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: 09.15.06
From: digest@rhizome.org (RHIZOME)
Date: Fri, 15 Sep 2006 13:02:19 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: September 15, 2006

Content:

+opportunity+
1. info AT year01.com: TERMINAL01 :: CALL FOR SUBMISSIONS
2. Scott Snibbe: Interactive Media Software Engineer for Scott Snibbe
3. Marisa Olson: Deadline extended: Rhizome Curatorial Fellow

+announcement+
4. Hans Bernhard: Google Will Eat Itself - No. 5
5. Ceci: Rhizome Organizational Subscriptions/New Features
6. Ravi Shankar: Drunken Boat Announces Issue#8 - A Triple Feature on the
PanLit, Oulipo & Canadian Strange
7. Perry Lowe: Reentry: New York City at EYEBEAM

+Commissioned by Rhizome.org for KEYLINES+
8. Raqs Media Collective: Turn left from the community centre and walk
fifty yards

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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: info AT year01.com <info AT year01.com>
Date: Sep 11, 2006
Subject: TERMINAL01 :: CALL FOR SUBMISSIONS

TERMINAL01 :: CALL FOR SUBMISSIONS

Year Zero One is seeking submissions for Terminal01 (T01), an interactive
networked art exhibition to be launched at Toronto Pearson International
Airport in the spring of 2007. T01 will consist of a custom made kiosk
housing a touch-sensitive screen, an audio-video output, an embedded web
camera, sensors and projection screen. Artists are invited to create
site-responsive computer generated work based on their experience and
interpretation of air travel environs, mobility, flight data, airports and
networked communities. Emphasis will be given to works with a generative
component or works dealing directly with themes relevant to travel
(space-time). Deadline for submissions is December 1st, 2006. Artist fees
paid. T01 is curated by Michael Alstad and David Jhave Johnston. For more
info and online entry form please visit:
http://www.year01.com/terminal01/submit.html

Year Zero One gratefully acknowledges the Canada Council for the Arts and
the Greater Toronto Airports Authority for their support of Terminal01.

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YEAR ZERO ONE is an artist run site which operates as a network for the
dissemination of digital culture and new media through web based
exhibitions, site-specific public art projects, an extensive media arts
directory and blog.
http://www.year01.com
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2.

From: Scott Snibbe <scott AT snibbe.com>
Date: Sep 11, 2006
Subject: Interactive Media Software Engineer for Scott Snibbe

Interactive Media Software Engineer

We are seeking a software engineer with solid computer science skills for
highly engaging and challenging work in interactive media. You will work
with media artist Scott Snibbe at his San Francisco studio to create
physically reactive public art installations that incorporate computer
graphics and computer vision. These installations are installed
temporarily and permanently at sites worldwide and you will receive
exhibition and publicity credit for your contributions.

Key skills required:

* Computer Graphics programming - 2D, 3D, simulation, OpenGL, video game
programming.

* Computer vision programming - especially person tracking and
high-quality figure extraction using OpenCV and other lower level
libraries.


* Software engineering - ability to integrate into a large, relatively
well engineered vision/graphics system while improving and extending it.

* Masters degree or equivalent in one of the above fields.

Skills and interest in the following areas are also useful:

* Strong familiarity with windows development and running environments,
ability to troubleshoot drivers, graphics cards, video capture

* Film, animation and video post-production

* Video optics - rear and front video projection, infrared lighting, filters

* Organizational and writing skills

* Good interpersonal and communications skills

We are willing to teach a talented person graphics or vision if their
skill is only in one area -- computer graphics knowledge is more critical
than computer vision, since we have an existing solid framework for
vision, while new projects will have substantial new computer graphics
code. The work we do is technically sophisticated, often at the level of
contemporary research. The work offers an opportunity to make a
contribution to international public art projects that you can include in
your research history, portfolio and demo reel. Please see www.snibbe.com
and www.sonaresearch.com for examples of our work. Our past employees and
interns have gone on to positions at top companies and art institutions
worldwide. This is a great training ground for someone wanting to break
into the field of interactive art, computer graphics or computer vision;
this is also a wonderful opportunity for someone whose talents are midway
between art and engineering and wants a uniquely satisfying job. The
position is paid US$4000 per month at a contract rate and includes health
insurance. Due to the relatively modest pay, we will consider candidates
who can work with us for a limited engagement, in addition to those able
to make a longer term commitment. Our studio provides a uniquely positive,
playful and kind workplace with an emphasis on our social mission of
bringing delight, meaning and new forms of social interaction to the
general public.

Please send a letter of interest, resume and sample work to
jobs AT sonaresearch.com. We will request interviews and recommendation
letters from the top candidates.

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3.

From: Marisa Olson <marisa AT rhizome.org> Mailed-By: rhizome.org
Date: Sep 12, 2006
Subject: Deadline extended: Rhizome Curatorial Fellow

Hello. Because I know that these things tend to revolve around school
schedules, I've extended the deadline for this by one week, to Wednesday,
9/20. Please forward to students, colleagues, etc...

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 a Master's degree or be
enrolled in a graduate rpogram. 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 should be submitted by Wednesday, September 20, for
consideration.

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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: Hans Bernhard <play AT ubermorgen.com>
Date: Sep 11, 2006
Subject: Google Will Eat Itself - No. 5

Dear GWEI Subscribers

The current stats:

Google Shares owned by GWEI: 123
Amount of USD: 47.276,28
Adsense-Clicks: 126.336
Adsense-Page Impressions: 5.448.926
Adsense-CTR: 2,31%

Counter: 202.345.126 Years until GWEI fully owns Google

Current Google Share Price : 384.36 USD, Symbol: "GOOG"

Google's Legal Department has contacted us with a very nice and open
letter signed by Dr. Arnd Haller, Legal Rep. He stated that Google thinks
we are doing great work but somehow something illegal, that they are fully
aware that this is an art piece but still we should kindly stop with our
assumed illegal activity.
Letter in german: http://www.gwei.org/pages/google/legalletter1.html

Our next exhibition will be at the ICC NTT Museum, Tokyo (JP). The
"Connecting Worlds" Exhibition curated by Yukiko Shikata, with artists
such as Peter Fischli and David Weiss, Dennis Oppenheim, Ambient.tv, Wayne
Clements. We will show a digital Slideshow next to a terminal with the
web-site:
http://www.gwei.org/pages/exhibitions/slideshow_ICC_tokyo

Media Coverage was very good during the last months, GWEI was featured in
BBC World (Radio), Kulturzeit (3Sat TV), Telepolis, Artforum News
http://www.artforum.com/news/week=200628
and in a lengthy article in Spiegel Online (Deutsch):
http://www.spiegel.de/netzwelt/netzkultur/0,1518,435195,00.html
and "die Presse" (Deutsch)
http://diepresse.com/Artikel.aspx?channel=k&ressort=k&id=569850
and Sueddeutsche Zeitung (SZ) (Deutsch)
http://www.sueddeutsche.de/kultur/artikel/756/79677/
and Heise Online, attacking our future project called Amazon Noir:
http://www.heise.de/english/newsticker/news/76240

Additionally, on July 12, 2006 we have frozen a copy of GWEI and added it
to the Rhizome Artbase for conservation. http://www.rhizome.org And.. we
will present GWEI on October 24th at the New Museum New York for the
Rhizome 10 years anniversary.

best regards and lovely hugs from the team

UBERMORGEN.COM feat. Alessandro Ludovico vs. Paolo Cirio

Hans Bernhard
UBERMORGEN.COM / etoy.holding

Skype Hans_Bernhard
Studio +43 1 236 19 85
Mobile +43 650 930 00 61
Email hans AT ubermorgen.com
http://www.ubermorgen.com

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5.

From: Ceci <ceci AT rhizome.org>
Date: Sep 12, 2006
Subject: Rhizome Organizational Subscriptions/New Features

The Fall semester is here, and I would like to remind fellow Rhizomers of
our organizational subscription program!

http://rhizome.org/info/org.php

We introduced a number of new features relevant to the academic community.
We?ve added a New Media Residency List to our growing collection of New
Media Resources. (You can add resources to this list, if you?d like. See
http://www.rhizome.org/resource). We also recently developed a Rhizome
Toolkit that should help organizational subscribers access and utilize all
the features and resources in Rhizome?s membership program with greater
ease. The Rhizome Toolkit is comprised of a User Guide, cataloguing
information and an updated description of Rhizome that you can plug into
your library?s catalog and/or database subscription page.

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6.

From: Ravi Shankar <shankarr AT ccsu.edu>
Date: Sep 13, 2006
Subject: Drunken Boat Announces Issue#8 - A Triple Feature on the PanLit,
Oulipo & Canadian Strange

http://drunkenboat.com

Announcing the premiere of Drunken Boat, the international online journal
of the arts, Issue #8. A special triple issue dedicated to the inaugural
PanLiterary Awards Winners in seven genres; the spreading potentiality of
the Oulipo; and the very strangest of current Canadian Arts and Letters.

Featuring over 125 contributors, including a radio play by Mark Rudman and
Martha Plimpton, ambigrams by Doug Hofstadter, archival material from
Raymond Queneau and Marcel Duchamp, translations by Cole Swenson and Keith
and Rosemarie Waldrop, video from Adeena Karasick, photos by Allyson Clay
and Gabor Szilasi, among many others.

Including new work from the PanLiterary Judges: PEN/Faulkner Award winner
Sabina Murray, conceptual artist and musician DJ Spooky, poet, translator
and librettist, Annie Finch, Fellow of the Royal Geographic Society,
Alexandra Tolstoy, trace/Alt-X New Media Award winner Talan Memmott, and
video art pioneer and TV interventionist David Hall.

Congratulations to Scott Withiam, Christiana Langenberg, Jason Nelson,
Erik Bünger, John Fillwalk, Geoffrey Demarquet and Jacques Leslie for
winning the inaugural PanLiterary Awards and thanks to guest curators Jean
Jacques Poucel, Sina Queyras and designer Shawn McKinney for the special
folios.

Please consider making a tax-deductible contribution to Drunken Boat to
help keep the arts alive online:

http://drunkenboat.com/db8/donate.html

Enjoy the issue and let us know what you think. Happy navigating!

-The Editors
http://www.drunkenboat.com

***************
Ravi Shankar
Poet-in-Residence
Assistant Professor
CCSU - English Dept.
860-832-2766
shankarr AT ccsu.edu

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7.

From: Perry Lowe <perry AT eyebeam.org>
Date: Sep 14, 2006
Subject: Reentry: New York City at EYEBEAM

Reentry: New York City merges iconic night cityscapes with HD computer
simulations in a series of studies for a daring new public art project:
synthetic meteor showers in the Manhattan sky. Evoking the spectacle of
the Apocalyptic Sublime painting movement and the audacity of Land Art,
these new simulations created by Bill Dolson during his Eyebeam residency
will be on view Sept. 21 through Oct. 21, with a special opening reception
Sept. 21, 6-8pm. The exhibition is open to the public Tuesday through
Saturday from 12-6pm and is free of charge with a suggested donation.
Eyebeam is located at 540 W. 21st Street between 10th & 11th Aves in
Chelsea.

Reentry: New York City contains twelve HD videos of synthetic meteor
showers envisioned as luminous, ephemeral drawings in the upper atmosphere
that will persist for only seconds or at most, minutes. While quite
fantastic, the studies are conceived to demonstrate the technological
feasibility of the project, established with the contributions of
scientists at agencies such as NASA, Ames Research Center and Los Alamos
National Laboratory, among many others. Technical and conceptual
background information will be explained in an animated demo, short
documentary and printed handouts accompanying the exhibition.

Reentry: New York City uses new technologies to draw on the tradition of
the early large scale land art first produced in the 1970s by such
innovators as Michael Heizer, Robert Smithson, Robert Morris and Walter de
Maria, evoking the same sense of daring, wonder and existential awareness
which the scale of these seminal works produced. Updated in a
scientifically inspired gesture, the synthetic meteors avoid the permanent
monumentalism of earlier land art by their dynamic and ephemeral nature.

Reentry New York City recalls the Apocalyptic Sublime, a painting genre of
the late 18th and early 19th centuries in Britain, in both content and
intent. Leading artists of the time including Benjamin West, William
Blake and JMW Turner produced popular Apocalyptic Sublime works depicting
apocalyptic themes such as The Deluge or scenes from the Book of
Revelations, often in urban settings and frequently featuring comets or
meteors. The projections and screens in Reentry will be presented salon
style. However, in the two hundred years since the Apocalyptic Sublime,
the purview of art has been extended from the depiction of an apocalyptic
event to the physical staging of one, the grandeur of the proposition,
both commenting on and questioning our own spectacular society.
Dolson is simultaneously exhibiting digital C-prints of frames from these
video studies at Photographic Gallery, 252 Front Street (South Street
Seaport Historic District) in New York City. The exhibition,
Trajectories: Carter Hodgkin & Bill Dolson opens September 28 with an
artists' reception 6-9 pm.

For information on Dolson's Sky/Ground works, including Synthetic Meteors,
along with biographical and technical notes, please visit
http://www.billdolson.com/

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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: Raqs Media Collective

+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!+

"Turn left from the community centre and walk fifty yards"

In Delhi, most neighbourhood residential 'colonies' have a building (or a
set of buildings) haphazardly labelled 'Community Centre' abutting them.
Usually this is little more than a faded sign affixed to a more or less
shell-like concrete structure. Empty rooms waiting to be filled with
elusive acts of 'community.' Sometimes, the precincts of a 'community
centre' evolve into a bustling local market. Other times, they remain
mainly abandoned, apart from the period of the annual Dussehra festival
when they become festooned with the ersatz performativity of the Ramlila
cycle of plays, or the wedding season when tinsel and electrical
decoration make dramatic appearances. In all cases, the idea of the
'Community Centre' persists as the anomalous mandated space for
'community' to come into being in a large, anomic city.

It is like an otherwise nondescript bird that periodically comes into rich
mating plumage. The word 'Community' veers between suggesting an abandoned
facility and an erratic, ephemeral festivity, or stable but low-intensity
commerce, and the mundane transactions of daily life. Paradoxically, the
community centre is never really 'central' to the life of the
neighbourhood; it occupies what could be called a significant proportion
of its margins. Its centrality, if any, lies in the fact that people
recognize it as a constant, if not very spectacular, landmark that helps
them orient their immediate urban micro-landscape. So when giving
directions to someone's house, one could say, 'Turn left from the
community centre and walk fifty yards.'

It may not be inappropriate to think of online 'Communities' with the
metaphors and concepts gleaned from a reading of Delhi's 'Community
Centres.' Some online communities are like evolved neighbourhood markets
(community centres in mercantile or transactional drag) -- spaces of
low-intensity but ongoing interaction, which deepen the life of a space
and its inhabitants by providing a platform for regular contact and
transaction. Others are communities that ebb and flow, or swing between
poles of relative inactivity and occasional, or periodic exuberance (with
a wide and graduated spectrum in between); still others are places where
people can perform their varied socialities, sometimes in a manner that
involves radical subversion of given social roles, or by cohabiting, for a
moment, a charged and liminal space. This may involve traversals of the
thresholds that frame everyday life. In such cases, the space of the
community may be energized (or even brought into being) momentarily by the
enactments that constitute what, in ritual dynamics, has been called
'Communitas' by the anthropologist Victor Turner.

Online 'communities,' like neighbourhood community centres in Delhi, are
not central to the act of communication. But they do and can act as the
stable landmarks that help orient a communicative landscape. Peer-to-peer
networks can be like the markets that encrust the space of the 'community
centre.' A mailing list can be like one in which the kids of the
neighbourhood hang out in relative anonymity, but which also sometimes
becomes the stage for grandstanding and performative excess. Collaborative
blogs can be seen as analogs of instances where community centres actually
end up being used as neighbourhood clubhouses, where people gather to play
the odd game of carom, or talk about the problems affecting the
electricity or water supply in their street.

Each of these instances points to a heterogeneity of usage and modes of
cohabitation, which somehow gets overshadowed by the relatively conceptual
clumsiness of the term 'Community.' One lineage of the term comes from the
act of enumeration. A headcount establishes a group of people as a unit
which can be thought about, which can be named -- a 'community.'
Typically, such headcounts are undertaken by the state (and sometimes by
well-meaning 'civil society' stakeholders), and the 'communities' so
established become social facts only following the exercise of
enumeration. These 'census' operations erase distinctions between the
people counted and draw distinctions with other people, grouped together
in other acts of head-counting. Here the word 'community' has little to do
with what people do (either by themselves, or together) and more with how
they appear to officials undertaking the headcount. The opacity of their
actions is compensated for by the desired transparency of their mere
appearance. Community, then, becomes a social statistic, an object of
planning, development, reform, scrutiny, taxation, and, occasionally,
punitive measures.

We prefer to think of the word community more in terms of the associations
that can be gleaned from 'community centres' -- as spaces always waiting
to be filled with things that people do, which can be quite separate from
the purposes for which the spaces were built in the first place. 'The idea
of Community' as a shell, waiting to be filled with actions (both normal
as well as transgressive), or contested by different claims, or lying just
short of abandonment, may be more interesting in the long run to think
through than the fulsome and perennially optimistic sense in which it
peppers the discourse of new media. Meanwhile, the 'Community Centre'
nearest to where we are in Delhi has become a shelter for people taking a
breather from the early showers of a late monsoon.


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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 35. 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.

To unsubscribe from this list, visit http://rhizome.org/subscribe.
Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php.

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