be given to projects with supplemental funding.
8) Preliminary visual diagrams indicating installation concepts, in
electronic format (pdf).

9) Samples of work: For ease of presentation it is best to submit images
within the PDF proposal document. Include detailed explanations about
the work samples. Time-base should be submitted in QuickTime mov files on
cd or dvd media only (NO DVDs); and for sound works, submit audio files
in mp3, refer to your video or audio files in your proposal, with a
describtion.

10) Please be prepared to provide two references; you may be contacted
during the review process to provide these.

Award Criteria
Criteria used to select proposals include the following:
1) Intellectual and artistic merit in the proposed project
2) Degree of technological innovation
3) Feasibility of the project under sponsorship of the Beall Center
4) Extent of collaborative and interdisciplinary activity
5) Possibility of subsequent installation or performances outside UCI
6) Presence of matching funds

For a list of previously funded projects (2000-2006), see
http://beallcenter.uci.edu/calendar/calendar.htm

Methods of Submission
The preferred submission method (but not required) is to post your
proposal and work samples on your website

1. Mail proposal cd, or dvd media (not as dvds) only to:
Beall Center for Art and Technology
Exhibition Grant Proposal
HTC 101, University of California
Irvine, CA 92697-2775
Attn: Eleanore Stewart

2. Email proposal to estewart AT uci.edu or dfamilia AT uci.edu


Contact Information

Eleanore Stewart, Director
(949) 824-8945
estewart AT uci.edu

David Familian, Associate Director
(949) 824-4543
dfamilia AT uci.edu

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6.

From: dave.miller.uk AT gmail.com <dave.miller.uk AT gmail.com>
Date: Aug 28, 2006
Subject: SHIRLEY BASSEY GETS MIXED UP

'Shirley Bassey Mixed Up' is a collaborative biography: an illustrated
biography of the legendary diva, where the reader helps to 'mix' the
illustrations online, using Internet searches.

http://dev2.manme.org.uk/~davem/bassey_story/

All illustrations are built on-the-fly from live Yahoo searches. By
specifying different searches and playing with the customisation options,
the reader creates the illustrations themselves.

This is a traditional (linear) 14-page story built on top of a generative
composition tool, that uses Internet search data as its input.

The work can be described as a networked narrative, as a story partly
created by networked data. Adding unexpected and uncontrolled elements to
the story influences and changes the presentation, how it's experienced
and what we take away from it. This shapes the story, changing fact into
fiction, sometimes disrupting the story.

As the networked elements are dynamic and largely unpredictable, every
version of the biography is unique. Your version of the story is packaged
into booklet form, for you to print and keep.


About Dave Miller:
Dave Miller experiments with illustrated stories and networked media.
More of his work can be seen here:
http://dev1.manme.org.uk/~davem/davemiller_art_blog

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7.

From: Geert Dekkers <geert AT nznl.com>
Date: Aug 29, 2006
Subject: Opening Digital Bodies Saturday Sept 2nd 4 - 6 PM

http:nznl.org/
digital_bodies/
Digital Bodies.html

NOTES ON THE TRANSITION FROM THE DIGITAL
TO THE PHYSICAL (AND BACK AGAIN)

GEERT DEKKERS (NL)
FOOFWA D'IMOBILIT=C9 (CH)
MOGENS JACOBSEN (DK)
JAN ROBERT LEEGTE (NL)
ALAN SONDHEIM (USA)

you are cordially invited for the opening
Saturday 2 09 / 16 h / 18 h

reutengalerie amsterdam
fokke simonszstraat 49
wo/za 13 h/18 h

2 09 / 7 10 06

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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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8.

From: nat muller <nat AT xs4all.nl>
Date: Aug 29, 2006
Subject: Cinema Lebanon: Benefit Screening In De Balie Sep 9

+++++++++++++++++++++++++++++++++++++++++++
9 September | 18.00 h, 20.00 h, 22.00 h
Cinema Libanon: Charity Screening
Entrance: euro 10,- | combination ticket euro 25,-
Location: De Balie, Kleine-Gartmanplantsoen 10, Amsterdam
URL: www. balie.nl

With introductions by Pierre Sarraf (director Né à Beyrouth)
+++++++++++++++++++++++++++++++++++++++++++

Lebanon, and more specifically Beirut, still conjure two very dichotomous
and cliché images in the West: either the lamented former glory of the
pearl of the Middle East, or the atrocities of a 15-year protracted civil
war. With the media saturation of the recent war between Israel and
Hizbullah still fresh, and the shaky promise of a brittle ceasefire,
Lebanon once again risks to fall prey to stereotyping. In defiance of the
war and in solidarity with the humanitarian crisis in Lebanon, De Balie
organises an evening of films, documentaries and videos by Lebanese
makers, in collaboration with the Lebanese production house and film
festival Né à Beyrouth. The selection of films are testimony to the
resistance of Lebanese artists to a historical and cultural amnesia, and
show that being rooted in contemporary Lebanon is as much a commemoration
of an untold past, as it is a reflection on and of the present.

With thanks to: Pierre Sarraf (Né à Beyrouth), Joanna Hadjithomas & Khalil
Joreige, Celluloid Dreams, Akram Zaatari, and other participating artists.
Ticket sale donated to humantiarian relief causes in Lebanon.


_PROGRAM DETAILS_

BLOCK 1: 18.00 h
"Ce sera beau, from Beirut with love" Wael Nouredinne, 30min, 2005 (16mm)
>From Beirut ? with Love:. A cinematic postcard greeting, so bitter and
cynical, it can only come from a city being at war with itself.

"In this house", Akram Zaatari, 30 min, 2004 (video)
At the end of the Lebanese civil war in 1991, Ali, a member of the
Lebanese resistance, wrote a letter to the owners of the house his group
had occupied for six years. In November 2002, Akram Zaatari took his video
camera and headed to this family?s village in Ain al-Mir to dig up Ali?s
letter.

Improvised shorts ? reflections on the recent war by Joanna Hadjithomas &
Khalil Joreige, Akram Zaatari, Michel Kammoun, Hani Tamba, and Ziad Antar.

BLOCK 2: 20.00 h
"Meshwar" 26 min, Ziad Antar & Marc Casal Liotier 2005 (DV cam)
The assassination of former prime minister Rafiq Harari in February 2005,
and the instable security situation in Lebanon, has brought back memories
of the civil war.

?All is well on the border", 43 min, Akram Zaatari (video)
Issues of representation within the occupied zone of South Lebanon are
explored in this documentary. The film?s three staged interviews with
Lebanese prisoners in Israel illustrate aspects of life under occupation
with convincing poignancy. Zaatari uses the interview format as a tribute
to French filmmaker Jean-Luc Godard?s Here And Elsewhere, which probed
images of the Palestinian/Israeli conflict in South Lebanon 20 years
earlier.

BLOCK 3: 22.00 h
"My friend Imad and the Taxi", 19 min, Olga Nakkas/Hassan Zbib, Lebanon
(1985 and 2005)
In 1985, Hassan Zbib and Olga Nakkas separately started to develop film
scenarios based on simple narratives. Their work took Beirut as a stage
where lonely characters drifted: a taxi driver in his car, a man walking
around and talking to a Rambo poster. These films were never presented as
finalized works until a Beirut-based festival, Né à Beyrouth, spotted them
and asked the filmmakers to present their films with live electronic
music.

"A Perfect Day", 88min, Khalil Joreige en Joanna Hadjithomas, 2005 Stuck
in a traffic jam, Malek catches a glance of Zeina, the woman he loves. His
mother Claudia has still not accepted his father?s disappearance after 15
years. She stays at home should her husband return, Malek drives around
the city alone in his car.Each of them living with a void of lost love.

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9.

From: Ken Goldberg <goldberg AT ieor.berkeley.edu>
Date: Aug 30, 2006
Subject: atc AT ucb: fall 06 - spring 07 program

Although Grigori Perelman has apparently resolved Poincare's Conjecture,
many other conjectures remain open. Help us evaluate wild hunches and
unexpected perspectives during our Tenth Anniversary Season:

The Art, Technology, and Culture Colloquium of Berkeley's Center for New
Media

Fall 2006 - Spring 2007
Monday Evenings, 7:30-9:00pm, 160 Kroeber Hall, UC Berkeley
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2006
Sep 11 Making Faces: Theatrical Materiality and Technological Embodiment
Pamela Z, Performance Artist, SF

Sep 25 Mediatic Performance: New Technologies for Old Theater
Marianne Weems, Director, The Builders Association, NY

Oct 16 Recent Experiments in Modern Composition, Software, and
Stand-Up Comedy
Cory Arcangel, Artist, NYC (*)

Oct 30 Extraterrestrial Aesthetics, Divine Genetics, and Other
Thought Experiments
Jonathon Keats, Artist, SF

Nov 13 Stop Making Sense: Contextualizing Media Art
Rudolf Frieling, Media Arts Curator, SFMOMA

2007
Jan 22 ANALOG
Pierre Huyghe, Artist, Paris (**)

Feb 12 The Re-Dematerialization of the Art Object
Matmos, Musicians and Sound Artists, SF

Mar 12 The Twilight of Posterity
Kaja Silverman, Rhetoric and Film Studies, UC Berkeley

Apr 23 Can You Say...2007 ?
Doug Aitken, Artist, LA

ATC Director: Ken Goldberg
ATC Assoc. Director: Greg Niemeyer
ATC Grad. Associate: Irene Chien
Curated with: ATC Advisory Board

Sponsored by:
* Office of the Executive Vice Chancellor and Provost
* Center for New Media (CNM)
* Intel Research Labs
* Berkeley Art Museum / Pacific Film Archive
* Townsend Center for the Humanities
* Center for Information Technology in the Interest of Society (CITRIS)
* College of Engineering, Interdisciplinary Studies Program
* Consortium for the Arts

(*) in conjunction with Dept of Art Practice "Interventions" Lecture Series
(**) co-sponsored by California College of Arts, SF (Talk location TBA)

For updated information, please see: http://atc.berkeley.edu/
Contact: goldberg AT berkeley.edu, or phone: (510) 643-9565

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10.

From: Lauren Cornell <laurencornell AT rhizome.org>
Date: Sep 1, 2006
Subject: Art, Play and Community on Sept 8th

Hello,

If you're in NYC on September 8th, please join us at ³Art, Play, and
Community² which will celebrate the release of Joline Blais and Jon
Ippolito¹s At the Edge of Art and Alex Galloway¹s Gaming. The event will
take place at the New Museum Store on September 8th from 6:30-8:30, and
will include a brief dialogue with the authors at 7pm. This event is open
to non-Members and there is no admission charge. All details can be found
here:

http://rhizome.org/events/cnms/part3.rhiz

All best,
Lauren

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11.

From: Bruce Sterling

+Commissioned by Rhizome.org+
For KEYLINES, a Project of Rhizome's Tenth Anniversary Festival of Art &
Technology
http://www.rhizome.org/events/tenyear/keylines.rhiz

+Please visit KEYLINES to respond or post your own essay!+


"Watching Stuff Rot, or, Society, Technology & Environment"

"Society" means everybody. "Technology" means anything invented since the
grownups were born. "Environment" means everything else. So when we're
describing the keenly modern crises of technology, environment, and
society, we're talking mush, an indefinite mulch.

Which is a good thing, because that's what we've got. Entropy requires no
maintenance, so "technology" rots year by year. Anything that rots within
a biosphere becomes a general froth of "environment." "Society," meaning
you and me, are entirely built out of "environment." Our flesh is entirely
composed of various elements we breathe and swallow, which means that, as
time passes, we're increasingly composed of flakes, bits, and froths of
former technological components. This is by far the most intimate
relationship between society, technology, and the environment: it's that
pollutant load within our own bodies.

We've never learned how to put our toys away; we depend on Mom, Mother
Nature, to put them away for us. Carbon-dioxide isn't really a
"pollutant," but Mom's a little laggard about tidying it up for us. So,
every day, "society" breathes an atmospheric bouillon of fossil-fuel
fumes. We're still breathing leftover tank exhaust from World War I.

It takes a rather Gothic frame of mind to take pleasure in watching stuff
rot. Generally, we just don't do it at all. It's dirty, it smells, it's
dangerous, it grimly reminds us of our own mortality. There's not a lot of
money in the work and, furthermore, most obsolete tech-junk is a direct
reproach to us, because it's so entirely loaded-down with annoyingly
reactionary social implications from Grandpa's bygone day. Except for
antiquarians, futurists, design visionaries, and other cranks, nobody is
every going to like watching stuff rot. Nevertheless, the management of
our garbage is a vital task, because otherwise, sure as the seas rise, we
will be submerged in fetid tides of ever-mounting junk. We can't throw
stuff "away" in a biosphere because a biosphere doesn't have any "away."
Wait long enough, and abandoned technology seeps into the environmental
water table to become an integral part of our general social bloodstream
and gene-pool.

This is not a new problem; it's just never had a solution. Tactics have
been suggested. First, make stuff that rots gracefully, out of all-natural
materials. That worked for a couple of million years, but it can't yet
support large populations. Tactic number two is to make only permanent,
solid objects, in small numbers, as hand-me-downs. A great idea, if you
don't mind using Theodore Roosevelt's telephone and Queen Victoria's
obstetrics.

Then comes the new school of thought: Googling the garbage. If it's all
about putting our toys away, why not automate the whole shebang? We'll
build an "Internet-of-Things," where the physical world, all our toys and
knick-knacks, are neatly pinned and wrapped up in a rhizomatic net of
ubiquitous computation, or, to put it in a less elegant metaphor, a
planetary leakproof cyber-diaper that keeps the effluent of "technology"
from staining "society" and "environment."


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Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the
New Museum of Contemporary Art.

Rhizome Digest is supported by grants from The Charles Engelhard
Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the
Visual Arts, and with public funds from the New York State Council on the
Arts, a state agency.

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN:
1525-9110. Volume 11, number 33. Article submissions to list AT rhizome.org
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT rhizome.org.

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