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: 2.7.07
Date: Wed, 7 Feb 2007 14:06:59 -0800

RHIZOME DIGEST: February 7, 2007


1. Lauren Cornell: Rhizome seeks a part-time web designer
2. Lalya Gaye: CFP: 4th International Workshop on Mobile Music Technology 207
3. Turbulence: Comp_07: MIXED REALITIES :: Call for Proposals
4. kanarinka: CODE: Call for papers & proposals
5. Marisa Olson: Fwd: Curating New Media Art, Job and Studentships
6. montse arbelo: ART TECH MEDIA 07 art call

7. Emil Bach: Learning Embodiment from Film and Video Art
8. Eduardo Navas: Remix Theory Launch
9. |pieter-paul mortier|stuk|artefact|: ARTEFACT festival - 13>18 FEB 2007 - art & new media
10. CR+D: News from the Daniel Langlois Foundation
11. Randall Packer: Art as Mediation : Panel Discussion at New School

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From: Lauren Cornell <laurencornell AT>
Date: Jan 31, 2007
Subject: Rhizome seeks a part-time web designer

please circulate! thank you, Lauren


Rhizome, a leading art and technology organization, seeks a part-time (18/hour a week) web designer on an ongoing basis. Rhizome has a dynamic and participatory website currently poised for growth. The designer will be charged with upgrading elements of the site, developing interfaces for new features as well as web production. Candidates will be asked to contribute to the overall strategy of the organization, and engage in a collaborative, team environment. HTML and CSS skills necessary; experience with project management, information architecture, and usability are preferred.

Rate commensurate with experience.

Please email resume and cover letter to designjob at

Lauren Cornell
Executive Director

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Organizational memberships with Rhizome

Sign your library, university or organization up for a Rhizome organizational membership! Give your community access to the largest online archives of digital art and new media art-related writing, the opportunity to organize member-curated exhibitions, participate in critical discussion, community boards, and learn about residency, educational and professional possibilities. Rhizome also offers subsidized memberships for qualifying institutions with limited access to the Internet. Please visit for more information or contact Ceci Moss at ceci AT

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From: Lalya Gaye <lalya AT>
Date: Feb 1, 2007
Subject: CFP: 4th International Workshop on Mobile Music Technology 207


Submission deadline: 12th March 2007

Combining music and mobile technology promises exciting future developments in a rapidly emerging field. Devices such as mobile phones, Walkmans and iPods have already brought music to the ever-changing social and geographic locations of their users and reshaped their experience of the urban landscape. With new properties such as ad hoc networking, Internet connection, and context-awareness, mobile music technology offers countless new artistic, commercial and socio-cultural opportunities for music creation, listening and sharing. How can we push forward the already successful combination of music and mobile technology? What new forms of interaction with music lie ahead, as locative media and music use merge into new forms of everyday experiences?

This series of annual workshops began to explore and establish the emerging field of mobile music technology in 2004. This fourth edition of the Mobile Music Workshop in 2007 offers a unique opportunity to participate in the development of mobile music and hands-on experience of cutting-edge technology.

This year’s workshop is hosted by STEIM and Waag Society in Amsterdam, The Netherlands, and partners with the Futuresonic Festival in Manchester, England, taking place later the same week. The programme of the workshop will consist of keynote presentations from invited speakers, peer-reviewed paper presentations, poster sessions, in-depth discussions about the crucial issues of mobile music technology, demos of state-of-the-art projects, break-out sessions and live events. Registered participants will take part in hands-on sessions conducted by leaders in the field. In addition to traditional presentation sessions, the programme includes events open to a general audience, facilitating the presentation of artworks and technological breakthroughs to a wider public.

The Mobile Music Workshop sets the stage for a collaboration that brings together leading institutions in both experimental electronic music and mobile media. STEIM (the studio for electro-instrumental music) is a centre for electronic music production well known in the performing arts. STEIM promotes the idea that Touch is crucial in communicating with electronic and digital arts technologies, a vision that over the years has given birth to physical, sensor-based musical instruments. Waag Society is a research and development institute in the fields of networked art, education and creative industries. Waag develops platforms for artists to reach society through networked collaboration, media streaming, and locative media.


We invite practitioners, artists, designers, hackers and researchers from all areas, including music, technology development, new media, sound-art, music distribution, cultural/media studies, locative media and industry to submit work and register to attend.
Don't miss this chance to help shape the mobile music landscape of the future!
Participants are encouraged to submit their work in mobile music technology to the categories below. The partnership with the Futuresonic Festival ( allows those coming to Europe to make a single trip to attend both events.

* Papers

We invite submissions of workshop papers presenting new projects, approaches or reflections exploring the topic of mobile music. Potential submissions could include but are not limited to mobile music systems or enabling technologies, interface design, legal issues, user studies, ethnographic fieldwork, social implications, art pieces and other areas relevant to mobile music.
Accepted paper authors will be given a time slot during the workshop for presentation and discussion of their work.
Format: up to 8 pages in ACM SIG publications format (shorter papers welcome). For templates, see

* Posters

We also invite the contribution of posters that document work-in-progress projects or ideas in similar areas of mobile music technology as the papers.
Posters will be on display during the duration of the conference. We will arrange a poster presentation session where attendees will be able to discuss the works with the authors.
Format: 2 pages in ACM SIG publications format

* Demonstrations

We also invite submissions of work to the demo category. Besides encouraging paper and poster presenters to bring a demonstration as a complement their presentation, we encourage submissions of stand-alone demos of mobile music systems or enabling technology. Their implementation should be ready enough to be demoed, and will possibly be shown to the general public during open sessions depending on their robustness.
Format: 2 pages in ACM SIG publications format.


Please email your submission as a PDF file in the appropriate format to submissions AT
In the subject line, state MMW SUBMISSION followed by PAPER, POSTER or DEMO and the name of the main author.
Submissions will be peer-reviewed by a committee of international specialists in the fields of mobile music, interactive music, and locative media.


Submission deadline: 12th March 2007
Notification of acceptance: 2nd April 2007
Registration deadline: 16th April 2007
Final submission deadline: 16th April 2007


This year’s workshop will have both closed sessions for registered participants and sessions open to the general public. The number of participants for the closed sessions of the workshop is limited to 50 places. Accepted submitters are given priority, other participants are accepted on a first-come first-served basis. Registered participants will have automatic access to all sessions of the workshops.
The closed sessions of the workshop will be charged both a regular and a reduced student fee, similar to the last edition’s fees.

Registration deadline: 16th April 2007

The open sessions will be advertised in more detail closer to the event. The fee for the open sessions will be event-based.
Scheduling and registration fees will be coordinated with Futuresonic to allow participants to easily attend both events.


* International Steering Committee

Atau Tanaka (Sony CSL Paris, France)
Frauke Behrendt (University of Sussex, UK)
Lalya Gaye (Viktoria Institute, Sweden)

* Local Organising Committee

Kristina Andersen (STEIM, The Netherlands)
Robert van Heumen (STEIM, The Netherlands)
Ronald Lenz (Waag Society, The Netherlands)


For more information about the previous and up-coming workshops, the ACM SIG publications format as well as travel and accommodation information, please consult:

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From: Turbulence <turbulence AT>
Date: Feb 1, 2007
Subject: Comp_07: MIXED REALITIES :: Call for Proposals

Comp_07: MIXED REALITIES :: Call for Proposals
Juried International Networked Art Competition
Proposal Deadline: March 31, 2007

MIXED REALITIES: (1) a competition and series of simultaneous exhibitions
that engage users in three discrete environments: the Internet (Turbulence),
an online 3-D rendered environment (Ars Virtua/Second Life), and physical
space (Art Interactive); (2) works that evaluate the concepts "virtual,"
"simulation", and "real"; (3) a series of experiences in which participants
connect with one another and contribute to the creation of the work. Five
commissions AT $5,000 (US) each. More >>

NOTE: While collaborative projects are preferred they are not a requirement.
We have set up a FORUM for applicants to ask and answer questions and seek
collaborators. GO TO FORUM >>

JURORS: MICHAEL FRUMIN, Technical Director Emeritus, Eyebeam; NATASHA
KHANDEKAR, Director, Art Interactive; JAMES MORGAN, Director, Ars Virtua;
TREBOR SCHOLZ, Founder, Institute for Distributed Creativity; HELEN
THORINGTON, Co-Director, Turbulence. See bios >>


Proposal Deadline: March 31, 2007
Notification: Winners will be contacted after May 15, 2007
Delivery: Works must be completed by February 2008

This project is supported by a generous grant from the Andy Warhol
Foundation for the Visual Arts.

Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.:
New York: 917.548.7780 . Boston: 617.522.3856
New American Radio:
Networked_Performance Blog:
Upgrade! Boston:

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Support Rhizome: buy a hosting plan from BroadSpire

Reliable, robust hosting plans from $65 per year.

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

About BroadSpire

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

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From: kanarinka <kanarinka AT>
Date: Feb 6, 2007
Subject: CODE: Call for papers & proposals

**CODE: Call for Papers and Proposals**
Proposal Deadline: March 15, 2007

The 21st Annual Conference of the SLSA (Society for Literature,
Science, and the Arts)

-Nov. 1-4, 2007
-Portland, Maine (USA)
-Topic: CODE
-Deadline for paper and panel submissions: March 15, 2007

-Plenary Speakers: N. Katherine Hayles, UCLA; Brian Massumi, Université de Montréal

-Conference website:

Biological and algorithmic, protector of secrets and porthole to mysteries, universal and singular, code is an invitation to thought. Code can be “wet” (genetic, organic, human), “dry” (digital, mathematical, logical), something in-between, neither, or both (linguistic, symbolic, religious, moral, legal). Code is the meeting ground of strange bedfellows, the cipherer and decipherer, the domain of law and its subversion, communication and privacy. Code is about patterns, sequences, systems, translations, substitutions. It can bind, trick, and free. Modern technologies are affording us more and more keys to unlock nature’s code and more opportunities to manipulate it.

**We welcome paper and panel submissions that explore any type/aspect/nature/culture of code in any period of history. Also welcome are submissions on any aspect of science's relationship with literature and the arts, including ones presented in nontraditional formats (such as film/video, performance, music, or visual art).**

For more information, please see

From the Organizer:

Artist presentations are most welcome, although they need to be part of panel and the artist is asked to discuss his or her work for about 15mins. Each panel has 3-4 presenters, who each present for about 15mins, and then there are 15 mins for Q&A. So, we would need a brief proposal (250 words) and a title from each person; or a proposal for a panel (150 words) with title: ; or a completed panel (150 word description) and the names of the participants and the titles of the presentations.

We will have 3 rooms in the hotel dedicated to displaying the artworks of participants on the panels. One room will have 2D and 3D art, one will have digital art, and one will have sound art. Here's the link describing these rooms and the submission requirements: .

We will also have a book exhibit:

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From: Marisa Olson <marisa AT>
Date: Feb 6, 2007
Subject: Fwd: Curating New Media Art, Job and Studentships

---------- Forwarded message ----------
From: Beryl Graham <beryl.graham AT>
Date: Feb 6, 2007 7:07 AM
Subject: Curating New Media Art, Job and Studentships
To: marisa AT

University of Sunderland
School of Arts, Design, Media & Culture

Curating New Media Art

Since 1993 the School of Arts, Design, Media & Culture has had a special interest in issues for exhibiting new media art (including internet art, and interactive digital media). The CRUMB web resource for curators is now an internationally acclaimed site, which complements the postgraduate work in Fine Art, Curating and Informatics at the University. A recent AHRC Research Grant enables the continued expansion of this research, with research partners Eyebeam (New York) and Lancaster University.

Fixed-term 3 years
£20,119 - £23,187 pa
To undertake research outputs, and assist the research of the CRUMB team, and to undertake research outputs in the field of curating new media art. You will hold special responsibility for online/print research outputs, and collaborative networking.

Ref No: ADR017/1362 Closing date: 2 March 2007

An application form and Role Profile can be obtained by contacting Human Resources on 0191 515 2057 or

Curating New Media Art, and New Media Art & Programming
Fixed-term 3 years
AHRC grant of - £12,300 pa
PhD proposals including practice-led artist/curator research are invited. Applicants should meet AHRC UK/EU residency regulations.

Closing date: 2 March 2007

Further details can be found on An application form and further details on the Research Studentships can be obtained by contracting Valerie Cornell on 0191 515 3725 or email:
valerie.cornell AT

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PLATFORM international Animation Festival, a major new multi-platform event taking place in Portland, Oregon June 25-30, is inviting proposals for animated installations. Mixed-media entries welcome, as long as some element of animation is included. Detailed specifications for a range of galleries and indoor and outdoor sites in Portland`s arts district, a reclaimed industrial neighborhood known as The Pearl, are available on our website,

Entry Deadline is February 1st.

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From: montse arbelo <info AT>
Date: Feb 7, 2007
Subject: ART TECH MEDIA 07 art call


International Artist Call Art Tech M e d i a 0 7

T h e F i r s t I n t e r n a t i o n a l A r t T e c h M e d i a C o n g r e s s

Calling on all creatives of the world to participate.
Submissions will be accepted from the following categories:

- Video art
- Net-art
- 2D & 3D Computer Animation
- Blog, videoblog
- Creation for mobile platforms
- Digital Music
- Videodance

- Digital Communities
- Geospatial storytelling
- Artificial Life, Software art, Transgenic art, Generative art
In a globalised world, dominated by communication technologies, with countless questions concerning a future that affects our everyday life, it is essential to make this analysis and to consider, from different perspectives, how our polyhedral, altered reality is being effected by the widespread use of new technology as a support for new ideas and possibilities that are almost infinite. We need to investigate how this occurs in different societies and cultures and to propose models that may go beyond what has been known until now.

The First International Art Tech Media Congress has been set up in order to reflect upon and analyse questions currently being raised about art and new technological media within an international context.

Within this context, an intensive debate needs to take place on the influence and transformations that new media is producing in art, there needs to be a greater understanding of the foundations for more effective cooperation between the different sectors linked to digital art, and proposals need to be devised for the development of national and international collaborative networks in order to improve production, research, exhibition and promotion.

Last year, Art Tech Media 06 encounters had been held at nine Spanish museums, and given the great participation and the opinions collected, its seems clear that this is an ideal time to celebrate the First International Art Tech Media Conference. It represents a great opportunity to hold a transversal debate in order to devise proposals that will lead to greater and better coordination among the different sectors of art, aimed at strengthening its development.

Art Tech Media 06 headquaters: Museo Nacional Centro de Arte Reina Sofía, Museo de Arte Contemporáneo Unión Fenosa, Presidencia Gobierno de Canarias, Museo Domus Artium 2002, Centro-Museo Vasco de Arte Contemporáneo Artium, Fundación BilbaoArte, Centro Párraga, Museo de Arte Moderno y Contemporáneo EsBaluard, Centro de Cultura Contemporánea de Barcelona.



GENERAL REGULATIONS Art Tech Media 07 art call

- Works must have been produced after January 1st, 2006.
- The number of submissions is not limited.
- Works may be presented in any language. However, a transcript of dialogues
must be included in either Spanish or English,
- The organization reserves the rights to use parts of the works for media broadcasting, within the
promotional framework of artechmedia.
- Following the process of selection based on abstratcs, all participants will be notified in writing of
the result and the required format for the presentationof their work, preferably on DVD.
- Authors will be responsible for copyright of their works.
- Works selected will be exhibited in artechmedia.
- A electronic catalogue will be produced in Spanish and English, including all the works.
- Artists with works selected shall agree to assign a copy to artechmedia, which may be
used in the subsequent exhibitions.
- The organization is not responsible for the content of works in order to preserve freedom.


- Those interested in submitting work in these categories must send a completed entry form.
- The net-art AT blog, videoblog must include the URL address in the entry form.
- A part from the entry form, those interested in taking part in video art and computer animation
must also send a DVD with their work.
- Digital Music must be sent both in digital format and as a hard copy by post.
- All mail is to be sent to the office central art tech media
Art Tech c/Méndez Nuñez 102, 6ºD. 38001 S/C Tenerife. Canary Island. Spain

DEADLINE: 16th march 2007


- Works presented will be selected by a committee of the organization.
- In each category a jury composed of experts will select the works.
- Jury's decision is final, and is not open to appeal.

SELECTED WORKS must include:

- Technical credits.
- Technical requirements for its showing.
- Two colour photographs of every work sent.
- A short biography of author or representative organization.
- A transcript of dialogues in spanish or english.
- All works must include in their front page: the work's title, the delivery address, and the
data of author or representative organization.
- In case of not providing a correct delivery address, the organization will not be
responsible for the works.
- Submission of a work implies the acceptance of these regulations.

>registration form> enter
artechmedia AT


1st International Congress Art Tech Media
8-9-10-11 th may . Madrid. Spain

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

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

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

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From: Emil Bach <emilbach AT>
Date: Jan 31, 2007
Subject: Learning Embodiment from Film and Video Art

Originally published at Artificial:
Article with images and links:

Learning Embodiment from Film and Video Art
- An Interview with the Curator Joachim Jäger from Hamburger Bahnhof

Contemporary digital art and design dealing with augmented reality and embodied interfaces can learn a lot from film and video art. The large retrospective exhibition Beyond Cinema: The Art of Projection at Hamburger Bahnhof (Museum for Contemporary Art in Berlin) demonstrates that film and video art adds critical perspectives as well as vital nuances to interaction and exchange between embodied human life and technologically based media. Emil Bach Soerensen spoke with Joachim Jäger, curator at Hamburger Bahnhof, about the exhibition and about the role of moving images today. Introduction also by Emil Bach Soerensen.

In late modern culture we have witnessed how moving images have migrated from movie theatres into private as well as public spaces distributed by media such as television, computers, mobile devices, signs, commercials etc. The moving images are often remediated as responsive media reflecting the interaction of the user. As technology and the consumption of images become more advanced, the interaction increasingly involves different aspects of the user's embodied presence. At Hamburger Bahnhof visitors can experience how the connection between moving images and embodied human life has been an essential concern for film and video art from the early 1960s to present day.

Physical expressions have often been a subject for video art, which can be seen in works such as Andy Warhol's Outer and Inner Space (1965), or Bruce Nauman's Raw Material with Continuous Shift-MMM (1991). Cameras have been intimately connected to, even attached to the body by Dan Graham's Body Press (1970-1972) and Valie Export's Adjungierte Dislokationen (1973) in order to challenge the logic of the stable lens. Finally, physical movement and embodied presence of the audience in the exhibition space have often been involved directly in art experiences mediated by technology: works such as Peter Campus' Prototype for Interface (1972), or Doug Aitken's Eraser (1998).

The current trends for physical computing, augmented reality, pervasive computing, embodied interfaces etc. draw heavily on experiences from other media forms, and much can be learned about embodiment from the film and video art exhibited at Hamburger Bahnhof. If you are in Berlin for the digital media festival Transmediale.07, you should definitely consider visiting Beyond Cinema: The Art of Projection as well.

The exhibition runs until February 25th, 2007.
For more information see:

Q: We are all familiar with the scene in the traditional film theatre: we are sitting relaxed - but also physically fixated - in deep and soft chairs; the light is switched off, and for two hours we are compelled by the moving images projected on the screen in front of us. In your catalogue text you explain how film and video art from the 1960s until present day, offers alternatives to the physically 'passive' consumption of images in the movie theatre. How has the aesthetic examination of space and the physical expressivity of the human body in video art transformed the notion and the role of moving images?

A: The notion and the role of the moving image, from the early movie-days until the present time, have changed caused by a wide range of reasons. Not only artistic ideas and aesthetics have changed the modes of films or videos, but also technical inventions, philosophical ideas and the culture of everyday life. Our time today is faster than it was 100 years ago - although it was subjectively experienced as very fast already in the 'roaring twenties', but computer technology with its effect on telecommunication, and also speed transportation, has changed our perception completely. Today, we are able to process many visual signals at the same time. This ability was connected to the notion of 'modernity' for example by Charles and Ray Eames in 1964 with their famous multi-projections for the Moskau world fair. With computer window systems, the ability to read and work on several levels and 'windows' of information at the same time became common for everybody.

Artists working with projections have transferred such experiences into the open field of space. The contexts the artists explore, however, are various, whether you look at a work of Diana Thater, who always de-constructs the illusion of space in her projected videos, or you focus on Pipilotti Rist, who combines images, music, and space to an extent in which you can no longer separate these elements in her installations. These spaces of fusion have been inspired by the lounge architecture of clubs, but her popular installations have also inspired TV shows, advertisements, and urban living. The transformation of moving images never happens on a single route, but results from a constant mix of changes and interrelations.

Q: Experiencing interactive digital art installations, I often feel that the open aesthetic of these works investigate a tension between two layers/levels: one represents a direct reflection of my physical presence in the exhibition space, and the other, which perhaps is more critical, raises new aesthetic concepts and fundamentally challenges my perception. Is this relationship between immediate physical presence and aesthetic critique reflected in the film and video art you exhibit?

A: I would not separate the 'personal' experience of film and video in space from a view on a somehow 'general' aesthetic of the work. Both come together. The montage of the film, the images chosen, the theme of the work, the way the film is projected, the medium - whether film or video, the architecture, the sound, the openness of the space – all these aspects merge into one large aesthetic. To show these dimensions of film in time and space on a professional museum level was in fact one reason to make this show.

The title Beyond Cinema stands for a wide variety of modes of perception. Looking at an installation by Doug Aitken, for instance, means that you cannot overlook the total work. You have to move to see all elements of the work - missing some images while you see others. Viewing a projected multi-screen film work is therefore closer related to the experience of theatre and performance. There is no singular view, there are many, depending on your position, your relation to time and space. Of course, you could describe the filmed tour of Doug Aitken through the island of 'Montserrat' as it is presented in the seven films of the installation Eraser, but then you would only experience one aspect of this work. The narration would not reflect the full connotations of the installation. In order to grasp the full experience, you have to take into account where you stand inside the installation, and at what you are looking at in this or that moment. To sum up, I would say that project!
ed art is perceived in highly subjective ways - and by that reflects our contemporary and very individualized existence.

Q: How do you think an art exhibition like this can inspire people outside the traditional arts sphere to think more critically and creatively about the relationships between technology, media and the complex life of human beings?

A: Contemporary life is very much affected by media influences: what we wear or eat, how we dress, what kind of books we read, or what we like to see in the movies. All this is pre-coined through media coverage in papers, magazines, ads and television. Especially images - large-scale and multi-reproduced images - play a central role in this media stream of everyday-life. In great cities, like New York, London, Tokyo and partly also in Berlin, we are surrounded, not only by still images, but also by ever moving images: moving images displayed on flat screens, on info screens, or large-scale-projections on buildings or banners. Often we experience our own movement through the city by reacting on those images, defining our position, navigating through them by looking at them, or demonstratively overlooking them.

An exhibition like Beyond Cinema, which is so much based on the interaction of space and images, is a reaction on that experience. Or better: the artists who created film and video installations decided to project into space, because they realized how much in our life we relate to projected images. So they created works of art in which the parameters of space and projection, image and sound, as well as scale and distance play a central role. Experiencing these dimensions in an exhibition, in the abstract and somehow ideal sphere of the arts, will hopefully bring inspiring thoughts and reflections about our everyday-life, and about the constant use of moving images in our urban environments.

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From: Eduardo Navas <eduardo AT>
Date: Feb 1, 2007
Subject: Remix Theory Launch

Remix Theory is an online resource by Eduardo Navas that offers some of his
research on Remix.

Navas focuses on Remix itself as opposed to Remix Culture. In this site you will find a brief definition of Remix, which is examined more extensively in essays that will be added to this website as they become available.

Remix Theory is not meant to function on a daily basis. It is a resource updated periodically, according to the flow of research. It does not focus on the latest information, but on relevant material to the history of Remix, some which may have been published years ago. The site contains material that is obtained from other online sources, with the proper reference to the original source. The content of the site consists of reviews, articles, projects and images relevant to Remix. The site also features reviews, criticisms and preliminary theories by Eduardo Navas.

Remix Theory is designed to move towards a remix of itself, by recombining much of the material that is archived to put to test the possibilities of Remix. This will become transparent as the database grows, and specific projects are developed. The site is designed to host, archive and promote projects which explore the current possibilities of Remix online and offline; it is prepared to become a repository of collaborations with different people and institutions.

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From: |pieter-paul mortier|stuk|artefact| <pieter-paul.mortier AT>
Date: Feb 2, 2007
Subject: ARTEFACT festival - 13>18 FEB 2007 - art & new media

13>18 Feburary 2007
festival for ART & NEW MEDIA
STUK arts centre
Leuven - Belgium

Presence and absence. Visible and invisible. This year, ARTEFACT focuses on artists working within these fields of tension. When do things become invisible, or where are they appearing? The confrontation with the visitor's view is most important and the art works very often seem to look back. STUK is filled with empty, but promising spaces, images and constructions. Mirrors and virtual mirrors appear everywhere. Light surprises in the dark. See or don't see, but come and watch.

During the ARTEFACT festival, an experimental program is presented throughout the STUK building. The international program doesn't focus on 'new technology' as such. It rather places themes and research areas in the field of new media in a larger context.

Wesley Meuris - the incredible nightlife in the tropical forest / Jim
Campbell - home movies - divide - reconstruction / Maurice Van
Tellingen - monitor - loudspeaker - venster / Michael Snow - solar
breath (northern cariatyds) / Christophe Girardet - absence / Rafael
Lozano-Hemmer close up / Matthias Müller - phantom / Lawrence Malstaf -
tollen / Jonathan Schipper - invisible sphere / Wim Janssen - slightly
displaced, yet still focused / Workspace Unlimited -
spac(e)scapes_mirror / John F. Simon, JR. - every icon / Vuk Cosic -
ascii history of moving images / Zoe Beloff - the ideoplastic
materializations of eva c. / Victor Kossakovsky - svyato / Sam
Taylor-Wood - prelude in air - ascension - strings / Herman Asselberghs
- futur antérieur

Brice Leroux - quantum quintet / Arco Renz - P.O.P.E.R.A / Monolake -
studies for thunder live / Jaap Blonk & Golan Levin - ursonography

Tapio Mäkelä / TROIKA / Peter Westenberg / Marc Godts

Bernard Parmegiani / Bernhard Günter / Ictus - for Philip Guston -
Morton Feldman / Thomas Brinkmann - klick live / Sleeparchive / Kode9
+ the Spaceape / Virus Syndicate / Nathan Fake / Andy Stott

more info on:

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From: CR+D <crd AT>
Date: Feb 5, 2007
Subject: News from the Daniel Langlois Foundation

2007 Researchers in Residence

The Foundation is pleased to announce the three 2007 recipients for residencies in Montreal:

Lizzie Muller (Sydney, Australia) and Caitlin Jones (New York, NY, United States) were selected for the Grants for Researchers in Residence program. The residencies will be conducted at the Foundation's Centre for Research and Documentation (CR+D) in Montreal.

Vishal Rawlley, an artist from Mumbai (India), was selected for the Research and Experimentation Residencies in Montreal for Professional Artists from Emerging Countries or Regions. This residency is offered jointly by the Foundation and the Montreal based artist-run centre OBORO. Beginning in April 2007, the recipient will spend two months in Montreal conducting research and technical experimentation at OBORO's studios and laboratories:

9 Evenings Reconsidered at the Leonard & Bina Ellen Gallery (Montreal)

Through its financial support and the loan of artifacts from its collection, the Foundation has made possible the presentation in Montreal of the exhibition 9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966.

Originally presented at the MIT List Visual Center (Cambridge, MA, U.S.) in 2006, 9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966 will be featured at Concordia University's Leonard & Bina Ellen Gallery from March 7 to April 21, 2007.

Organized by independent curator Catherine Morris, the exhibition will showcase extensive archival material associated with this event and offer various viewpoints of the 10 performances presented at the 69th Regiment Armory in 1966. The Foundation has loaned a number of objects and materials from its 9 Evenings: Theatre and Engineering fonds to the exhibition, including, among others, a sample of the factual footage produced by Alfons Schilling, stage props, technological components, and technical drawings by engineer Fred Waldhauer.

Conferences and round table discussions will also be held during the 9 Evenings Reconsidered exhibition. An illustrated catalogue accompanies the exhibition.For more information, please consult the Web site of the Leonard & Bina Ellen Gallery:

Video documentation of the 2006 Matinées-Conferences

In 2006, the Foundation held two conferences in the Fellini Theatre of the Ex-Centris Complex, and video footage of these is now available online.

On May 27, 2006, Hubert Reeves, astrophysicist, and Nicolas Reeves, artist and designer, presented Voyageurs étonnés, chercheurs et créateurs au seuil de l'inconnu.

On October 28, 2006, Clarisse Bardiot, a 2005 researcher in residence at the Foundation, presented Les artistes et les ingénieurs dans 9 Evenings: Theatre and Engineering, New York, 1966 :

Digitized documents in the 9 Evenings: Theatre and Engineering fonds

Digitized versions of documents pertaining to the engineer Fred Waldhauer in the 9 Evenings: Theatre and Engineering fonds are accessible on the Foundation's CR+D web site.

For 9 Evenings, Waldhauer created the Proportional Control System (P.C.S.) used by David Tudor in Bandoneon! (a combine). This interface was comprised of a plotting board, 16 receivers and an electronic pen to allow numerous components in the Armory to be remotely controlled. Notably, Tudor used the device to spatialize the sound tracks and adjust the volume from one speaker to another:

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From: Randall Packer <rpacker AT>
Date: Feb 6, 2007
Subject: Art as Mediation : Panel Discussion at New School

Art as Mediation
Thursday, February 15, 2007, 6:30 - 8:30 p.m.
The New School, Michael Klein Room
66 West 12th Street, 5th floor
New York City
Admission: $8, free for all students as well as CAA attendees and New School faculty, staff and alumni with valid ID

Art as Mediation explores how communications and new media are increasingly employed in the arts to engage, connect, and empower global audiences in times of crisis. The panel features artists, theorists, writers, thinkers and critics from different backgrounds, and is moderated by artist Randall Packer.

As ruptures from world crises deepen, more people look to alternative models for exchange and mediation. Technological means have recently surfaced in the arts that successfully bridge social, cultural, and political differences. Different disciplines come into play, in questioning, challenging, and experimenting with social and political change. How do artists, curators, and theorists use telecommunications technology proactively? How do peer-to-peer networks, on-line social spaces, and blogs lead to participation and empowerment? How are artists using electronic systems to reposition the notion of dialogue and to define dialogue as mediation that counters or disrupts stereotypes and dangerous ideologies?

Steve Dietz, curator and Director, Zero-One, San Jose, CA
Carin Kuoni, curator and Director, Vera List Center for Art and Politics, New School, New York
Drazen Pantic, internet activist, Co-Director, Location One, New York
Jon Winet, artist and Professor, University of Iowa

Randall Packer, artist, Assistant Professor, Department of Art,
American University, Washington D.C., Secretary-at-Large, U.S.
Department of Art & Technology

Presented on occasion of the College Art Association's 95th Annual
Conference in association with the New Media Caucus.

Randall Packer
Assistant Professor, Multimedia
Department of Art
American University, Washington DC
Secretary-at-Large, US Department of Art & Technology

Email: rpacker AT
AU: 202.885.2773
Studio: 202.342.1292
Cell: 202.439.4306

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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 ISSN: 1525-9110. Volume 12, number 5. Article submissions to list AT are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT

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