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: 10.06.06
From: digest@rhizome.org (RHIZOME)
Date: Fri, 6 Oct 2006 12:59:17 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: October 06, 2006

Content:

+opportunity+
1. [netEX]: NetEX: calls & deadlines
2. David Stent: DISPATX - Eminent Domain - Call for Proposals

+announcement+
3. Marisa Olson: The Copy and Paste Show
4. Franco Mattes: Unusual sign appeared overnight causes controversy
5. Marisa Olson: Tara Mateik & The Yes Men, Live Performances
6. Jason Van Anden: Compiled! Jason Van Anden AT MonkeyTown Friday the
Thriteenth
7. Jemima Rellie: THE ART OF SLEEP

+comment+
8. Richard Rinehart: new white paper on digital art and copyright

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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: [netEX] <virtu AT kulturserver-nrw.de>
Date: Sep 29, 2006
Subject: NetEX: calls & deadlines

NetEX- networked experience
http://netex.nmartproject.net

added recently some new calls
in the external announcements section
which might be of interest:
--->
New!!
Deadline 15 November
1. Videomedeja
Video and media art festival (Belgrade/Serbia)
--->
New!!
2.
Deadline: 1 November
One World Documentary Film Festival
Prague (Czech Republik)

--->
Deadlines approaching-->

3.
Deadline 6 October

TIKINO - 2nd International Audiovisual Contest on the theme
the gypsies, their culture and social reality
Granada/Spain
--->
4.
Deadline 25 October 2006

Digital Art Festival Rosario/Argentina
Digital photo, video, installation, performance, e-music
16,17, 18 November 2006

All details and the entry forms can be found on
http://netex.nmartproject.net/index.php?blog=8&cat=25

//////////////////////////////////////////////////////////////////////////////////////////////

The "internal announcements" section released following calls
--->
Deadline 31 December 2006

Call: for media art for
Women: Memory of Repression Argentina
-------------------------------------------
project about the Mothers of Plaza de Mayo and the "disappeared"
people during the military dictatoships in Argentina .
As persecuting people is widely practiced not only in totalitarian systems,
the call is not only reduced to the theme of Argentina,
but related to any place around the globe
where people are/were persecuted for ethnic, religious, social or
political reasons.

More details and the entry form can be found on
http://netex.nmartproject.net/index.php?blog=8&cat=54



Deadline 31 December 2006

Call for Papers:
JAP - JavaMuseum Article Project
..articles & papers on questions of Internet based art - netart,
technology used in Internet based art, art & technology in general,
art & communicating technology, Internet culture etc......


--->
All details on these and more calls and the entry forms can be found on
http://netex.nmartproject.net/index.php?blog=8&cat=54

********************************************************
NetEX - networked experience
http://netex.nmartproject.net/index.php?blog=8&cat=25
is the common weblog of
[NewMediaArtProjectNetwork]:||cologne
www.nmartproject.net
.
info(at) nmartproject.net

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2.

From: David Stent <david AT dispatx.com>
Date: Oct 2, 2006
Subject: DISPATX - Eminent Domain - Call for Proposals

In old English law, eminent domain refers to the power of the state to
take private property without the owner?s consent. Since the mid-19th
century it has been employed as part of large-scale development projects
and urban renewal ? controversial practices that can be extremely
destructive for local communities. The policy is often implemented when
there is a perceived obstruction blocking the progress of a particular
project and powers of override must force its conclusion.

In investigating this theme we call for artists to recast the concept of
eminent domain in the context of creative work. Here it becomes similar to
recourse ? in the face of blockade, alternative and often radical tactics
may be resorted to in order for an idea to move forward. At a point of
critical mass existing systems begin to fail, invoking a form of negation
and opening up a space of uncertainty. This uncertainty may force a
radical reformulation of a work at a crucial moment of its incompletion
and potential.

The concept of regeneration is helpful in investigating this theme with
regard to process revision and its relation to the creative method.
Literally beginning again, regeneration suggests a recursive,
self-referential procedure. It also indicates different approaches to
revision: on one hand there can be subtle, incremental modifications of
existing structures, systematically inching toward a result. On the other
there can be a Kuhnian paradigm shift ? a more radical action that can
demand a clean slate from which to begin from scratch.

The interplay of these strategies and the conditions that formulate them
are fascinating areas of exploration. To what extent are points of
resistance and conflict essential for shaping creative decisions? Are
great ideas born of frustration or along paths of least resistance? What
kind of space does this recourse open up?

In this context, the theme of eminent domain speaks not only to literal
interpretations concerning revised landscapes, power relationships and
innovation from decay, but also to a broader theoretical reading about the
space opened up by an enforced change of approach. The use of these
concepts, either as the subject of investigation or as a guide to process
and methodology, will result in a fascinatingly diverse group of projects
for the next edition of Dispatx.

For more information on how to submit:
http://dispatx.com/wip/index.php?cat=32

Dates :

Final date for sending project proposals : 16 December 2006

Publication of collaborative project proposals : 15 January 2007

Details :

Dispatx (http://www.dispatx.com) provides the tools of a socialised
internet for the development, organisation and presentation of
contemporary art and literature.

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3.

From: Marisa Olson <marisa AT rhizome.org>
Date: Oct 2, 2006
Subject: The Copy and Paste Show

Rhizome is pleased to announce the opening of The Copy and Paste Show,
guest-curated by Hanne Mugaas. This is our second online exhibition in the
Time Shares series.

THE COPY AND PASTE SHOW
http://rhizome.org/events/timeshares/

The Copy and Paste Show explores the evolution of copy-and-paste culture,
where the copying of digital material has become a major technique in the
construction of online identity and style. Featured artists include: Seth
Price, 808, and artists collaborative, Ida Ekblad and Anders Nordby. Each
explores how copy and paste techniques, paired with different digital
tools, influence web aesthetics, music production, and relationships on
and offline.

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

http://rhizome.org/events/tenyear/


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

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Support Rhizome: buy a hosting plan from BroadSpire

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Purchasing hosting from BroadSpire contributes directly to Rhizome's
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4.

From: Franco Mattes <Propaganda AT 0100101110101101.org>
Date: Oct 3, 2006
Subject: Unusual sign appeared overnight causes controversy


October 3, 2006
FOR IMMEDIATE RELEASE


UNUSUAL SIGN APPEARED OVERNIGHT CAUSES CONTROVERSY
A new artwork by the Mattes duo (aka 0100101110101101.ORG)


On the night of September the 20th 2006 a sign appeared on a building in
the center of Viterbo, an ancient city in central Italy, not far from
Rome. Apparently put by the City Council it has already caused quite a
stir. The sign is in fact an art piece by controversial artist duo Eva and
Franco Mattes (aka 0100101110101101.ORG). Looking as official as any other
street sign, it reads:

----------

An Ordinary Building

This building was designed by an unknown architect in an irrelevant epoch
and never belonged to an important person. The complex does not show any
original architectural solutions, nor does it conserve any important works
of art within. No memory is kept of any significant historical events
occurring on this site. No known personality was born, lived or died here,
nor is any excellent artist or sublime poet still working here.

----------

Hundreds of unaware passersby have been staring at the sign: "It's
brilliant!" comments an elderly woman "But I have no idea how to interpret
it". While an outraged citizen living nearby comments "This is just
unacceptable, look around, there are buildings much worse than this one,
especially in the suburbs".

When asked to give an explanation of the sign, Franco Mattes, currently in
New York, declared "It means what it says".

Italian curator Claudio Zecchi, who commissioned the work, comments: "This
piece has a strong provocative nature like all their previous ones. The
ideal stage for their art is not the official places where artworks get
recognition and celebration like galleries and museums, but the city
itself. It is only there that they can obtain the most genuine reaction".

The artists plan to leave the sign on the building until mid October, but
whether or not the City Council and citizens will allow this, is an open
question.

"History is not given" adds Eva Mattes "it has to be constructed, it's
pure fiction, like in a novel".

The Mattes are not new to this kind of interventions. Over the last decade
they drawn worldwide acclaim - and contempt - for producing some of the
most paradoxical artworks ever, including staging a hoax involving a
completely made-up artist, challenging and defeating Nike Corporation in a
legal battle for a fake advertisement campaign and inventing ?United We
Stand', a non-existent Hollywood-style blockbuster.


----

Info and contacts:
http://www.0100101110101101.org

Downloadable images:
http://www.0100101110101101.ORG/download/ordinary.html

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5.

From: Marisa Olson <marisa AT rhizome.org>
Date: Oct 4, 2006
Subject: Tara Mateik & The Yes Men, Live Performances

Hello. Please join us for this very special event...


SHOW AND TELL: TARA MATEIK & THE YES MEN
Tuesday, October 17, 6:30 p.m.
Solomon R. Guggenheim Museum
1071 Fifth Avenue, New York, NY 10128

In collaboration with the Solomon R. Guggenheim Museum, Rhizome is pleased
to present "Show and Tell," an evening of humorous and political
performance lectures.

Activist artists Tara Mateik, founder of the Society for Biological
Insurgents, and the Yes Men, an "identity correction" collective, will
assume guises and give entertaining talks demonstrating their use of
information and "disinformation" to shift balances of power.

In his words, Tara Mateik's work "stategizes to overthrow institutions of
compulsory gender? through performance, video, and intervention." In
"Putting the Balls Away," he will reenact a legendary "Battle of the
Sexes," Billie Jean King's 1973 defeat of the former Wimbledon men's
champion, Bobby Riggs. By playing both roles in a video version of the
match, and reviving remarks by sports commentators Howard Cosell and Rosie
Casals, Mateik recalls the controversy sparked by the most watched
televised sporting event of the era.

The Yes Men will present the first public demonstration of their
SurvivaBall, an advanced new technology designed to keep corporate
managers safe, even when climate change makes life as we know it
impossible. Recently unveiled at a corporate conference by Yes Men
masquerading as Halliburton executives, the SurvivaBall is "designed to
protect the corporate manager no matter what Mother Nature throws his or
her way."

Curated by Marisa Olson, Editor and Curator, Rhizome.org, as a component
of their 10th Anniversary Festival of Art & Technology. Rhizome is a
leading new media arts organization, and an affiliate of the New Museum of
Contemporary Art.

Tickets $10, $7 for Rhizome or Guggenheim members, students, and seniors.
For tickets, call 212-423-3587, M-F, 1-5 p.m.


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

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6.

From: Jason Van Anden <jason AT smileproject.com>
Date: Oct 6, 2006
Subject: Compiled! Jason Van Anden AT MonkeyTown Friday the Thriteenth

Hello Community!

I have been out of the loop for a while (been lurking though) - a quick
shout out to let you know why. First off, I have a new improved website -
same address but completely different look: www.smileproject.com. This is
not my main reason for posting though ...

Not sure if you all have been following this thing I have been working on
called IntelligentDesigner (ID) - I spoke about it at Dorkbot last May and
promised I would do something with it in the fall, and I have! ID is a
visual programming paradigm that I invented to enable my emotive robots
(Neil and Iona) to interact improvisationally. This system evolved over
time but only really made sense to me - until now. Over the summer I
worked with eleven very different musicians selected by my friend Nat
Hawks (half of the duo Christian Science Minotaur) to create eleven
amazing living music compositions using ID. Following is the official
announcement:

FOR IMMEDIATE RELEASE

COMPILED
DATE: Friday October 13th, 2006

LOCATION: Monkeytown
58 N. 3rd (btw. Wythe and Kent) L to Bedford
http://www.monkeytownhq.com
Williamsburg, Brooklyn

http://www.monkeytownhq.com/compiled.html

*reservations strongly suggested (can be made easily through venue website)

TIME: (2 identical sets) 7:30pm and 10pm

PRICE: $10
*admission includes a data CD containing the IntelligentDesigner software
and interactive compositions from participating artists.


EVENT DESCRIPTION:
Brooklyn new media artist Jason Van Anden is unleashing his new
interactive sound composition software, IntelligentDesigner, through an
audience participation event at Williamsburg's A/V mecca Monkeytown. The
I.D. software allows the user to manipulate the visual composition of an
array of colorful bubbles, each with an assigned sound. It's an elegant
minimalist videogame interface that runs "Living Music Composition 101."
As the user alters the visual field, they alter the order in which the
sounds are initiated, creating a living song of their own creation.

At the Monkeytown event four interactive kiosks will allow the audience to
manipulate a touch-screen versions of I.D. While participating artists
will give the audience the sound palette, it will be up to the audience to
construct these fragments into structures. As the four kiosks will be
wired to enormous independent video screens, the audience will be
submerged in the visual equivalent of the form they've chosen the
compositions to live in.

PARTICIPANTS
An impressive slew of local and international sound artists have been
invited to take this exciting new software for a test spin.

*Leafcutter John (UK-renowned sound artist turned folk troubadour)
http://www.myspace.com/leafcutterjohn

*Datach'I (NYC-coveted post-jungle annihilist)
http://www.myspace.com/datachi

*Nullsleep (NYC-world's favorite gameboy protégé)
http://www.myspace.com/nullsleep

*Nonhorse (NYC-abstract tape collagist from the Vanishing Voice)
http://www.myspace.com/nonhorse

*Lucky Dragons (Providence-tie died laptops of progressive flute cut-ups)
http://www.myspace.com/luckydragons

*Jason Forrest (Berlin-propulsive prog math-up prince)
http://www.myspace.com/jason_forrest

*CloudlandCanyon (Germany-psychedelic casios bleed through digital fog)
http://www.myspace.com/cloudlandcanyon

*Lullatone (Japan-heartbreaking tiny sounds)
http://www.myspace.com/lullatone

*Christian Science Minotaur (NYC-pastoral electro-acoustic)
http://www.myspace.com/littlefurythingsrecords

*Our Brother The Native (Michigan-fuzzy, blissful howling now on FatCat)
http://www.myspace.com/ourbrotherthenative

*Flying (NYC- fun folk frenzied with pots and pans)
http://www.myspace.com/flying

Local participating artists will be on hand at the Monkeytown event.

IntelligentDesigner software by Jason Van Anden: http://www.smileproject.com
Compiled is curated by Nat Hawks for LittleFuryThings records:
http://www.myspace.com/littlefurythingsrecords
MonkeyTown: http://www.monkeytownhq.com/compiled.html

Informal again ...

If you really really want to come to this show, and I really really hope
you do, you really really should make a reservation. The venue only holds
32 peeps. It will be fun ~ I hope to meet some of you there!

Jason Van Anden

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7.

From: Jemima Rellie <jemima.rellie AT tate.org.uk>
Date: Oct 6, 2006
Subject: THE ART OF SLEEP

A new net art commission by YOUNG-HAE CHANG HEAVY INDUSTRIES launches at
Tate Online on 6 October 2006 (www.tate.org.uk/netart). Called 'THE ART OF
SLEEP', the work explores the international art market, while its launch
coincides with the latest Frieze Art Fair in London. YOUNG-HAE CHANG HEAVY
INDUSTRIES are Young-Hae Chang, a Korean woman, and Marc Voge, an American
man, who live and work in Seoul. Their work is Flash based and employs a
mix of animated typography, jazzy music and humour.

The artists were also invited to participate in an interview about their
practice to accompany the Tate commission. In place of the standard video
interview now found at Tate Online, YOUNG-HAE CHANG HEAVY INDUSTRIES chose
to create a second Flash piece called 'THE ART OF SILENCE', 2006, based on
a selection of the questions supplied.

An interpretive essay by Mark Tribe entitled 'An Ornithology of Net Art'
accompanies the commission. Mark Tribe, an artist and curator, is
Assistant Professor of Modern Culture and Media Studies at Brown
University. He founded Rhizome.org, and is the author of ?New Media Art?
(Taschen, 2006).

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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: Richard Rinehart <rinehart AT berkeley.edu>
Date: Sep 29, 2006
Subject: new white paper on digital art and copyright

Hello Rhizomers,

The Canadian Government has published a new white paper on digital art and
copyright entitled, "Nailing Down Bits: Digital Art and Intellectual
Property". You can find the full paper in HTML or PDF format online at:
http://www.chin.gc.ca/English/Intellectual_Property/Nailing_Down/pdf.html

A short introduction to the paper follows...

Nailing Down Bits: Digital Art and Intellectual Property

This paper on digital art and intellectual property has been commissioned
and published by Canadian Heritage Information Network CHIN), a special
operating agency of the Department of Canadian Heritage. This paper is
part of a larger series of papers on intellectual property and cultural
heritage that have been commissioned by CHIN.

This paper is not written from a legal perspective, but from a cultural
heritage community perspective. This perspective is informed by legal
professionals and publications and by direct experience with intellectual
property issues that arise out of the daily practice of cultural
professionals. One could say that this paper is an attempt to create a
snapshot of the cultural heritage community's response to intellectual
property law and practice regarding (digital) art. This paper is meant to
ground that response not in terms of broad theories or abstract
philosophies, but in terms of daily practice and real-world case studies.
For that reason, the sources used for this paper are not mainly books, but
instead more topical, conversational, and immediate sources such as
digital art community websites, blogs, email discussion lists and
extensive interviews with cultural heritage professionals in Canada and
the United States ranging from artists to curators to educators. The
intended audience for this paper is primarily the cultural heritage
community who may benefit from the discussion and analysis of the issues
and proposed paths of action. The legal community may also benefit from
the case studies and articulation of how one area of law is playing out in
the larger society whether it reaches the courts or not.
--


Richard Rinehart
---------------
Director of Digital Media
Berkeley Art Museum/Pacific Film Archive
bampfa.berkeley.edu
---------------
University of California, Berkeley
---------------
2625 Durant Ave.
Berkeley, CA, 94720-2250
ph.510.642.5240
fx.510.642.5269


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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 38. 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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Subscribers to Rhizome Digest are subject to the terms set out in the
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