The Rhizome Archive | Rhizome Digest: Highlights from the New Media Art Field

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: 2.28.07
From: digest@rhizome.org (RHIZOME)
Date: Wed, 28 Feb 2007 16:45:56 -0800
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: February 28, 2007

Content:

+note+
1. Patrick May: Director of Technology's Report, February 2007

+opportunity+
2. susana mendes silva: job at MIT, Ass. Prof. of Visual Arts
3. Frauke Behrendt: Submission Deadline FOURTH INTERNATIONAL WORKSHOP ON MOBILE MUSIC TECHNOLOGY 2007
4. tilt AT jjfab.com: Call for Artists - Tilt Gallery and Project Space
5. Sarah Kanouse: Call: ENCLOSURE, EMANCIPATORY COMMUNICATION AND THE GLOBAL CITY
6. centre AT catart.org: residency
7. alexewhite AT gmail.com: Electrofringe call for proposals

+announcement+
8. marc: Opening at HTTP Gallery: Do It With Others (DIWO)
9. Paul Green: . [ dot ] party at the Hayward
10. Turbulence: OurFloatingPoints 4: Participatory Media :: Ulises Mejias and Trebor Scholz
11. Mendi+Keith Obadike: Mendi+Keith Obadike Launch Big House / Disclosure
12. Hein Bekker: ICEBOX 02 Cape Town, February 28 - March 10 (week 1)

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1.

From: Patrick May <patrick.may AT rhizome.org>
Date: Feb 22, 2007
Subject: Director of Technology's Report, February 2007

Hello,

I'd like to thank everyone who contributed to our Community Campaign. It gave us great momentum into the new year, which kicked off with upgrades to the ArtBase and Commissions programs.

== ArtBase

The structure of the ArtBase Metadata has been simplified to use two fields: Rhizome Terms and Artist Terms which exist side by side.

The Rhizome Terms represent the vocabulary that has been available since the ArtBase was founded. This field merges the subsets of genre, type and keyword. Artist Terms is a new field that allows artists to label their work with whatever terms they feel appropriate. By combining these two systems, historical continuity is maintained while giving artists a richer ability to describe their own works.

There is now a tag cloud of the ArtBase which presents the most active terms across these two fields. :D

We invite all artists with works in the ArtBase to re-index their artworks:

http://rhizome.org/submit_artwork/user_admin.php

As particular Artist Terms gain momentum and popularity, we will add them to the Rhizome Vocabulary. We have yet to determine the exact process for adding these terms, as we'd like to see how things play out.

== Commissions

Lauren already mentioned this year's Commissions Program, but just to reiterate -- the 2007 Commissions cycle has begun! In response to feedback from last year's cycle, this year will be a little different.

+ This year there are two categories of awards: one for an Artist project, and another for a Community enhancement.
+ The first stage of voting will take place on the proposal web pages, via a Javascript include.

For details and links, visit the commissions page:

http://rhizome.org/commissions/

== Upcoming developments

We are planning a future metadata upgrade to the Textbase, as well as other visible improvements to the site. These projects are in the early planning stages.

Finally, I am happy to share technical details about these projects if anyone is interested. Let me know if you have any questions!

Cheers,

Patrick

--
Patrick May
Director of Technology
Rhizome
210 11th Ave, 2nd floor
New York, NY 10001
+1 (212) 219-1288 x202
mailto:patrick.may AT rhizome.org
http://rhizome.org

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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 http://rhizome.org/info/org.php for more information or contact Ceci Moss at ceci AT rhizome.org

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2.

From: susana mendes silva <arslonga AT netcabo.pt>
Date: Feb 22, 2007
Subject: job at MIT, Ass. Prof. of Visual Arts

>
> FYI and please forward.
>
>
> ASSOCIATE PROFESSOR OF VISUAL ARTS
>
> Visual Arts Program, Department of Architecture,
> Massachusetts Institute of Technology
>
> The Massachusetts Institute of Technology is seeking an individual of
> international
> standing and critical acclaim to join the faculty of its Visual Arts
> Program. We seek
> a colleague who is a practicing artist and who also has experience
> teaching at the
> college, university or art school level. This appointment will be a
> tenured or tenuretrack
> position of Associate Professor.
>
> MIT's Visual Arts Program develops critical analytical and visionary
> strategies in artistic practice
> within the context of the advanced scientific and engineering
> community of MIT. Students and
> faculty alike are drawn to the program because of the
> transdisciplinary opportunities found in
> this unique environment. The faculty is composed of highly renowned
> artists with active, international
> careers in artistic production and a strong interest in
> cross-discipline debate and modes
> of production. MIT students are diverse, intellectually gifted and
> highly motivated. Undergraduates
> come from a variety of scientific and technical fields from across
> the Institute. Graduate
> enrollment includes not only the program's own master's students, but
> also students from
> Architecture, the Media Lab, Comparative Media Studies and other
> academic units.
> The Visual Arts Program is uniquely positioned under the aegis of the
> School of Architecture
> and Planning and within the Department of Architecture. This
> structure provides ample opportunity
> to explore collaborative relationships and create links with a
> variety of disciplines including
> Architectural Design, History, Theory and Criticism, Urban Studies
> and Planning and the
> Media Lab, as well as other internationally recognized research and
> teaching units. The
> program collaborates closely with CAVS (Center for Advanced Visual
> Studies) where affiliates
> pursues a wide range of research, experimentation and production.
> The successful candidate will teach introductory and advanced courses
> and should also be prepared
> to teach enthusiastically in one of the program's first year
> foundation courses. In addition,
> the ideal candidate will be expected to participate in further
> developing the activities, educational
> structure and methodologies of the Visual Arts Program, including the
> expansion of the
> Master's degree program and the development of a transdisciplinary
> Bachelor's degree. The
> candidate should be inspirational, inclusive, knowledgeable and
> articulate in historical and contemporary
> issues of art, visual culture and related fields. He or she must be
> committed to working
> constructively with all facets of the program and be able to coach
> students with highly interdisciplinary
> interests.
>
> Minimum Qualifications
> · Master of Fine Arts degree or equivalent
> · International recognition as a practicing artist
> · Experience teaching at the college, university or art school level
> · Knowledgeable and articulate in historical and contemporary
> issues of art,
> visual culture and related fields
> · A proven track record of successful collaborative and
> interdisciplinary projects
> · Experience developing new curriculum or growing academic programs
> preferred
>
> This position is a unique opportunity to engage, interact and inspire
> undergraduate students
> from a variety of cultures and disciplines, as well as to mentor an
> exceptional group of graduate
> students in the visual arts. We are seeking candidates of diverse
> backgrounds and approaches,
> who are passionate about community building and who have an interest
> in collaborative
> projects crossing to other fields. The appointment can begin as early
> as fall 2007.
>
> Please submit a letter of application, supportive material and the
> names of at least four
> references to: Professor Ute Meta Bauer, Director, MIT Visual Arts
> Program,
> 265 Massachusetts Avenue N51-328, Cambridge, MA 02139.
> Review of applications will begin March 15, 2007. Materials will be
> returned if a self-addressed
> stamped envelope is enclosed with the application. Applications from
> women and minority
> candidates are strongly encouraged. MIT is an Affirmative Action /
> Equal Opportunity Employer.
>
> MIT Visual Arts Program
> Department of Architecture
> 265 Massachusetts
> Avenue, N51-328
> Cambridge, MA 02139
> USA
> +1-617-253-5229
> Further information on
> VAP can be found at:
> web.mit.edu/vap/
>
>
>
> Ute Meta Bauer, Director and Associate Professor
> MIT Visual Arts Program, Department of Architecture
> <mailto:umb AT mit.edu>umb AT mit.edu
> Office: (617) 253-5229, direct line: (617) 452-2764, Fax: (617)
> 253-3977
> 265 Mass. Ave., Bldg. N51-334, Cambridge, MA 02139-4307, USA
>
> <http://web.mit.edu/vap/flash.html>http://web.mit.edu/vap/flash.html
>
>

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3.

From: Frauke Behrendt <f.behrendt AT sussex.ac.uk>
Date: Feb 22, 2007
Subject: Submission Deadline FOURTH INTERNATIONAL WORKSHOP ON MOBILE MUSIC TECHNOLOGY 2007

FOURTH INTERNATIONAL WORKSHOP ON MOBILE MUSIC TECHNOLOGY 2007
6-8 MAY 2007, AMSTERDAM, THE NETHERLANDS
http://www.mobilemusicworkshop.org/

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.

CALL FOR PARTICIPANTS AND WORKS

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 (http://www.futuresonic.com/) 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 http://www.acm.org/sigs/pubs/proceed/template.html

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.

SUBMISSIONS

Please email your submission as a PDF file in the appropriate format to submissions AT mobilemusicworkshop.org.

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.

DEADLINES

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

REGISTRATION & FEE

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.

ORGANISERS

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)

MORE INFORMATION

For more information about the previous and up-coming workshops, the ACM SIG publications format as well as travel and accommodation information, please consult:
http://www.mobilemusicworkshop.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: tilt AT jjfab.com <tilt AT jjfab.com>
Date: Feb 23, 2007
Subject: Call for Artists - Tilt Gallery and Project Space

Tilt Gallery and Project Space is currently seeking submissions for the juried exhibition Soft. Artists are invited to submit up to three images for consideration. The gallery is interested in showcasing new work that addresses the intellectual or perceptual interpretation of "soft". Two- and three-dimensional work in all media is eligible for consideration.
Juror: Kristan Kennedy, Visual Art Program Director for PICA.

Please contact the gallery for prospectus www.tiltpdx.com

Deadline: April 15.

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5.

From: Sarah Kanouse <sarahk AT readysubjects.org>
Date: Feb 23, 2007
Subject: Call: ENCLOSURE, EMANCIPATORY COMMUNICATION AND THE GLOBAL CITY

ENCLOSURE, EMANCIPATORY COMMUNICATION AND THE GLOBAL CITY:
AN INTERNATIONAL CONFERENCE OF THE UNION FOR DEMOCRATIC COMMUNICATIONS*

* *

* Hosted by the School of Communication, Simon Fraser University *

* October 25-28, 2007 *

*PROPOSAL DEADLINE: MARCH 15, 2007*

The field of culture and communication manifests struggles between contradictory tendencies. On the one hand, pressures from capital and state sometimes promote various forms of /enclosure/ -- the private appropriation, suppression or marginalization of socially-produced public expression. Enclosure comes in many guises: the commodification of information; concentration and hyper-commercialism in media industries; the corporatization of universities; restrictive "intellectual property" regimes; or market authoritarianism as a mode of governance.

On the other hand, progressive forces, from artists and academics to broad social movements, are not only resisting such enclosure, but developing practices and policies that prefigure/ emancipation/ -- new ways of re-organizing culture and communication democratically. These include struggles over alternative media, state cultural policies, communication rights, reform of media and cultural institutions, audience empowerment, urban public space, and much else.

At the nexus of changing national cultures and policies, of transnational migrations and markets, of media flows and audiences, of consumption and surveillance, the /global city/ is emerging as a key site for such contestation.

The Union for Democratic Communications invites proposals, from artists, activists and media scholars, for presentations, roundtables, workshops and panels that examine and critique the relationship between forces of enclosure and emancipation, especially in the context of the global city (broadly defined). Other topics relevant to democratic communication are also very welcome.

The keynote address will be delivered by Mike Davis, author of /City of Quartz/, /Ecology of Fear/ and, most recently, /Planet of Slums/. Other featured speakers, including Dan Schiller, Nick Dyer-Witheford and Dee Dee Halleck (UDC Smythe Award recipient), will be complemented by presenters on a wide range of topics, video and other media presentations, and interaction with local activist and artistic groups concerned with democratizing communication. The conference coincides with Vancouver's annual Media Democracy Day, featuring an Independent Media Fair at the city's architecturally acclaimed public library.

For the first time, the UDC conference will be held in downtown Vancouver, Canada, hosted by Simon Fraser University's School of Communication; co-sponsors include the SFU Institute for the Humanities and the British Columbia Libraries Association. Vancouver is about 120 miles north of Seattle, and offers direct flight connections to many cities in Canada and the US. Vancouver is surely a 'global city': Canada's "gateway to the Pacific" and host to the upcoming 2010 Winter Olympics, perched amidst spectacular mountain and coastal scenery and recreation, but also home of Canada's poorest urban district and historically an incubator of influential social movements.

Proposals are invited for both individual papers and panel or workshop sessions. Individual paper proposals should include a title, a brief (maximum 250 word) abstract of the presentation, and contact information including name, title, institution, mailing address, telephone, fax and email address. Panel session proposals should include titles, contact information, and a brief (maximum 250 word) abstract for /each/ panel member; they should also include a short (maximum 100 word) description of the overall panel theme and contact information for the panel chair. Proposals from artists for individual presentations or panel sessions should also include samples of the work to be presented. Please identify any audio-visual needs in your proposal as we may not be able to accommodate later requests.

All proposals should be submitted by email to udc2007 AT sfu.ca in the form of a Word or PDF attachment.

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6.

From: centre AT catart.org <centre AT catart.org>
Date: Feb 26, 2007
Subject: residency

Cat’Art, international centre for research and creation
Visual arts, writing, performing arts, music…

Cat’Art is a place where the diversity of the art expressions is encouraged and where the exchanges between cultures from all over the world can be developed, so that the art expression remains a universal language.

There are still opportunities of residency in spring 2007 at Cat’Art.
Application open to professional artists only, for temporary stays from 2 weeks to 1 year.
Average residency fee: 600 € (lodging, studio and energy costs included). Detailed estimation of costs on request.

Every resident has his/her own independent bedroom with common cooking facilities.

Space for the creation:
9 independent studios from 30 to 200 m2;
3 individual rooms for writers;
a 140 m2 room with excellent natural light and good show conditions to visualize the works;
a specialized library with permanent Internet connection.

The environment is exceptional (unspoilt nature, mountains, lake, in the south of France). The region has a rich historical background (Cathar castles, old city of Carcassonne and above all the cave of Niaux with its original paintings). Close by cultural centres, like Toulouse, Montpellier, Barcelona.

More details and application to residency on our website www.catart.org

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Rhizome.org 2005-2006 Net Art Commissions

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

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

http://rhizome.org/commissions/

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

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7.

From: alexewhite AT gmail.com <alexewhite AT gmail.com>
Date: Feb 28, 2007
Subject: Electrofringe call for proposals

Electrofringe (Newcastle, Australia) 2007 is now calling for proposals for this year’s festival from artists, media makers, curators, researchers, writers, producers, enthusiasts... anyone really. Also we are calling for submissions of both online works and screen works for inclusion in this year's festival.

DEADLINE FOR PROPOSALS - SATURDAY MARCH 31

DEADLINE FOR ONLINE AND SCREEN WORKS - THURSDAY MAY 31

Click here for details:
http://www.electrofringe.net/

Electrofringe is a 5-day festival of electronic arts and culture featuring national and international artists and occurring as part of the ‘This Is Not Art’ festival in Newcastle, NSW, Australia. The festival is dedicated to unearthing emergent forms, presenting innovative work and encouraging participants to explore technology collaboratively through skills development and exchange.

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8.

From: marc <marc.garrett AT furtherfield.org>
Date: Feb 21, 2007
Subject: Opening at HTTP Gallery: Do It With Others (DIWO).

You are invited to attend the gallery opening of . . .
Do It With Others (DIWO): E-Mail-Art from the NetBehaviour List.
==================================================
HTTP Gallery, London : http://www.http.uk.net
Thursday 1st March 7-9pm (Unprivate view)

Exhibition dates: 2nd March - 1st April
Gallery opening hours: Friday - Sunday: 12noon - 5pm

Directions to HTTP Gallery: http://www.http.uk.net/docs/gettingto.shtml
============================================
For information about the DIWO co-curating event this Sunday (25th Feb)
please see http://www.http.uk.net/DIWOcurating.shtml
============================================
+
+
============================================
The Do It With Others (DIWO) E-Mail-Art exhibition aims to highlight the already thriving imaginations of those who use social networks and digital networks on the Internet as a form of distribution. Just like Mail Art, E-Mail-Art bridges the divide between artists and non artists to share a freely accessible form of distribution.

The Mail Art projects of the 60s, 70s and 80s demonstrated Fluxus artists' common disregard for the distinctions of 'high' and 'low' art and a disdain for what they saw as the elitist gate-keeping of the 'high' art world. They often took the form of themed, 'open calls', in which all submissions were exhibited and catalogued. Mail Art has always been a useful way to bypass curatorial restrictions for those who wish to create active and imaginative exchange on their own terms; this form of activity usually flourishes outside of the gallery system.

This E-Mail-Art exhibition, intends to follow the spirit of past Mail Art endeavours by asking those submitting their works to open themselves to a shared dialogue as part of the process and medium on the NetBehaviour mail list, as a playful platform for experimentation together at the same time.

The theme of this E-Mail-Art project is Do It With Others (DIWO).

This project suggests that we extend the DIY ethos of some early net art and tactical media, towards a more collaborative, DIWO approach. Peers connect, communicate and collaborate, creating controversies, structures and culture using both digital networks and shared physical environments.

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9.

From: Paul Green <paul.green AT gmail.com>
Date: Feb 25, 2007
Subject: . [ dot ] party at the Hayward

Digital Dialogues

Saturday 3 March 2007
The Hayward, 6pm - 12am with last entry at 10pm

A stream of visual and aural sensations to feed your drive for digital:

Plus an audiovisual-breakbeat performance from Addictive TV, who were twice voted the world's number one VJs by DJ Mag, deep club and Resonance FM DJ Nick Luscombe, interventions by artists Miltos Manetas and Robin Tarbet, a chance to get it all off your chest with the Talkaoke, a digital portrait studio, Barby Asante and the Funk Chorus, indie pop band Magic 8 and artwork by Neasden Control Centre and Black Convoy.

Plus film and art made by Lambeth residents as part of Digital Dialogues

For news on projects at The Hayward visit www.haywardprojects.blogspot.com

FREE entry but booking essential.
Lambeth residents can book by email: seethrough AT southbankcentre.co.uk.
Box Office for non-Lambeth residents: 0871 663 2500, www.southbankcentre.co.uk or in person at the Southbank Centre.
A fee of £1.50/£2 applies to telephone/website transactions.

.[ dot ] party is part of Digital Dialogues, an education programme supported by Lambeth Education Business Partnership's Digital Inclusion Programme, and 100 ideas, a festival of ideas and debate at Southbank Centre

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10.

From: Turbulence <turbulence AT turbulence.org>
Date: Feb 26, 2007
Subject: OurFloatingPoints 4: Participatory Media :: Ulises Mejias and Trebor Scholz

Emerson College and New Radio and Performing Arts, Inc./Turbulence.org
present:

OurFloatingPoints 4: Participatory Media: Ulises Mejias and Trebor Scholz:
"The Challenges and Affordances of Participation in the Age of Networked
Individualism"
http://institute.emerson.edu/floatingpoints/

DATE: February 28, 7 pm
VENUE: Emerson College, Bordy Theater, 216 Tremont Street, Boston
Streamed live online and broadcast to Second Life!
Free and open to all!

This Floating Points event will start with Ulises Mejias and Trebor Scholz both presenting their positions about opportunities and problems with participation in sociable web media. They will then discuss each others argumentation and end with a debate open to the public at large.

The sheer scale of current networked sociality demonstrates the potential of sociable web media to democratize society through emerging cultures of broad participation. While phenomena like information overload accompanied the emergence of communication technologies for a very long time, this current social turn is new. Millions of people can now perform themselves as speakers, which is more pertinent than the question of quality or even political orientation of the produced content. In his presentation, titled "The Participatory Challenge," Trebor Scholz will investigate the affordances of sociable web media by looking at examples of the different intensities and motivations for participation in sociable web media and their effects.

Is production the new consumption? In "Networked participation: Wisdom of crowds or stupidity of masses?" Ulises Mejias will assess whether sociable web media can live up to its promise of reinvigorating the public sphere. While participatory networks are certainly posing an alternative to the ways in which the old mass media generates and disseminates messages, there is increasing skepticism about their ability to transform this aggregation of (mostly self-referential) information into meaningful social change. Furthermore, participatory media networks run the risk of being appropriated by the same mass media networks that contribute to the alienation of the individual within society. To understand why this is happening, we need to engage in a critique of the network as a model for organizing social realities. Only then will we be able to conceptualize new social realities that incorporate the best of networked participation with other ways of being in the world.

Ulises Ali Mejias is an educator and technocultural theorist whose research interests include networked sociality, the philosophy of technology, and learning design. He is a doctoral candidate at Columbia University, where he has taught a graduate seminar on the affordances of social media. His dissertation, "Networked Proximity: ICT's and the Mediation of Nearness" deals with the redefinition of social relevancy by digital media and explores the limits of the network as metaphor and model for organizing social realities. Mr. Mejias has been nominated two years consecutively for an EduBlog award.

Trebor Scholz is a media theorist, artist, and activist who lectures internationally on the affordances of networked sociality for media activism, art, and education. As founder of the Institute for Distributed Creativity (iDC), he contributed essays to several books, journals, and periodicals and co-edited "The Art of Free Cooperation," forthcoming with Autonomedia (NYC). He is currently assistant professor and researcher in the Department of Media Study at the State University of New York at Buffalo and research fellow at the Hochschule fuer Kunst und Gestaltung, Zurich (Switzerland).

For more information about the series, please visit
http://institute.emerson.edu/floatingpoints/
Contact: jo at turbulence dot org

Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 . Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

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11.

From: Mendi+Keith Obadike <mendi AT blacknetart.com>
Date: Feb 27, 2007
Subject: Mendi+Keith Obadike Launch Big House / Disclosure

For Immediate Release
MENDI + KEITH OBADIKE LAUNCH BIG HOUSE / DISCLOSURE
a 200-hour long house song with the voices of Chicago-area Citizens

WHEN: March 1st- 8th
WHERE: Northwestern Univ. Campus – Kresge Hall and online at
http://Blacknetart.com/Bighouse.html
CONTACTS: office AT blacknetart.com (blacknetart.com) &
w-leopold AT northwestern.edu, 847-491-4890 (Northwestern Office of
University Relations)

Mendi + Keith Obadike (born 1973, USA) make interdisciplinary art works using live art, music, literature, and new media. One of their better-known projects is Blackness for Sale, in which they auctioned Keith’s blackness on eBay. Mendi + Keith were commissioned by Northwestern University’s Art Theory and Practice Department to create a new work, Big House / Disclosure, an intermedia suite featuring a 200-hour long house song that will be heard in real-time from March 1st-8th in Kresge Hall on Northwestern’s campus and online at http://www.blacknetart.com/Bighouse.html. This work was created in honor of the 200th anniversary of the abolition of the British Slave trade in 1807 and Chicago’s role as the first city in the United States to adopt a Slavery Era Disclosure Ordinance in 2002, requiring businesses seeking city contracts to disclose whether they have profited from slavery.

Big House / Disclosure was constructed using audio interviews conducted by Northwestern University students with Chicago-area citizens about slavery and the city’s slavery era ordinance. Mixing these interviews with elements of Chicago house music, the artists created a multi-channel sound installation. The project includes 200 video clips of live art and musical performances viewable from the website (http://blacknetart.com/BigHouse.html). Musical events in the sound installation are triggered by custom-designed software tracking the real-time rise and fall stock prices of several corporations that have admitted to profiting from slavery.

Keith Obadike received a BA in Visual Art from North Carolina Central University and an MFA in Sound Design from Yale University. Mendi Obadike received a BA in English from Spelman College and a Ph.D. in Literature from Duke University. They have received a Rockefeller New Media Art Fellowship and commissions from the Whitney Museum of American Art, Whitechapel Gallery of London, Electronic Arts Intermix, and The New York African Film Festival. Their Internet opera, The Sour Thunder, was commissioned by Yale University, broadcast in its’ entirety in (104.5 fm) Berlin, and released by Bridge Records in 2004. In 2005 they launched Four Electric Ghosts, an opera produced by Toni Morrison’s Atelier at Princeton University, and in 2006 they performed a live sound art transmission from the Amory Art Show in New York commissioned by the Franklin Furnace. Big House / Disclosure has been generously supported by a Pick-Laudati Award from Northwestern University.

http://www.northwestern.edu/newscenter/stories/2007/02/slavery.html
###

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12.

From: Hein Bekker <hein AT liquidfridge.co.za>
Date: Feb 26, 2007
Subject: ICEBOX 02 Cape Town, February 28 - March 10 (week 1)

This week's events at ICEBOX in Cape Town. www.liquidfridge.co.za has
the rest of the line-up, which I'll post next week.

See you there,
Hein Bekker

...

ICEBOX 02 Cape Town

Date: February 28 - March 10, 2007
Venue: Various
Web: www.liquidfridge.co.za

Liquid Fridge presents a festival of contemporary creativity in audio/visual art. With the focus on the electronic, open and South African, ICEBOX combines music, film, video and interactive media through a programme of screenings, performances, club nights, workshops and an exhibition.

ICEBOX 02 Cape Town features music-makers, free thinkers and electronic tinkerers Bernhard Loibner (Austria), Brendon Bussy, Com.it, CY Cowboys, Garth Erasmus, Heather Ford (Johannesburg), Dean Henning (Durban), Julian Jonker, Rebecca Kahn (Johannesburg), Microstripe, MTKidu (Johannesburg), Radioboy, Story Boy, and many other proponents of eclectic sounds and plush pixels.

Supported by the Austrian Consulate Cape Town, CAPE Africa Platform, iCommons and netbek. Press support by BRAND, Enjin and one small seed, and online by Kak Duidelik and Swikiri. With thanks to alt film, Bell-Roberts, INTERFACE, Magmart, MTKidu and rustpunk.

Visit www.liquidfridge.co.za to learn more.

ICEBOX 02 Screening

Venue: Labia on Kloof, Lifestyle on Kloof, 50 Kloof Street, Cape Town
Date: Wednesday, February 28 at 8.30pm
Cost: R25

An evening of innovative short-form narratives, documentaries, music
videos and animations by over 20 independent creators from South Africa
and abroad.

Featuring both award-winning and rarely seen work, the line-up includes Ana Alvarez-Errecalde (ES), The Blackheart Gang (SA), Jaco Brouwer (SA), Tessa Comrie (SA), Fopspeen (SA), Goldfish/Iaminawe (SA), Kidult (SA), Dmitry Kmelnitsky (US), Lark/Ontwerp (SA), Chris Moore (SA), Giorgio Partesana (IT), Andrew Schnetler (SA), Mike Scott (SA), Daniel van der Merwe (SA), Lisa Vinebaum (CA), Tina Willgren (SE) and Dale Yudelman (SA), as well as Microcinema International's "Independent Exposure" series and the Magmart video art festival (IT).

ICEBOX 02 Exhibition

Venue: Bell-Roberts CUBE Gallery, 89 Bree Street, Cape Town
Date: Opens Thursday, March 1 at 6pm. Closes March 10

Eerie soundscapes and abstract electronica are entwined with computer-generated imagery and appropriated digital video in brief, meditative journeys and waltzes of fusion and fission. Sound painters, picture mixers and media hackers aim to challenge the viewer's preconceived notions and question the status quo, yet at times to simply entertain the talented listener.

The line-up includes work from Kisito Assangni (TG), D-Fuse (UK), The Dualist (SA), Fabian Giles (MX), Josh Goldman (US), Henry Gwiazda (US), Corlia Harmsen (SA), Hanna Husberg (FR), Jose Insua (US), Jun'ichiro Ishii (FR), Dmitry Kmelnitsky (US), Argyro Koutsibela (GR), Bernhard Loibner (AT), Jenni Meredith (UK), Vesna Milicevic (CS), Giorgio Partesana (IT), Carol Pereira (US), John Vega (US), Hagen Wiel (DE) and Dale Yudelman (SA).

The exhibition also features "A Light Distraction." Sonic engineer Martin Sims and electro-acoustic artist Brendon Bussy have collaborated in creating a light centred installation. Technologies normally used to measure and show change in the level of sound energy have been re-wired. Now the viewer can control input - in fact create change, leaving as a measure of their interaction, light.

ICEBOX 02 Workshop and Performance

Venue: CAPE Africa Platform, 71 Buitengracht Street, Cape Town
Date: Saturday, March 3 at 1pm
Cost: Donation

An afternoon of presentations on appropriation art, music mash-ups, circuit bending for sound, intellectual property rights and how digital artists can both protect and share their work for collaboration. The workshop also features a live audio/visual performance by MTKidu. Creative Commons-licensed videos will be available for free, legal download onto USB flash drive.

"How to stop worrying about the big C and learn to love CC: An Artists' Guide to IP" presented by Heather Ford (executive director) and Rebecca Kahn (writing and research fellow) from iCommons, Johannesburg.

What is copyright? How does it affect my art and creativity? Is there such a thing as "legal remixing" and how do artists still make a buck while giving their stuff away for free?

The Creative Commons South Africa team explain how copyright affects artists and creators, the common pitfalls, and the practical steps you can take to make sure you are in control of your creativity. They also introduce participants to Creative Commons raw materials that are freely available to legally remix and share, and show video work by artists from South Africa and abroad, who are using copyright to spur global collaborations, broaden their communities and kick-start their careers.

"Song of Solomon" presented by writer, sound artist and cultural producer Julian Jonker.

"Song of Solomon," devised by Julian Jonker and technologist Ralph Borland, is an algorithmic audio collage using more than 70 performances and adaptations of Solomon Linda's composition "Mbube," also performed and adapted as "Wimoweh" and "The Lion Sleeps Tonight." The installation intends to provoke questions about the archetypal models of creativity that inform Western intellectual property law; in its implementation at the Durban Art Gallery in September 2006, the installation arguably infringed South African copyright law in various ways.

He also discusses the interaction between other forms of appropriation art and intellectual property law, specifically mash-ups and DJ mixes.

"Basic Circuit Bending" presented by electro-acoustic artist Dean Henning from rustpunk, Durban.

Bleeps and sweeps aplenty as Dean Henning discusses and demonstrates how simple, low-cost technology (including toys) can be re-purposed for musical performance.

"Live beat construct and visual manipulation" performance by MTKidu from Johannesburg.

The dynamic design and electronic music duo perform live, and afterwards share experiences in live audio/visual experimentation.

ICEBOX 02 Screening

Venue: Zula Sound Bar, 194 Long Street, Cape Town
Date: Sunday, March 4 at 7pm
Cost: Free

An evening of innovative short-form narratives, documentaries and animations from Ciro Altabas (ES), Dany Campos (ES), Sally Giles (SA), Dmitry Kmelnitsky (US), Frédérique Zepter (FR), Microcinema International's "Independent Exposure" series, and the Magmart video art festival (IT).

The screening is presented in partnership with alt film, a group established to collect and screen film by creative South Africans, as well as work that most powerfully incorporates and describes the inevitable evolution of the medium.

--
Liquid Fridge :o: Creative Swapmeet
+27 (0)82 508 2922 | hein AT liquidfridge.co.za | http://liquidfridge.co.za

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 12, number 8. 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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