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: 4.4.07
Date: Wed, 4 Apr 2007 13:06:30 -0700

RHIZOME DIGEST: April 4, 2007


1. Juliet Davis: Call for Papers - Media-N: Journal of the New Media Caucus
2. Ed Keller: SCIArc MediaSCAPES program
3. Marisa Olson: Fwd: ((audience07))

4. Jon Thomson: FEEDBACK / Laboral, Gijon / Thomson & Craighead
5. Turbulence: Turbulence Commission: "Urban Attractors, Private Distractors" by Angie Eng
6. Neal Coady: Late at Tate - Cybersonica
7. Ana Buigues: Ars Publica - Curatorial Report, March 2007

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From: Juliet Davis <julietdavis AT>
Date: Apr 1, 2007
Subject: Call for Papers - Media-N: Journal of the New Media Caucus

Call for Papers

Spring Edition, 2007

Theme: Bits, Bytes and the Rhetoric of Practice: New Media Artist Statements 2007
In this edition of media-N we invite new media arts practitioners to submit personal artist statements and examples of their practice. The commentary (no more than 500 words) should describe the work and contextualize it within the field of new media practice and ideas. In addition, include a short biographical statement (no more than 100 words) at the end of your artist statement.
We are also looking for curator's statements that define curatorial practice in the field

[·] Submission deadline: April 30 2007

[·] Paper format and media format for Bits, Bytes and the Rhetoric of
Practice: New Media Artist Statements 2007
Begin your statement with three keywords of your choice that you think best define your practice
Write your name, affiliation and contact details (such as email if you want it to be included)
Write your artist statement (no more than 500 words)
Write your biographical statement (no more than 100 words)
Attach your statement and up to three examples of artwork in an email to: Rachel Clarke, Editor in Chief (rclarke AT

Please use a standard word-processing program such as Microsoft Word. PC and Mac versions are both acceptable. You may use italics, boldface, and diacritics, but do not use HTML tags (such as <p> or <i>). It is best to send the review as an email attachment in Microsoft Word. Please do not cut and paste the review into the body of an email, as formatting may be lost or changed in the e-mail transmission.

Include no more than three examples of artwork (this could be still images, video clips, audio clips, etc, as applicable.) Media Formats: jpeg, avi, swf and additional formats on case by case basis (mov/mpeg/wav/aiff). Be sure to attach these files separately as well as in the body of the text.

Event reviews: The editorial board also invites proposals for reviews of exhibitions, events, festivals, conferences, etc. See examples of reviews in the current issue.

Submission deadline: April 30 2007

[·] Media-N author's agreement is available from the 'Copyright Statement' link

[·] Send manuscripts via email to: Rachel Clarke, Editor in Chief (rclarke AT

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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: Ed Keller <edkeller AT>
Date: Apr 3, 2007
Subject: SCIArc MediaSCAPES program

SCI-ARC Launches New Postgraduate Program, MediaSCAPES
--media production and theory in today's highly technologized cities, landscapes and architecture--

Los Angeles-- In Fall 2007, the Southern California Institute of Architecture (SCI-ARC) will launch MediaSCAPES, a new one-year post-graduate program that critically responds to massive changes in contemporary technologies and emergent geopolitical systems.

In the five years between 2007 and 2012, the world will experience greater technological advances in the mediascapes which form our everyday life than in the entire previous fifty years of progress. The program will provide an academic platform which will define a new paradigm in curriculum, research and design. MediaSCAPES will leverage significant emerging relationships within technology, software, media, film and game spaces to produce new content and ideas in a "thinktank R&D" environment. The curriculum will blend an intensive design studio culture with theory, research and practice, preparing students for thought leadership in design, research and theory work across the fields of new media, architecture, landscape, and digital film. Students will graduate with a Masters in Architecture. Those interested in applying to the program may contact the SCI-ARC admissions office at 213.613.2200 x320 or admissions AT Applications will be accepted through June 2007.

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From: Marisa Olson <marisa AT>
Date: Apr 3, 2007
Subject: Fwd: ((audience07))

---------- Forwarded message ----------
From: Lauren Rosati <kiku AT>
Date: Apr 2, 2007 6:20 PM
Subject: ((audience07))
To: Lauren Rosati <kiku AT>

new delhi, india

an immersive sound art biennial

AUDIENCE07 will be an international exhibition of cinematic sound art.
The festival will be presented in a darkened movie hall in New Delhi,
India, in October 2007. A New York preview is scheduled for
September. (Venues TBC)

We are now accepting submissions for audio art compositions with an
emphasis on narrative, temporal and spatial experimentation. We are
especially interested in artists that treat cinema as a distinct form
for the organization of time. Accepted formats include:

DVD (Quad, 5.1, 7.1)
CD (Stereo)
¼" inch tape (Quad)

Submissions will not be returned. Stereo samples of larger works are
welcome, but final works must be provided in a standard surround sound
cinema format.

Submissions for 2007 are due by June 1st, 2007. Late submissions will
be kept for consideration in future AUDIENCE events.

Submissions should be mailed to:
39 Avenue A – Box 103
New York, NY 10009
ATTN: Audience

For further guidelines, submission information, and updates please

Curators: Alexis Bhagat, Dylan Gauthier and Lauren Rosati
Produced in cooperation with Pooja Sood and Khoj International Artists
Association, New Delhi.

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From: Jon Thomson <j.thomson AT>
Date: Mar 29, 2007
Subject: FEEDBACK / Laboral, Gijon / Thomson & Craighead

We are showing, 'Short Films about Flying' in this exhibition in
Spain opening on Friday -see below

best wishes,

Jon & Alison

FEEDBACK is one of the inaugural exhibitions at LABORAL Centre for Art and Creative Industries in Gijon, Asturias, Spain. It is an exhibition focusing on art responsive to instructions, input, or its environment and creates one possible narrative of the history of 'new media art'. Featuring historical and current art works that are all based on technology and systems of response, the exhibition traces the history of contemporary artistic practice involving digital technologies.

Christiane Paul, Curator of New Media Arts, Whitney Museum of American Art, New York Jemima Rellie, Director of Digital Programmes, Tate Modern, London

Curatorial Advisor:
Charlie Gere, Research Professor in New Media, University of Lancaster

Exhibition Design:
Leeser Architecture

Official opening; 30.3.07

LABORAL Centre for Art and Creative Industries is an exhibition centre specifically focused on the production and exhibition of art, science, technology and creative industries. This interdisciplinary space pays special attention to workshops for vocational and professional training, and to research into the intersection between creativity and new technologies.

LABORAL is based in Gijon [Asturias] - 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: Turbulence <turbulence AT>
Date: Mar 31, 2007
Subject: Turbulence Commission: "Urban Attractors, Private Distractors" by Angie Eng

March 31, 2007
Turbulence Commission: "Urban Attractors, Private Distractors" by Angie Eng
in collaboration with Rich Streitmatter-Tran and a collective of student
interns in New York and Ho Chi Minh City

"Urban Attractors and Private Distractors" is a vlog project about privacy
in public space in Eastern culture. It compares the results of dérives
(French for "drift," dérive was defined by the Situationists as the
"technique of locomotion without a goal") in Ho Chi Minh and New York City.
The collective will address questions such as: How is a city constructed in
a culture where the inhabitants have little experience of a private physical
space? Do they adapt more readily to cyberspace which is both private/public
simultaneously? How do Westerners reclaim their 'public space'? Organized
dérives in both cities will commence at the most public of spaces--the town
square. Participants will submit videos as urban indicators of private
and/or public to the vlog until the workshop meetings in June 2007. Angie
Eng, the project director, will continue vlogging until the commencement of
the physical installation in Fall 2007.

"Urban Attractors, Private Distractors" is a 2007 commission of New Radio
and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It
was made possible with funding from the Jerome Foundation.


Angie Eng is a media artist who works in video, installation, web-based and
video performance. In 1993 she moved to New York City to pursue her career
in media arts. She co-founded The Poool (1996-1999), a live video
performance group, with Nancy Meli Walker and Benton Bainbridge. Her work
has been performed and exhibited at the Whitney Museum of American Art at
Philip Morris, Lincoln Center Video Festival, The Kitchen, New Museum of
Contemporary Art, Rensselaer Polytechnic Institute, Experimental Intermedia,
and Roulette Mixology Festivals. Eng’s videos have been included in digital
art festivals in local and international venues in Cuba, Greece, Japan,
Germany, Former Yugoslavia, Switzerland and Canada. She has received
numerous grants and commissions: New Radio and Performing Arts, Inc.,
Harvestworks Residency, Art In General, Lower Manhattan Cultural Council,
New York State Council on the Arts, mediaThe Foundation, the Jerome
Foundation and the Experimental TV Center. She was recently awarded an
Eyebeam residency to develop the installation component of "Urban
Attractors, Private Distractors."

For more Turbulence commissions, please visit

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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From: Neal Coady <nealc AT>
Date: Apr 4, 2007
Subject: Late at Tate - Cybersonica

Cybersonica Late at Tate Britain

Friday, 6th April 2007, 6-10pm
FREE, Hogarth exhibition half price
Tate Britain, Millbank, London SW1P 4RG

London's annual multimedia festival showcases an evening of progressive electronic music, audiovisual performance and accesible sonic art featuring...

The Illustrious Company and their immersive, 3D audioscapes alongside the body>data>space sumptuous body centric VJ Balloon

An Encompass sponsored soundclash between the mighty Trojan Sound System and Haywire DJ Shelly Parker with visuals from AV duo Dynamite Fishing

Distinctive live audiovisual performances from Brian Duffy's Modified Toy Orchestra and The Sancho Plan

A Future Shorts/Future Cinema programme of inventive short films - some rescored by live musicians, Little Boat & Perico

DVD screening from the newly released book 'VJ: audio-visual art and vj culture', edited by D-Fuse and published by Laurence King with live VJ set from Sophie Clements.

Sound installations from Kinetica Museum featured artist, Ray Lee

Engaging, playful, interactive, sonic artworks from Cybersonica featured artists/agencies Fijuu, Inition, Someth;ng, squidsoup and Stanza

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Aurora Picture Show (Houston,TX) announces their fourth annual Media Archeology Festival: Below-Fi. Get ready for three mindbending days of audiovisual kinesis featuring hackers, benders, builders, and overall enthusiasts of the analogue aesthetic. These artists invent their own instruments of sound and light, and find new uses for technologies of the past to create future-forward entertainment. Curated by Nick Hallett, Aurora's Media Archeology: Below-Fi takes over Houston for three nights from April 19-21 at three unique venues. Performances include Bruce McClure and Ray Sweeten (Thursday, April 19 at Aurora Picture Show, 800 Aurora St.); Dynasty Handbag and Nautical Almanac (Friday, April 20, 8:30pm at Domy Bookstore, 1709 Westheimer); Tristan Perich and Quintron and Miss Pussycat (Saturday, April 21, 8:30pm at The Orange Show, 2402 Munger St.) Lighting designed by Mighty Robot.

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From: Ana Buigues <abuigues AT>
Date: Apr 4, 2007
Subject: Ars Publica - Curatorial Report, March 2007

ARS PUBLICA – Ana Buigues´ report. March 27th, 2007.

What follows is the curator’s report on the development of the Ars Publica project

based on the theoretical context for the ¨raison d´être¨ of this project.

The inception of the Ars Publica project started in the second half of 2005, when we, the Ars Publica team, in view of the lack of a painstaking study about the art market from the artists´ point of view, felt the need to fill this void through the realization of a study that would include art theory and case studies in a project that would be a combination between an academic article and an art project. After NKR (Norsk Kulturråd - Arts Council Norway) approved our application and granted us financial support in January 2006, via the Kunst og ny teknologi fond (Art and Technology Fund), we were able to conduct most part of the research. Bjørn Magnhildøen as net.artist and programmer established the ¨physical¨[1] point of departure - the Ars Publica web site, which includes the net art sale exhibition, the library and the museum. Thanks to Magnhildøen´s technical implementation of the dynamics of electronic commerce the Ars Publica web site is completely prepared for the interaction with the public and customers.

Until now we have focused on the general public front, having collected records about the responses obtained from the public who accessed Ars Publica from the Internet, as well as from a few off line performances, as Magnhildøen explains in his report of the project:

In the next months we will concentrate on the marketing of our project on the elitist front: established art and culture institutions. We are presently working on the design of CDs and DVDs to be distributed to world wide libraries, museums, and universities. The contents of the CDs and DVDs will consist of a version of the Ars Publica project accompanied by a critical essay written by the curator, Ana Buigues, contextualizing this art project. The essay is still under development and what follows are excerpts from some of its sections. The entire text will be published in the Ars Publica web site as soon as it is completed.

Ars Publica : The Art Market and Corporate Parody


The tradition of corporate parody in conceptual art and literature, includes, among others, the works of General Idea, Yves Klein, and Robert Morris with pieces about monetary value of art, or Hans Haacke's interventions in social economy, like the series of Manhattan Real Estate Holdings, 1971 -- as well as his collaboration with Bourdieu, in the dialogue Libre-échange, 1994

Ars Publica basically is a commentary on the paradox that while art constitutes another type of production to be commercialized, the financial situation in which most artists encounter themselves, is due to a sub-paradox that responds on the one hand to the irrelevant socio-economic value generally associated with art; and on the other hand with the elitist channels of art commercialization. Artworks have come to be considered consumer goods and, as such, depend on the laws of offer and demand, functioning within free-market structures based on price competition. However, perhaps these principles cannot always be applied to the world of culture and art, and instead of a growing 'cultural industry' closely linked to the 'art market,' what artists might rather need is certain protection from the State, since there are some activities which cannot be measured solely by the economic benefit they generate. Neither can the value of a specific artist be determined solely by the prices previously paid for her/his works, or by the promotion art dealers and art critics attach to a certain type of art or artist (based on both their economic self interest and personal preferences, which, in turn, may also be linked to their connections to the art market).

The project Ars Publica is a mélange of interventions within social networks: what we know as situationism, urban art/action, political protest, performance, and, with an emphasis on the economies of [artistic] loss and [economic] profit. The foundations of Situationism, and Fluxus will present the existing analogies among the Internet networks, urban zones, and social structures that mediate our perception of the world, and how they can be challenged through certain actions and interventions. The Baudrillardian concepts of simulacrum and spectacle, are also included here to deal with the distorted, and accommodated messages transmitted by the media, and in this case through the Internet, and how it has fulfilled the needs for the consumers of a society of spectacle and entertainment. As it is known, the Situationist International (SI), formed in 1957 and leaded by Guy Debord and Asger Jorn's were a group of artists and political theorists, with a Marxist and anarchist ideology, who rebelled against bourgeois societly values, in line with the traditions of Dada, Surrealism, CoBrA, and Fluxus. They were strongly opposed to a growing consummerist society and their artistic statements commented on concepts of art production and trade. Some of their actions included attacks to established art circles and academies.[2]

Ars Publica : Art + Technology = Public Domain


In 1968 Barthes theorized the elimination of the author as the ultimate creator. An effect of this theorizing has been to assign a new, protagonist role to the spectator, that depends on the ways that a given spectator interprets and conceptualizes a given artwork. Walter Benjamin’s famous elaboration of the aura surrounding the sacred object and the artwork took as a positive sign its disintegration. [3] Michel Foucault also took up these conceptions in a particular way that interests us here, since he emphasized the operations of power in society. Foucault conceives of the author and artist-genius as a Romantic myth imbued with patriarchy and elitism. [4] In his revision of history, he analyses the discourses of power, knowledge, and truth and their legitimation through social institutions, arguing that individuals, rather than institutions, can and do transmit certain power and knowledge to different strata of society. He also suggests that what we call an " author" varies from period to period according to the social function assigned to the author.

Ars Publica : net art


We must call to mind that while the media has contributed to the spread of cultural stereotypes, standards of acculturation, consumerist bombarding, and power centralization, Internet activity continues this legacy on the one hand (when the Net acts as a mass media tool) and tries to break from it on the other hand (when activist networks enter the game). The use of the Internet for political contestation is what is known as “hacktivism,” in which a hacker’s rebellious mentality and activist commitment meet. Again, “hackers” without computers existed before, since radical artists have been commenting on social injustice and art institutions firstly subtly and later more openly, and made use of either mainstream or underground transmitters for many years. The Internet contribution to this aspect is higher bandwidth, a complimentary effect to off line activism, omni directionality and participation. Secondly, there is the concept of simulacra and e-commerce, adverti!
sement and media, that also bears some attention, making the critique to capitalism and consumer art culture more easily 'believable'. The Internet offers a whole new scope and scale to such strategies, since it constitutes the virtual reality version of social and economic reality

[1] The word _physical_ is here in quotation marks due to the virtual nature of a web site, although nowadays the widespread use of the Internet has almost turned the virtual spaces into physical ones.

[2] The Situationist International (SI) was formed in 1957 as the result of the merging of the Lettrist International leaded by Guy Debord and Asger Jorn's International Movement for an Imaginist Bauhaus (IMIB). The situationists envisioned a somehow 'ideal city' where its inhabitants would have a more playful, meaningful and just life. They created sketches of their envisioned city which reminds one of the Utopian Socialists such as Charles Fourier, Etienne-Louis Boullee, etc. Psychogeography was used to describe the study of the urban environment’s effects on the psyche. The situationists produced psychogeographical reports based on the results of their dérives (drifting). They saw themselves as abolishing the notion of art as a separate, specialized activity and transforming it so was part of fabric of everyday life.

Charles Harrison and Paul Wood, "Art and Modern Life," in Art in Theory, 1900-1990, (Cambridge, Massachusetts: Blackwell, 1992) 693-700.

Further reference to other aspects of the situationists, such as de detournement and 'spectacle' are provided further ahead in this chapter.

[3] German-Jewish philosopher Walter Benjamin (1892-40), working within the context of the Marxist Frankfurt School envisioned to a certain degree some of our postmodern cultural and artistic conditions. He provided a model for how the artist might function politically through changing the forms of artistic production. In “The Author as Producer,”1934, he argued that the uniqueness of the aura of a work of art, would be eliminated and that this would result in a more democratic consumption of imagery, since until then art appreciation and ownership were reserved for an elitist public, where art would shift from that negative theology dependant on the aura, fetish, and ritual, to be based on politics. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction,” See Charles Harrison and Paul Wood, “Freedom, Responsibility and Power,” in Art in Theory, 1900-1990, (Cambridge, Massachusetts: Blackwell, 1992), 512-519, “The Author as Producer,” Harri!
son and Wood, Ibid, 483-488.

[4] Keith. Moxey, The Practice of Theory. Poststructuralism, Cultural Politics, and Art History. (Ithaca: Cornell University Press, 1994), 56

By Ana Buigues - Curator of Ars Publica

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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 13. 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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