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: 9.19.07
From: digest@rhizome.org (RHIZOME)
Date: Wed, 19 Sep 2007 19:24:35 -0400
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: September 19, 2007

Content:

+opportunity+
1. Carolyn L Kane: Final Call For Papers: THE SYNTHETIC AESTHETICS OF NEW MEDIA ART
2. info AT airnyc.org: Open Call Artists - A.I.R.\'s Fellowship Program_PLEASE POST
3. office.videomedeja: 11th videomedeja > call for submissions

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4. sarah.turner AT manchesterurbanscreens.org.uk: Urban Screens Manchester Newsletter 4
5. jonCates: Fwd: International Course - Master of Arts in MediaArtHistories
6. sommerlucia AT yahoo.com: OCT 1: MoMA Screening of STRANGE CULTURE
7. Oliver Luker: Eminent Domain - the new collection from Dispatx Art Collective
8. Jean-Baptiste Naudy: "Discussions about Politics and Design", Ze Dos Bois (Lisbon) September, 20-21, 2007.
9. kanarinka: Watch the video of Unmarked Package
10. Anette Schäfer: Trampoline presents: DO BILLBOARDS DREAM OF ELECTRIC SCREENS?
11. Joel Slayton: FUSE: cadre/montalvo residency lecture series

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1.

From: Carolyn L Kane <clk267 AT nyu.edu>
Date: Sep 13, 2007
Subject: Final Call For Papers: THE SYNTHETIC AESTHETICS OF NEW MEDIA ART

Final Call For Papers:

THE SYNTHETIC AESTHETICS OF NEW MEDIA ART
Presented by The New Media Caucus in Association with the College Art Association
February 20-23, 2008; Dallas, TX http://conference.collegeart.org/2008/

Panel Chair: Carolyn Kane, PhD Candidate Media, Culture, and
Communication, New York University clk267 AT nyu.edu

Contrary to traditional aesthetic theories that argue for the primacy of either the subjective and phenomenological, or formal and objective interpretations of artwork, the aesthetics of electronic media, like the logic of technical media itself, is thoroughly removed from anthropomorphic sensibility. One could say that electronic media aesthetics are marked by technical trauma.

However, much contemporary new media art criticism exemplifies a hermeneutic approach that seeks to rationalize and transform work into intelligible *art objects* for canonization and social theories. Is this approach problematic for the logic of technical media? Can certain attributes such as color, form, affect, or sound, effectively reconcile computer based artwork with the subjective and humanistic drives in art making?

The panel invites papers that address the aesthetics of New Media art in distinction to previous aesthetic models or media platforms. For instance, papers suggesting the ways in which color, sound, line, form, ymbolism, affect, anti-aesthetics or ideology may be distinct to new media aesthetics are all welcomed. Essentially the panel inquires: what do theoreticians and practitioners address in New Media art, and why? Which artists and / or commercial work do you think best exemplifies these issues? Special attention will be given to those abstracts that are concerned with the use of color in New Media work.

Presenters can propose brief lectures; media or artist presentations of their own, or other artist's work; discussions; or other acceptable suggestions.

Timeline:
Due by October 1, 2007:
*Abstracts (max 500 words)
* Paper / Presentation Titles
*Confirmation that presenters will be able to travel to Dallas on February 20-23, 2008
* Current CV and a brief bio.
*Specification of presentation format

Send proposals and / or any question to Carolyn Kane clk267 AT nyu.edu
For CAA conference information visit:
http://conference.collegeart.org/2008/

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HDFEST's New York festival will be taking place October 10th and 11th from 6pm-10pm at the HD theatre at Sony Wonder Technology Lab (56th Street and Madison Avenue.) HDFEST is an exclusively High-Definition film festival which showcases the best in movies and animation created using HD technology. HDFEST festival events this year are also taking place in Seoul, London, Finland, and Los Angeles.

HD movies to be screened at the New York event originate from countries around the world including Japan, Seoul, Singapore, Germany, England, Ireland, Canada, and Spain. Participating filmmakers will be available at the festival to discuss their work and experiences using High-Def. Tickets are $12 per screening and are available online or at the event at the HDFEST box office. The New York HDFEST schedule or more information can be found at http://www.hdfest.com/hdfestnyc.html or by emailing admin AT hdfest.com

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2.

From: info AT airnyc.org <info AT airnyc.org>
Date: Sep 13, 2007
Subject: Open Call Artists - A.I.R.\'s Fellowship Program_PLEASE POST

A.I.R. FELLOWSHIP PROGRAM: 18-month sponsored membership with solo show for NYC area women artists. The 2008-09 panelists are: Charlotta Kotik, Independent Curator; Claire Oliver, Claire Oliver Gallery; Nancy Princenthal, Senior Editor, Art in America,
APPLICATION DEADLINE: October 31, 2007.

Application online at:
http://www.airgallery.org

Print .pdf of application, apply online or send SASE for prospectus to:
A.I.R. Gallery, 511 W. 25th Street, #301, NYC, NY 10001

Thank you!
Emily

Assistant Director
Fellowship Coordinator

info AT airgallery.org; 212-255-6651

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3.

From: office.videomedeja <office AT videomedeja.org>
Date: Sep 18, 2007
Subject: 11th videomedeja > call for submissions

Call for Submissions >>

11 international video festival v i d e o m e d e j a
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
december 14 - 16 2007, the museum of vojvodina
novi sad, serbia
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
entry form: http://www.videomedeja.org/entry

deadline: november 1st 2007

more info: http://www.videomedeja.org
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
categories
video
installation
live performance
url / software
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

videomedeja info
the first festival was held in 1996
so far, 10 festivals have been realized,more than 3000 works made by artists
all over the world were submitted for the programme
renowned artists, prominent critics, theoreticians, producers, distributors
and journalists from all over the world took part in the festival programme
videomedeja presents and promotes brand new videos, video and sound
installations,computer animations, interactive art, VJ performances...
permanently obeying copyrights and being strictly determined for
professional approach, videomedeja is significant festival on the
international scene

videomedeja festival is stricly dedicated to art,
completely independent from sociopolitical establishment and all kinds of
negative influences

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

New Website >>

After a several years, festival is having complete new website !
This site is made in Drupal great open source CMS and is using some of its
most useful modules.
Website is still in development and any feedback is much appreciated.
Also, this is a first-time presentation of our new logo ...

v i d e o m e d e j a
-----------------------------------------
p.o. box 137 | 21101 Novi Sad | Serbia
m: office AT videomedeja.org
http://www.videomedeja.org
-----------------------------------------

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Mills College - Assistant Professor, Electronic Arts/Sound
Full-time tenure-track position beginning Fall 2008

The Mills College Music Department and the Intermedia Arts Program seek an accomplished Electronic Arts/Sound artist with an established record of achievement in electronic media and sound, who possesses a broad understanding of contemporary art practices and computer technologies. Candidates should be fluent in the history and criticism of electronic media and sound art, as well as contemporary media theory. They should be prepared to contribute to the developing Intermedia Arts Program curricula, and to teach and advise undergraduate and graduate students working across and between disciplines, including experimental music, dance, visual art, installation, performance, creative-writing, and video. Courses will include a Sound Art studio class, and beginning and advanced Electronic Arts courses that address digital and electronic art production, including digital and analog electronics, internet and web art, and interactivity as art practices. At least three years of college teaching experience is preferred, and an MFA or equivalent experience is required.

Application: An application should include a cover letter discussing teaching experience and areas of expertise, a CV, a statement of your approach to teaching, an artist’s statement, a representative selection of art work (such as audio CDs, videos in DVD format, URLs for web based work, or Macintosh-compatible CD-ROMs), SASE, and contact information for three academic/professional references. Please send applications to:

Chris Brown, Chair, Electronic Arts/Sound Search Committee, Music Department, Mills College, 5000 MacArthur Blvd., Oakland, CA 94613-1301

Reviews of submitted applications will begin on November 1, 2007.
Inquiries: 510.430.2330; cbmus AT mills.edu

Located in the San Francisco Bay Area, Mills is a selective liberal arts college for women, with coeducational graduate programs. Persons of color and those committed to working in a socially diverse environment are encouraged to apply. AA/EOE

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4.

From: <sarah.turner AT manchesterurbanscreens.org.uk>
Date: Sep 13, 2007
Subject: Urban Screens Manchester Newsletter 4

Urban Screens Manchester

Conference 11 – 12 October
Art and Events 11 – 14 October

It’s about Content!

SPECIAL OFFER - BOOK BEFORE SEPTEMBER 30th
Two days: GBP80 / GBP60 concs
One day: GBP60 / GBP40 concs

DELEGATE RATES AFTER SEPTEMPER 30th
Two days: GBP100 / GBP80 concs
One day: GBP80 / GBP60

Take a closer look at selected focus and poster sessions on aesthetics and their role as communication medium on day 2 of the conference.

Focus Session 2: Towards a New Aesthetics of Screen Art in the Urban Environment, Cornerhouse

The audiovisual density of urban spaces is rapidly increasing. Adding large scale moving images to the already dynamic cityscape may overstrain the capacity of human perception. What is the definition of ‘too much’ with regards to moving images in public space? Can people live with an increased amount of activity within urban space? Are there existing moving image formats suitable for display in urban space? Or does the audiovisual density and increased rhythm of the city demand a completely new aesthetics?

Moderator Susanne Jaschko (DE) is the curator of Urban Screens Manchester 07. She is a Berlin based independent curator and researcher in contemporary visual and electronic art.

Uta Caspary (DE) will throw light upon digital media as ornament in contemporary architecture facades. She looks at how, in the present urban context, media facades oscillate between art, architecture and infotainment, replacing and expanding the function of architectural ornament.

Jean-Claude Bustros (CA) engages with cinema that transcends the screen, seeking strategies for human/image interaction. He is currently exploring how the strategic placement of a 'perceptive' screen, capable of reaction, can impact the daily activity of urban dwellers.

Media artist Günther Selichar (AT) will present Who’s Afraid of Blue, Red and Green?, an online competition and public art project based on the elementary visual building blocks of digital display screens. He looks at how screens have come to the public squares of our cities and re-established the old public space as a possible new public space.

Poster Session: Towards a New Aesthetics of Screen Art in the Urban Environment, Cornerhouse

Anette Schäfer (DE/UK) director of Trampoline, an organisation that runs regular platform events for new media art, will present examples of artists working with other forms of screen-like interfaces, illustrating alternative usages and formats of screens.

Theresa Caruana (UK) established Palmeda in 2005, focusing on creating public art using digital projections and live performance. She will investigate the meaningful integration of urban screens in social environments.

Dr Stephen Brennan (UK), Director of Marketing and Strategy of the Digital Hub Development Agency, will exemplify the role of the screen in urban regeneration which can act as a device by which communities can address concerns and ideas.

Register your interest now at www.manchesterurbanscreens.org.uk

Urban Screens Manchester has been curated by Dr Susanne Jaschko .
Urban Screens Manchester has been supported by Cornerhouse and BBC.
It has been funded by Arts Council England, Manchester City Council, Marketing Manchester. With support from MDDA and Manchester Knowledge Capital.

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5.

From: jonCates <joncates AT criticalartware.net>
Date: Sep 14, 2007
Subject: Fwd: International Course - Master of Arts in MediaArtHistories

>> International Course - Master of Arts in MediaArtHistories
>> (Low residency; International faculty, English language)
>>
>> Following the inaugual launch of the course that brought students
>> from 4 continents to the Wachau, the program MediaArtHistories
>> starts this November for the second time and is currently
>> accepting applications.
>> MAH conveys the most important developments of contemporary art
>> through a network of renowned international theorists, artists and
>> curators like: Steve DIETZ, Erkki HUHTAMO, Lev MANOVICH,
>> Christiane PAUL, Paul SERMON, Edward SHANKEN, Jens HAUSER, Christa
>> SOMMERER; Gerfried STOCKER, Knowbotic Research, Charlie GERE,
>> Oliver GRAU and many others.
>>
>> Artists and programmers give new insights into the latest and most
>> controversial software, interface developments and their
>> interdisciplinary and intercultural praxis. Keywords are:
>> Strategies of Interaction & Interface Design, Social Software,
>> Immersion & Emotion and Artistic Invention. Using online
>> databases and other modern aids, knowledge of computer animation,
>> net art, interactive, telematic and genetic art as well as the
>> most recent
>> reflections on nano art, CAVE installations, augmented reality and
>> wearables are introduced. Historical derivations that go far back
>> into art and media history are tied in intriguing ways to digital
>> art. Important approaches and methods from Image Science, Media
>> Archaeology and the History of Science & Technology will be
>> discussed.
>>
>> MediaArtHistories MA is also based on the international praxis and
>> expertise in Curation, Collecting, Preserving and Archiving and
>> Researching in the Media Arts. What are, for example, the
>> conditions necessary for a wider consideration of media art works
>> and of new media in these collections of the international
>> contemporary art scene?
>> And in which way can new Databases and other scientific tools of
>> structuring and visualizing data provide new contexts and enhance
>> our understanding of semantics?
>>
>> Further Information:
>> http://www.donau-uni.ac.at/dis
>> http://www.donau-uni.ac.at/mediaarthistories
>> http://www.virtualart.at
>> http://www.mediaarthistories.org/pub/mediaarthistories.html
>>
>> DANUBE UNIVERSITY KREMS - located in the UNESCO world heritage
>> Wachau is the first public university in Europe which specializes
>> in advanced continuing education offering low-residency degree
>> programs for working professionals and lifelong learners. Students
>> come for 4 x 2 week blocks to Monastery Goettweig in Austria.
>>
>> With its new modular courses starting in November 2007 the
>> DEPARTMENT FOR IMAGE SCIENCE at Danube University Krems offers an
>> educational program internationally unique. Without interrupting
>> the career working professionals have the opportunity to further
>> their career through direct, individualized hands-on experience,
>> social learning in small groups and contacts with labs and
>> industry. They gain key qualifications for the contemporary art
>> and media marketplace.
>>
>> The Center in Monastery Goettweig, where most MediaArtHistories
>> courses take place, is housed in a 14th century building,
>> remodeled to fit the needs of modern research in singular
>> surroundings. The Goettweig Collection holds more than 30.000
>> prints and 2000 incunabla and manuscripts dating from the Middle
>> Ages, Renaissance and Baroque era until today. International
>> experts analyze the image worlds of art, science, politics and
>> economy and elucidate how they originated, became established and
>> how they have
>> stood the test of time. The innovative approach at the Department
>> for Image Science is reinforced by praxis-oriented study.
>>
>> Contact:
>> Sabine Lindner
>> Department for Image Science
>> Danube University Krems
>> Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
>> Tel: +43(0)2732 893-2569
>> sabine.lindner AT donau-uni.ac.at
>> http://www.donau-uni.ac.at/dis
>>
>>
>> For more information go to: www.donau-uni.ac.at/dis

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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 sales AT rhizome.org

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6.

From: sommerlucia AT yahoo.com <sommerlucia AT yahoo.com>
Date: Sep 14, 2007
Subject: OCT 1: MoMA Screening of STRANGE CULTURE - Critically Acclaimed Film about Artist Accused of

PLEASE FORWARD WIDELY

http://www.moma.org/exhibitions/film_exhibitions.php?id=6148&ref=calendar

MoMA.org
The Museum of Modern Art

Lynn Hershman Leeson's Strange Culture
October 1, 2007

A frightening and riveting hybrid documentary, Strange Culture confronts the government's inordinate and insensitive reaction to one artist in the practice of his work. In 2004, Steven Kurtz, a founding member of Critical Art Ensemble, a collective dedicated to the advancement of social justice through cultural activities, was working with his wife, Hope, on a piece about genetic food engineering for a MassMoCA exhibition. When Hope died suddenly of heart failure, Kurtz called 911. Police arrived, became suspicious of the Kurtzes' art, and called the FBI. The artist was detained as a suspected "bioterrorist" while federal agents in Hazmat suits sifted through his work and impounded his computers, manuscripts, books, cat, and even his wife's body. Despite the fact that the materials in question were harmless bacteria, the government is still pursuing a trial. Since the ongoing nature of the case prevents Kurtz from discussing its details, Lynn Hershman Leeson has employed actors to dramatize parts of the story. One of America's best known and most prolific media artists, Hershman Leeson deftly interweaves news footage, reenactments, animation, interviews, and footage of Kurtz himself in this stranger-than-fiction narrative of the law gone wild.

A DISCUSSION WITH PROFESSOR KURTZ & DIRECTOR LYNN HERSHMAN LEESON WILL FOLLOW THE SCREENING.

Organized by Laurence Kardish, Senior Curator, Department of Film.
---
For more information about Strange Culture, please contact Carla Sacks or Ross Clark at
Sacks & Co., 212.741.1000, carla AT sacksco.com or ross AT sacksco.com.

For more information about the case, please visit the CAE Defense Fund:
www.caedefensefund.org

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7.

From: Oliver Luker <oliver.luker AT dispatx.com>
Date: Sep 16, 2007
Subject: Eminent Domain - the new collection from Dispatx Art Collective

Eminent Domain examines notions of blockage, recourse and resistance that can emerge in diverse contexts – and what it can mean when these manifestations are channelled into artistic product.

The seventh collection of Dispatx Art Collective includes works developed by visual artists, musicians, writers, dancers and performance artists. The collection, which can be seen in Show (dispatx.com/show), includes works developed online as part of the site as well as submissions of completed work related to the theme. In addition, and as a part of an ongoing investigation of curatorial practice, the Eminent Domain forum will remain open throughout the duration of this collection.

The curatorial narrative is best articulated through a correspondance between various readings. While projects such as Hospital 106 4º1ª by Jordi Canudas and Isabel Banal and Someone Called Me... by Emma Wilcox are the works which most directly address the theme at hand, projects such as Green Screen by Neil Chapman and David Stent, or Ellen Zweig’s My Language Overwhelms Her Text, use literary fiction to generate multiple attempts and points of inflection.

We are also pleased to announce the start of exploration of works related to the theme Appropriation in Creative Practice, which can be followed over the coming six months in Make (dispatx.com/make). These pieces, including works by Sandra Gamarra, Scott MacLeod, Åsa Ståhl and Adad Hannah, also include among them the projects funded through our inaugural commissions program. The completed collection will be published in March 2008.

For more information on how to collaborate, please visit dispatx.com/submissions/

Oliver Luker
Director, Dispatx Art Collective
Barcelona, Spain

Dispatx Art Collective is the leading curatorial platform for the development and presentation of contemporary art and literature. Make is a showcase for work in progress related to the current theme, Appropriation in Creative Practice. Projects are developed online via integrated documentation tools allowing artists to post regular updates to their work in a continuous investigation of the creative method.

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Rhizome Commissions Program

Rhizome 2008 Commissions Announced!
This year, eleven emerging artists/ collectives were awarded commissions in support of new works of Internet-based art. The projects include distributed sound experiments, visually compelling interactive images that blend the sublime and the ridiculous, and pioneering applications that encourage the flowering of creativity across commercial areas of the web. Follow the link below for descriptions of and links to the eleven winning proposals, which also includes our first-ever Community Award, a project designed to enhance participation and communication on Rhizome.
http://rhizome.org/commissions/2007/

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

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8.

From: Jean-Baptiste Naudy <jbnaudy AT gmail.com>
Date: Sep 17, 2007
Subject: "Discussions about Politics and Design", Ze Dos Bois (Lisbon) September, 20-21, 2007.

Discussions about Politics and Design

Ze Dos Bois, Lisbon, September, 20-21, 2007.

Conferences on the occasion of the finissage of Société Réaliste's Transitioners exhibition.

Participants: Eric Alliez (Paris), Vicken Cheterian (Geneva), Cosmin Costinas (Vienna), Jose Neves (Lisbon) and Olivier Schefer (Paris).

Ze Dos Bois is currently presenting the exhibition Transitioners, a project by the Paris-based artistic cooperative, Societe Realiste. Transitioners is a trend design agency specialized in political transitions. Transposing the principles of prospective design, generally used by "fashion trend agencies", to the field of politics, Societe Realiste questions the revolution (transition?) as a central category for the contemporary western society. Transitioners surveys the mutations of the revolution as a form. How a "democratic transition" can be produced? What is the role of design in the permanent conversion of politics into mythology? How the effect of an event on people can be transformed into a controlled affect?

On the occasion of the exhibition's finissage, Ze Dos Bois and Societe Realiste presents a conferences and debates program, entitled "Discussões a propósito de política e design".

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THURSDAY, SEPTEMBER 20, 2007, 7pm.
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i/ INTRODUCTION.
By Societe Realiste

Société Réaliste will introduce the participants of these discussions and reformulate some key points of the Transitioners project, from its genesis to its main aesthetical and political perspectives. Some topics to be discuss during the two-days conference will be synthetized, from the problematics of an artistic science to an experimental approach of design, from the necessity of understanding the main integration strategies of Late Capitalism politics to some linkage between different chapters of the recent history of political revolutions.

ii/ GREY WEATHER AT LA GRANDE JATTE : SEURAT VERSUS DUCHAMP.
By Eric Alliez

(In French) « The most important scientific mind of the 19th century, more than Cezanne, was Seurat, that died at the age of 32." This specific affinity felt by Duchamp for Seurat will be the center of this presentation. Another important question will be the Seurat's contradictory heritage, especially in the confrontation between Matisse and Duchamp. In Modern art, there is this point that is not related to pictural Modernism but on the contrary, through forces and forms, to an archeology of the contemporary, of which Matisse and Duchamp are precisely the two fundamental paradigms.

Eric Alliez is a philosopher, professor at Middlesex University, London, since 2004. Scientific director and editor of the complete works of Gabriel Tarde (Empêcheurs de penser en rond/Le Seuil, Paris) and Gilles Deleuze, Immanence et vie (with Danielle Cohen-Levinas, Françoise Proust, Lucien Vinciguerra, PUF, Paris, 2006), creator and co-editor of the review Multitudes. His most recent books are La Pensée-Matisse (with Jean-Claude Bonne, Le Passage, Paris, 2005) and L'Œil-Cerveau (with Jean-Clet Martin, Vrin, Paris, 2007).

iii/ THE COMMUNIST INVENTION OF THE REVOLUTIONARY MILITANT.
By Jose Neves

The representation of the communist militant is the result of a one century-long creative work. In Portugal, this process has been accentuated in the end of the 30s and has been strengthen by the recognition of PCP, at the beginning of the 40s. This communication strategy has been the occasion of melting various sensibilities that formed the communist idea of the revolution. While analyzing the discurses of communist intellectuals - and more particularly historians' ones - we will see how two main understanding, the vanguard one and the common one, have created a productive tension, now possible to encounter in the writings of authors like Toni Negri and John Holloway.

José Neves is an historian. Currently finishing a thesis about Communism and Nationalism in 20th Century Portugal at ISCTE, he has recently coordinated the collective book Da Gaveta para Fora - Ensaios sobre Marxistas (Afrontamento, 2006).

iv/ MYTHOLOGY AND INSTRUMENTALIZATIONS OF THE ROMANIAN REVOLUTION.
By Cosmin Costinas

The autumn of 1989 was the spectacular moment needed by the already unleashed liberal machine to proclaim a grand finale before entering the age of unshattered expansion and disbelief in any possibility of social change. The almost ritualistic and choreographed nature of that autumn was nowhere more striking than in the case of the Romanian revolution. The radical proclamation of the end of a political construction employed both a highly symbolic scenario of "the revolution" haunting the modern European imagery (with the occupation of the public space, where the public space is understood as streets and central squares, the storming of a palace climaxing in a regicide), as well as a scenario of a media-generated reality. The act of the king leaving his palace was doubled by an equally significant moment, that of a contested and confused Ceausescu at the balcony of his palace, failing to grasp the codes of the "live history", exposing himself as the product of a pre-media regime of reality and allowing a media story to take over. But the dozens of hours of tape that constitute the Romanian revolution have also aquired an uncanny status of a founding mythology, random gestures and spontaneous phrases becoming projected as the ultimate references for the Romanian second republic.

Cosmin Costinas is a writer and freelance curator, external editor of the reviews Idea Arts + Society e Version, and consultant for visual arts at the Romanian state television. His most recent projects include Textground (Prague, 2004) and Laicitate dupa Complicitate (Bucharest, 2005). He is currently working on a book about Romanian contemporary art of the 21st century (with Mihnea Mircan) and he is part of the editorial team of the Documenta 12 Magazines project in Kassel.

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FRIDAY, SEPTEMBER 21, 2007, 7pm.
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v/ FROM SERBIA TO KYGYZSTAN, COLOR REVOLUTIONS AND REBELION IN A NEW CENTURY.
By Vicken Cheterian

"Color Revolutions" raised a strong hope. They turned out to be a deception. All of them had their specific history, their own biographies. The youth went to protest for different reasons, to reach distinct objectives. What did the youth in Serbia want in 2000? In 2003 Georgia? In 2004 Ukraine and in 2005 Kyrgyzstan? What did "they" promit them? After some years, are these countries more democratic? Were they the beginning or the end of non-violent pro-democratic westernized revolutions? Are the jihadists the revolutionnaries of the 21st century? Is the revolution a solution for the problems of our societies, in the East, in the West?

Vicken Cheterian is a journalist, specialized in international politics. Born in Lebanon, he has covered conflicts in the Middle East, then in Caucasus and Central Asia. Currently living in Geneva, he is working for Cimera, a non-for-profit organization, and he is a frequent collaborator of Le Monde Diplomatique, Paris.

vi/ ART AND REVOLUTION: ZIGZAGS INTO COLOURS.
By Olivier Schefer

We'll try to see how and why color seems to be the very expression of the artistic revolution of the modernism. This lecture will endeavour also to reflect on the self-construction of the modernism, which creates its own mythology through colors. Following aspects will be studied : the quest of autonomy, the spiritual dimension of colors, the exhibition as artwork.

Olivier Schefer is professor of aesthetic, philosophy and fine art at the University of Paris I Sorbonne. He works on the romantic period and its modern influences. Latest pulications : Anish Kapoor catalog's (Svayambh, éditions Fage, Paris, 2007), Les corps du retour (Zombies), in Fresh Theorie (éd. Léo Scheer, Paris, 2006), Résonances du romantisme (éd. La Lettre volée, Bruxelles, 2005).

vii/ SUMMING UP: ATTEMPT OF A FRAGMENTARY HAGIOGRAPHY.
By Societe Realiste

To conclude the two-days public discussion, Societe Realiste will try to summarize some of the main points debated between the participants, by linking modernist stakes of the colour (Alliez, Schefer), examples of political transitions (Cheterian, Costinas, Neves) and the core problematics of the Transitioners project. Then, Societe Realiste will open the conversation on a critical hagiography of some stakes of the Revolution Mythology by using several examples such as the ones of Saint Thomas More or Olinde Rodrigues.

Societe Realiste is a Paris-based artistic cooperative created by Ferenc Grof and Jean-Baptiste Naudy, that manages the development of several research and economical structures such as a laboratory for the study of urban signs (IGM), an immigration agency (EU Green Card Lottery), a trend design bureau specialized in political transitions (Transitioners), an administration dedicated to the politics of the space (Ministere de l'Architecture), a legislative consulting firm, expert in competitive and sustainable lawmaking (Cabinet Societe Realiste Conseil), a counter-biennial (Manifesta 6.1), a company designing marketing models for the contemporary art field (PONZI'S), or a collective finance fund for individual projects (OTC).

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9.

From: kanarinka <kanarinka AT ikatun.com>
Date: Sep 17, 2007
Subject: Watch the video of Unmarked Package

UNMARKED PACKAGE: A Case for Feeling Insecure.

In May 2007, the Institute for Infinitely Small Things toted hundreds of unmarked packages (marked "UNMARKED PACKAGE") around Chicago sites including the South Side, Daley Plaza, Millennium Park, Little Village, Douglas Park and Hyde Park.

At each site, the Institute of Infinitely Small Things interviewed members of the public about anxiety, insecurity and fear in public spaces and produced a video research report with the results.

Watch it now on YouTube.
http://www.youtube.com/watch?v=0SvdlQnNeL0

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10.

From: Anette Schäfer <anette AT trampoline-berlin.de>
Date: Sep 18, 2007
Subject: Trampoline presents: DO BILLBOARDS DREAM OF ELECTRIC SCREENS?

22.09.2007- 05.10.2007
Derby/ Leicester/ Nottingham

Do Billboards Dream Of Electric Screens?
Trampoline Lights up the Urban Screens as Three Cities Unite

As dusk falls over the East Midlands this weekend, the cities’ largest digital screens will play host to a moving canvas of films from regional and international artists.

Trampoline, the region’s innovative new media arts organisation, brings this first programme of artists’ shorts to the public screens of the East Midland’s three cities, Nottingham, Derby and Leicester, as part of Trampoline’s 10th anniversary celebration, to taking place on November 29th at Broadway Cinema.

These three programmes, “The Citizen,” “These Four Walls” and “The Thousand Yard Stare” operate to either draw the viewer into micro narratives or delicately play with their audience’s experience of advertising.

Trampoline has chosen short films, submitted from all over the world, that explore our relationship with the moving image in the public realm. Subtle interventions become interactions with the influx of dynamic digital signage and advertising to our high streets and public spaces. Do Billboards Dream of Electric Screens? endeavours to uncover the possibilities of this new digital infrastructure and how we perceive our developing surroundings. This is an opportunity to watch how cultural content can strengthen local identity and enrich city life.

Whether it’s a brief escape to hinterland or simply man’s best friend chomping on air, Do Billboard’s Dream of Electric Screens? will interact and enlighten as it lights up the three urban screens.

Derby – Big Screen Derby
22nd Sep – 5th Oct
Throughout the day and evening

Leicester – Phoenix Arts Centre
22nd Sep – 30th Sep
dusk – 11pm

Nottingham – Royal Centre
24th Sep – 30th Sep
dusk - 2.30am

Manchester – All Saints Gardens
11th – 14th Oct
Urban Screens Conference

Participating Artists:

Adi Shniderman, Merav Ezer
Collectif Fact
Corine Stübi
CutUp
Frank Abbott
Frauke Havemann, Eric Schefter, Neal Wach (On Air) George Drivas Gob Squad
Harry Sachs James Johnson-Perkins, Dr. Conor Lawless Jonathan Velardi Kim
Collmer Lizzie Hughes Martha Gorzycki Miles Chalcraft Oliver Husain Pat
Lockley Petra Weidemann, Robert Bischof Sean Capone (Supernature) Susanne
Schuricht Suzanne Moxhay Xtine Hanson 8gg

For more information or images please contact info AT trampoline.org.uk Go to www.trampoline.org.uk <http://www.trampoline.org.uk/> for full listings an updates

A Trampoline Project in Partnership with Royal Centre Nottingham, Derby Big Screen, Phoenix Leicester. Thanks to Derby Quad and Broadway Media Centre.

Do Billboards Dream of Electric Screens? is funded by Three Cities Create and Connect European Regional Development Fund (Project Part-Financed by the European Union) Arts Council England

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11.

From: Joel Slayton <joel AT well.com>
Date: Sep 18, 2007
Subject: FUSE: cadre/montalvo residency lecture series

FOR IMMEDIATE RELEASE:
September 20, 2007

Contact: Kuniko Vroman, Residency Coordinator
FUSE: CADRE-Montalvo Artist Research Residency in collaboration with ZERO1
Director: Joel Slayton
Telephone: 408.924.4368
Fax Number: 408.924.4326
kvroman AT email.sjsu.edu

Third of new artist residency lecture series to take place September 14, at 7pm at San Jose City Hall

San Jose, CA- The third presenter in FUSE: conversation is Sam Gould of artist collective, Red76. FUSE: conversation is a series of lectures presented by nominated and commissioned artists as part of their candidacy for FUSE: collaboration, the residency component of FUSE, a CADRE/Montalvo artist research residency initiative.

Eddo Stern is an artist and game designer. He was born in Tel Aviv, Israel and lives in Los Angeles. He works on the disputed borderlands between fantasy and reality, exploring the uneasy and otherwise unconscious connections between physical existence and electronic simulation. His work explores new modes for narrative and documentary, experimental and multidisciplinary computer game design, and cross-cultural representation in new media. He works with various media including software, hardware and game design, live performance, video, and kinetic sculpture. He is the founder of the now retired art and technology cooperative C-level. He is currently developing Darkgame, a sensory deprivation computer game. His work has been widely exhibited at international venues including The Tate Gallery Liverpool, Reina Sofia, E3, GDC, Kunsthalle Düsseldorf, The ICA, The New Museum in NYC, The Rotterdam Film Festival, ICC Tokyo, and The Art Gallery of Ontario. He has taught production and theory courses on new media and computer games at USC, UC San Diego, and CalArts.

Revisiting the 1993 Waco, Texas episode, gamers enter the mind and form of a “resurrected” David Koresh through a specially designed voice activated, surround sound enabled, hard plastic 3D skin. In an attempt to defend the Branch Davidian compound against internal intrigue, skeptical civilians, rival theologians and the inexorable advance of government agents, each player on the network plays as a ”Koresh”. Waco Resurrection draws on the rhetoric of conspiracy theory, cult activity and apocalypticism to investigate the Waco siege as a cultural milestone. It addresses the multi-layered dynamics of a 51-day media-event that served to mobilize the militia movement, radicalize Timothy McVeigh and cause a re-evaluation of the role of religion in society. <www.eddostern.com>

FUSE: conversation, a series of lectures presented by nominated and commissioned artists as part of their candidacy for FUSE: collaboration, which is the residency component of FUSE. The participants will be presenting overviews of their past projects and works with a specific focus on how their artistic practice might engage with the residency structure. Emphasizing collaboration, the artists will speak about how they would explore the opportunities for partnership offered by the residency. FUSE: conversation is co-sponsored by ZERO1 and hosted by the City of San Jose Office of Cultural Affairs Public Art Program.

The lectures are free and open to the public and unless otherwise noted are at San Jose City Hall, Council Chambers, 200 East Santa Clara Street, San Jose, CA 95113 from 7 -9 pm. All lectures will be streamed to Ars Virtua in second Life. http://slurl.com/secondlife/Seventh%20Eye/6/77/48 and available as podcast: <http://dma.sjsu.edu/fuse/conversation/fuse_conversation.xml>

A full schedule of lectures is available at <cadre.sjsu.edu/fuse/>. Accommodation or alternative format for City-sponsored meetings are available. Please call Brooke Jones at 408 277-5144 X 18 or 408-294-9337 (TTY) as soon as possible, but at least three business days before the meeting/event.

Upcoming Presentations:

October
3 Graffiti Research Laboratory
12 Kevin and Jennifer McCoy
18 Natalie Jeremijenko
23 Rosina Gómez-Baeza Tinturé
26 Mongrel

# # #
Joel Slayton
Director, SJSU CADRE Laboratory

FUSE: CADRE/Montalvo Artist Research Residency

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Rhizome.org is a 501(c)(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art.

Rhizome Digest is supported by grants from The Andy Warhol Foundation for the Visual Arts and with public funds from the New York State Council on the Arts, a state agency.

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 12, number 37. 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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