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: 11.28.07
Date: Wed, 28 Nov 2007 16:32:33 -0500

RHIZOME DIGEST: November 28, 2007


1. J.D. McPherson: DEADLINE EXTENDED - LABOR: Web Exhibition
2. paul.stout AT Tenure Track Position in Digital Media
3. gbach AT Asst/Assoc Professor of Interactivity and New Media
4. kevin AT 2008 New York Underground Film Festival - Call for Entries

5. Eric Singer: Ballet Mécanique in Miami, Dec. 1-11
6. Amy Alexander: Announcing the release of SVEN CV computer vision software
7. Anette Schäfer: Trampoline| Year 10, Surveillance City| Nov 29th 2007
8. Marieke Istha: upcoming exhibition: Video Vortex.2
9. ana otero: DISONANCIAS
10. geoloss AT Power and Space
11. Nick Hallett: DARMSTADT's third-annual anniversary performance of TERRY RILEY's IN C

+Commissioned by Rhizome+
12. Marisa Olson: Interview with Mark Amerika, by Rick Silva

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: J.D. McPherson <jdmcphersonjr AT>
Date: Nov 21, 2007
Subject: DEADLINE EXTENDED - LABOR: Web Exhibition

December 15, 2007
In lieu of persistent email client malfunction, the deadline for this exhibition has been extended to December 15th, 2007!


"When the hand repeatedly performs an action, it acquires a memory. When a hand puts the memory to use, it dignifies the memory."

LABOR is an artistic exhibition acknowledging the notion of learning through repetitive action. Any thoughtful interpretation of this concept will be considered for inclusion in this exhibition.

This exhibition will take place on the web in a display format to be discerned after all sub-missions are collected. Web site will be active for at least 1 year.

Any single expression or intermix of the following media are encouraged:

Video (Quicktime Format, NTSC)
Animated .gif
Sound Art (.wav, aiff, .mp3)
Still Image (2MB, 1600x1200 max.)
Web Page (fully authored)
Interactive Media (web capable)
Text Pieces

There is no entry fee.


December 15th, 2007

On or around December 20th, 2007

February 5th, 2008

Questions? : info AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Rhizome Needs You!

Rhizome is currently in the midst of our annual Community Campaign. We need to raise $30,000 by midnight, December 31st in order to sustain and grow our web-based programs. We're calling upon the artists, critics, curators, scholars, scientists, and general digital culture fans in our network to achieve this goal. Now is the time to become a member (it's only $25!), renew your membership, or make a generous donation. Rhizome serves an emerging field and we rely, to no small extent, on our community for support. Your contribution will seed the development of our web-based programs, such as commissions, discussion, and digital art preservation, all of which aim to increase the visibility and vibrancy of this growing field. Helping us will help make new media art history. Please support us today!

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: paul.stout AT <paul.stout AT>
Date: Nov 25, 2007
Subject: Tenure Track Position in Digital Media

January 11, 2008
Position: Full-time tenure-track appointment at the rank of Assistant Professor for a new studio art position in Digital Media Arts. Start date is August 2008.

Qualifications: MFA in studio art specializing in digital-based visual research and practice. Applicants should possess a broad understanding of contemporary art practices and computer technologies. Applicants should be knowledgeable in the history and criticism of a wide range of inter-disciplinary and new genre approaches, including electronic media and contemporary media theory. The successful candidate is expected to engage in aesthetic, intellectual, and structural dimensions of form in interdisciplinary combinations of arts and technologies. The individual should be prepared to take a leadership role in the developing digital media arts program curricula, and to teach and advise undergraduate and graduate students working across disciplines, including visual art, installation, video, experimental music, dance, performance, and theatre. The applicant should be a practicing artist with a professional record of creative research and excellent teaching methods.

Responsibilities: Coordinate a digital media arts studio track and develop a sequence of core courses exploring digital media from a fine art perspective for undergraduate art majors/minors and graduate MFA students. Develop additional courses in area of expertise. Assist in mentoring and advising students. The faculty member should expect to participate in ongoing efforts to facilitate experimental and innovative approaches to contemporary discourse and practice that complement established media-specific disciplines. Development of a profile of active, ongoing creative research, teaching, and service is required. Opportunity for collaborative projects with non-art major/art major students in arts technology certificate program and interdisciplinary minor in arts and technology. Grant support in developing the role of digital media arts at the intersection of scientific/technological and humanities/arts disciplines is available. Visit for more information about the department.

Digital Media Arts is rapidly expanding across disciplines at the University of Utah, and the mission of the department is directed towards a diverse and inclusive yet rigorous and responsible environment that includes electronic arts. The department?s integrative digital arts philosophy fosters a critical and creative exploration of emerging forms in digital media arts. Engagement with the new College of Fine Arts Center for Interdisciplinary Arts and Technology is anticipated as well as exploring ways to work with faculty/students from other College of Fine Arts units (Ballet, Film Studies, Modern Dance, Music, Theatre).

Application: A letter of application addressing creative research and teaching interests, curriculum vita, artist?s statement, statement of teaching philosophy, 20 examples of applicant?s work, and examples of student work in CD/DVD form, applicable web sites, and SASE. The applicant?s referees should send three letters of recommendation separately. Sample curriculum design in digital media arts is encouraged as an informative supplement. Address application materials to Chair of Digital Media Arts Search Committee, University of Utah, Department of Art and Art History, 357 S 1530 E RM 161, Salt Lake City, UT 84112-0380. A/D: 11 January 2008. Interviews will be conducted at CAA.

Employer Information: The University of Utah is a Doctoral/Research University-Extensive public institution, which supports faculty research. The University is an AA/OE employer and encourages applications from women and minorities, and provides reasonable accommodation to the known disabilities of applicants and employees. The University and our department is committed to enhancing a multicultural environment.

The flagship of the state?s higher education system, the University of Utah is located in Salt Lake City, a diverse metropolitan community at the foot of the Wasatch Mountains offering a wide range of cultural and recreational activities.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Theatre/Video: Assistant Professor (tenure track to begin August 2008). MFA required, Ph.D. or equivalent professional and academic experience considered. Teaching responsibilities may include, but are not limited to, courses in: acting; voice/diction; on-camera performance; directing; script analysis and script writing; digital video production and editing. Other duties may include directing Theatre/Video productions; collaborating with colleagues on other productions and activities, mentoring students with their creative processes; departmental and institutional support. Qualified applicants must submit letter of interest (include email address if applicable), vita, unofficial transcripts, evidence of teaching effectiveness, recent examples of personal work and at least three letters of reference (to be sent directly by references or confidential placement file) to: Dr. Marilyn D. Hunt, Chair, Department of Communication Studies & Theatre, Missouri Western State University, 4525 Downs Drive, St. Joseph, Missouri 64507. Deadline: December 1, 2007 or until filled. Review of applications will begin immediately.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: gbach AT <gbach AT>
Date: Nov 26, 2007
Subject: Asst/Assoc Professor of Interactivity and New Media

November 15, 2007
Assistant or Associate Professor of Film/Video/New Genres, with emphasis on interactivity & new media, tenure-track or tenured, nine month (academic year), faculty appointment in the Film Department, Peck School of the Arts, University of Wisconsin-Milwaukee.

Starting Date: August 18, 2008
Application Deadline: Screening of candidates will begin November 15, 2007 and continue until the position is filled.

Position Description:
The UWM Film Department is seeking a media artist, with an emphasis on interactivity & new media, to be appointed to a tenure-track/tenured position in a department that has a long-standing commitment to experimental and innovative teaching, research and artistic practice. Qualified candidates will have a facility across a range of moving image media and demonstrate a strong record of personal creative activity. Responsibilities will include developing curriculum, teaching undergraduate and graduate courses, providing service to the department, as well as an ongoing commitment to artistic production. Areas of interest include media interactivity, physical computing, scripting/programming and electronics, with practice relating to one or more of the following: installation, performance, internet art, gaming, robotics, sensor-based technology, human machine interface and internet resources.

The Film Department offers a BFA with three tracks --Film/Video/New Genres, Conceptual Studies and Photography -- and an MFA in filmmaking/moving image media. Our curricula emphasize the ongoing collaboration of artists and scholars from a variety of disciplines, as well as from the other arts.

Qualifications: Degree in the field and a strong body of production work is required. Terminal degree is preferred. Teaching experience at the college level is desired.

Salary & Rank: Position is tenure-track or tenured. Salary is commensurate with qualifications and experience.

PSOA & UWM: The UWM Peck School of the Arts (PSOA),, is composed of five academic departments (dance, film, music, theatre, and visual arts), plus an inter-arts degree program that includes the interdisciplinary DIVAS track. It is also home to the UWM Institute of Visual Arts (Inova), which coordinates exhibits in four campus galleries. The PSOA is one of the largest arts presenters in Milwaukee, scheduling over 350 visual, performing and media arts events each year. The University of Wisconsin-Milwaukee (UWM),, is one of two public doctoral research universities in the state of Wisconsin. Located on a 93-acre campus a few blocks from Lake Michigan and only minutes from downtown Milwaukee, UWM has an enrollment of over 29,000 students and offers 153 degree programs through twelve schools and colleges.

Application Procedure:
Applicants should send a cover letter, CV, an artist's statement, samples of personal work, list of courses taught and names of three references to:

Rob Yeo, Search Committee Chair
UW-Milwaukee Film Department
Mitchell Hall, Room B70
3203 N. Downer Ave.
Milwaukee, WI 53211
E-mail : filmwebsite AT

UWM is an affirmative action, equal employment opportunity employer.

All finalists for this position will require a criminal records review consistent with the Wisconsin Fair Employment Act.

For the UWM Campus Security Report, see or contact the Office of Student Life, Mellencamp Hall 118, at (414) 229-4632 for a paper copy.

The names of nominees and applicants who have not requested in writing that their identities be withheld and the names of all finalists will be released upon request.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Film/Video/Theatre: Assistant Professor, (tenure-track position to begin August 2008) – dynamic individual to teach courses in progressive integrated video/film and theatre department with emerging interdisciplinary graduate program in applied media arts. Department requires innovative professional to oversee the technical production of video, film, and live production and assist in curricular development of graduate classes. Required: M.F.A. in film, video, multi-media, theatre or closely related field. Must demonstrate evidence of quality teaching/advising and commitment to undergraduate and graduate education. Applicant must have expertise with cinematography, lighting, sound and live theatrical production. Applicant must also have a working knowledge in the Macintosh environment, including the major non-linear applications utilized in post-production. Applicant will teach courses as needed but must be able to teach film, video and live technical production. Qualified applicants must submit a letter of interest including e-mail address; vita; recent examples of personal work; and at least three letters of reference (to be sent directly by references or confidential placement file) to: Dr. M. D. Hunt, Chair, Department of Communication Studies & Theatre, Missouri Western State University, 4525 Downs Drive, Murphy Hall 207, St. Joseph, Missouri 64507. Deadline: December 1, 2007 or until filled. Review of applications will begin immediately. AA/EOE.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: kevin AT <kevin AT>
Date: Nov 27, 2007
Subject: 2008 New York Underground Film Festival - Call for Entries

January 15, 2008
- Spread the word! -

15th Annual New York Underground Film Festival



Early Deadline: December 1
Regular Deadline: December 15
Late Deadline: January 15

Calling all Rhizomers to submit to the very special 15th anniversary edition of the New York Underground Film Festival, screening the best of the bold, smart, weird and real at Anthology Film Archives in New York City, April 2-8, 2008.

All submission instructions and guidelines are available at

To contact NYUFF: info AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Eric Singer <list AT>
Date: Nov 21, 2007
Subject: Ballet Mécanique in Miami, Dec. 1-11

*** Ballet Mécanique Rides Again ***

Paul Lehrman and LEMUR present
The All-Robotic Installation of
George Antheil's Ballet Mecanique
December 1-11
The Wolfsonian Museum, Florida International University, Miami

We are pleased to announce that the all-robotic installation of Ballet Mécanique is heading to the Wolfsonian-FIU in December. This installation, which premiered in 2005 during the Dada exhibition at the National Gallery of Art in DC, features Antheil's original 1924 score for 16 synchronized player pianos and live percussion. In the installation version, LEMUR's musical robots perform the percussion parts on three xylophones, four concert bass drums, gong, siren, doorbells and three industrial fans (standing in for the airplane propellers called for in the original score).

See below for details, or go to and for more information.

>From The Wolfsonian-FIU Site:

December 1 from 7 to 11pm
Join us for a DADA party and The Wolfsonian's premiere of the robotic performance of Ballet Mécanique along with a screening of its namesake film from 1925. Tickets $100; $85 for members and NWS subscribers (includes Friday NWS performance and Saturday evening DADA party and performance). Saturday-only tickets $85; $75 for members and NWS subscribers. RSVP required: 305.535.2631 or rsvp AT Sponsored by Northern Trust; John S. and James L. Knight Foundation; and the Dade Community Foundation through the John S. and James L. Knight Donor- Advised Fund.

December 2-11, during gallery hours
The robotic orchestration of Ballet mécanique and screenings of Fernand Léger's film Ballet mécanique and Bad Boy Made Good, a documentary about George Antheil and the history of this groundbreaking piece, play multiple times daily. Call 305.531.1001 for times. Free with admission.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
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 sales AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Amy Alexander <plagiari AT>
Date: Nov 25, 2007
Subject: Announcing the release of SVEN CV computer vision software

Announcing the release of SVEN CV computer vision software...

SVEN CV - the computer vision software used for SVEN (Surveillance Video Entertainment Network - is now available to the public. The features and interface were designed specifically for the SVEN project, so the interface isn't what you might expect from user-friendly, general purpose software. However, we hope it can be useful for other public space projects, as it is specifically designed to track people in uncontrolled settings, as opposed to a gallery or stage where lighting, background, clothing, etc., can be controlled.

About SVEN CV...
SVEN CV is a software application for real time tracking of pedestrians, using OpenCV. Its robust build has features for tracking several individuals with all kinds of foreground and background occlusions. It also provides real-time subjective features such as face detection and expression; hair and clothing color; segmentation of the body to give positions for head, shoulders, and torso; direction of movement and more. It transfers the data including the coordinates of the person's outline (matte) to a specified IP address or the local machine via a UDP port. It supports input from both live camera and AVI files.

There are already several computer vision applications available geared toward "artists." So why did we bother to develop our own?

1) We wanted some specific features that weren't available in existing software. These may or may not be of use to you. But more importantly...

2) We wanted it to work in public space. The SVEN project deals with surveillance, and surveillance happens in public places: corridors, storefronts, outside on the street, etc. The computer vision applications for artists we found tended to assume a controlled setting like a gallery or stage, where changes in lighting and background wouldn't be a problem. While the best results with SVEN CV are still obtained with minimal background changes and reasonably flat, constant lighting, SVEN CV is designed to adapt to changes in background and applies heuristics to eliminate as much as possible errors due to shadows and lighting changes.

Complete licensing information is included in the Readme. But in general, SVEN CV and its source code can be used freely for educational, research and non-profit purposes; however permission must be obtained for commercial use.

SVEN CV software is written by Vincent Rabaud, developed in coordination with Amy Alexander

The SVEN project was initiated and directed by Amy Alexander; Lead Video Developer Wojciech Kosma; Lead Computer Vision Developer Vincent Rabaud; Production Assistan Marilia Maschion. Technical direction, utility programming and occasional video programming by Amy Alexander.

Additional video programming by Jesse Gilbert; additional computer vision programming by Nikhil Rasiwasia; additional utility programming by Cristyn Magnus; additional production assistance by Annina Rüst.


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Anette Schäfer <anette AT>
Date: Nov 28, 2007
Subject: RHIZOME_RAW: Trampoline| Year 10, Surveillance City| Nov 29th 2007



7pm- late

Trampoline, the East Midlands' platform event for new media art celebrates its tenth anniversary on Thursday 29 November at Broadway, Nottingham. Looking back on this decade of new media art, digital technologies have been integrated into almost every aspect of everyday life. The theme Surveillance City highlights the critical awareness necessary to cope with an environment where every movement is traceable, recordable and identifiable.

Featuring a dynamic mix of work by regional and international artists including performances, video screenings and installations.


Frank Abbott / Martin John Callanan / Sean Clark / Satellite Bureau / Cormac
Faulkner / Low Brow Trash / Michael Pinchbeck


Caspar Below/ Thilo Froebel/ Max Crow & Aaron Bradbury/ Rich Broomhall/ Rick Niebe/ Johanna Reich/ Blaffert Wamhof/ Tilman Kuentzel/ Sean Reynard/ Nicole Arendt/ Miles Chalcraft/ Jeroen Offerman/ Rafael/ Ralph Meiling/ Jo Kelly/ Barbara Agreste/ KH Jeron/ Marek Brandt...

Trampoline, c/o Broadway, 14-18 Broad St, Nottingham, NG1 3AL
Tel: 0115-840 92 72

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

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.

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.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Marieke Istha <istha AT>
Date: Nov 28, 2007
Subject: upcoming exhibition: Video Vortex.2

Video Vortex.2
December 8, 2007 – February 3, 2008
opening: Friday, December 7, 5:00 p.m.

Johan Grimonprez & Charlotte Léouzon, Martijn Hendriks, Jaap de Jonge, Meta.Live.Nu presents DFM RTV INC, Nancy Mauro-Flude, Oog Volkskrant Online, Park 4DTV, Rabotnik, Sonic()bject, Martin Takken, Thomson & Craighead

Video Vortex.2 is a sequel to the Video Vortex exhibition that responded to the Web2.0 phenomenon. Web2.0 stands for power to the user and democracy for everyone. It has led to innovative forms of media use in which open and friendly cooperation stimulates critical reflection and new ideas. In Video Vortex.2 attention is given to a different side of the democratic movement. How are artists reacting to this democratization process? To what degree does the democratic movement in Web 2.0 differ from previous utopias around radio and television? Howcan artists retain their autonomy and diversity outside the mass media? Is the esthetic of amateurism the new genre? Once again, artists will be responding to Web2.0, with special attention this time being given to the Dutch situation.

Growing out of the desire to do one's own things in a space one annexed for oneself, in the early 1980s various initiatives arose in Amsterdam that focused on making and exhibiting images and sound. Art, politics and media came together for the first time. Alas, it was not long before the coherence and mutual solidarity were lost, but the tone had been set and a great deal of effort had been put into dynamic and socially and culturally subversive radio and television broadcasts. Both Rabotnik and Meta.Live.Nu presents DFM RTV INC will be showing things which were made during those years. In the presentation the emphasis will be on the significance of Rabotnik and DFM for the internet today and what they could mean for those making idiosyncratic productions now. DFM ( takes us along to Second Life, where they broadcast old and new material from the first television station in Second Life. Rabotnik goes online, making its archives accessible.

PARK, established later and known for its slogan “TAPE THIS! STEAL THIS!”, also opens its archives in the PARK4DDD (Digitale Data Dump) 1991-2007. Any visitor to Video Vortex can copy texts, short films, codes, pictures and audio from PARK to a USB stick there, on the spot. In the tradition of PARK, with his installation O.T.S. (Open Televisie Station) Jaap de Jonge has remixed a number of PARK videos in an extraordinary manner. Thirty-two prisms scramble the image, creating new images and image combinations. PARK4DTV is an artists' initiative which has been distributing Pure Image and Sound for every imaginable sort of screen since 1991. See

The You-Tube-o-thèque, designed by Johan Grimonprez and Charlotte Léouzon, is a sort of television playing a program improvised with films from YouTube, Podcasts, online television, mobile telephones, Ipod video, blogs and other sources. The films are selected on the basis of events surrounding 9/11. The You-Tube-o-thèque is a unruly contemporary podium.

Martin Takken makes use of the do-it-yourself principle that is increasingly popular, both on the internet and in exhibitions. His Es Ist Ein Gesamtkunstwerk concept is a collective, constantly changing artwork that is made by international artists. Every day a different selection of colors is available, the kind of brush changes every hour, and various rules imposing limits or creating new possibilities are introduced and modified at random moments. Each day's results are stored in the archive and can be purchased for 25 euro, but you can also make a print for yourself.

New tools such as wireless and mobile telephones outfitted with photo and video cameras afford new ways of working, in which the process is more important than the end product and the content is created only through unstable netwerk platforms. The work MythEngine by Nancy Mauro-Flude is a good example of this. MythEngine is a webcast that transmits live video and stills. Referring to our compulsion to tell stories, MythEngine shows how over time, with the rise of digital photography and video, our collective memory is increasingly becoming a database.

Finally, Thomson & Craighead present their desktop documentary Flat Earth. Using fragments from existing blogs, Flat Earth takes the viewer around the world in seven minutes. An individual discourse is created by weaving the fragments to, through and over one another.

The mobile telephone is one of the first electronic objects that large numbers of people have personalized with sound. The 'ringtone' has become a familiar personal insignia. For both composers and users it provides a unique opportunity to do something with sound. The mission of Sonic()bject is to take advantage of this common interest and to let users become acquainted with never previously heard and experimental sound. The artists that Sonic()bject has selected for devising new
sounds and ringtone compositions are professionals from all over the world who are involved in creating with sound: audio designers, audio artists, contemporary composers, classic or electro, jazz, pop ... real “sonic objects” that have their roots in the history of auditory art. Tones or melodies, instrumental, noise or pure vibrations, recorded or synthetic, these sounds all have a strong auditory character and are make for 'calling'. The ringtones can easily be downloaded from the website. Sonic()bject was set up by Antoine Schmitt and Adrian Johnson.

Oog Volkskrant online is an op-ed podium and part of the online edition of the Volkskrant. Oog (Eye) asks audiovisual artists to share their views on the news and current events, and on the role, function and composition of the news. In this way artists can take on the role of opinion makers in a news environment. Oog began in September, 2005, and each week Oog shows the work of a different artist. After that, the work can be found in the accompanying archive. Oog Volkskrant online:

During the opening on December 7, at 6:15 p.m.
Video Response by Constant Dullaart
Constant Dullaart makes a selection from his archive, and in 30 minutes, using visual rhyming, reveals not only the democratization of video as a medium, but also of authorship. In short, 30 minutes of videos from artists, advertising agencies and lots of amateurs.

Video Vortex Workspace
In the Workspace everyone can get acquainted with open and free software (FLOSS, in collaboration with Derek Holzer), Vlogging (under the guidance of Seth Keen), network mapping ( and other products, and take part in the Furtherfield Visitors Studio. See for the latest program.

Curator for One Day
And of course you can still become Curator for One Day!

Video Vortex international conference
January 18 and 19, 2008, PostCS Amsterdam
Organized by the Institute of Network Cultures

Tuesday through Saturday + the first Sunday of the month, 1:00 – 6:00 p.m.
Closed December 23, 2007 through January 7, 2008.
Open extra hours on Sunday, January 20, in connection with the Video
Vortex Conference.

Admission: 3,00 euro (with discount 2,00 euro). Entry includes USB stick.

Video Vortex is a collaboration among the Netherlands Media Art Institute, the Institute of Network Cultures and Argos, Brussels.

With thanks to: David Garcia (advisor), VSBfonds, Amsterdams Fonds voor
de Kunst, Powered by BeamSystems

Nederlands Instituut voor Mediakunst
Montevideo/Time Based Arts
Keizersgracht 264
1016 EV Amsterdam
T 020 6237101
F 020 6244423

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: ana otero <4anaotero AT>
Date: Nov 23, 2007

November 25, 2007
DISONANCIAS is a platform that promotes joint investigation projects between artists and industries or research labs. It is based on the idea that artists are, by definition, researchers and can contribute to proposing new and different paths of innovation, introducing detours and discords in the normal processes of thought and action, contributing creativity and work methodologies and serving as a catalyst for the members of a team.

After closing the participation of the 9 hosting companies, an international call for artists was organized, open from July 2007 to October 2007. Over 180 proposals were received, sent by 174 artists (group of artists or individual artists) from 35 countries.

The 2007/08 round comprises the following 9 research projects to be developed from November 2007 to July 2008:

Dorlet / lvaro Castro & Fran Gallardo
Multimedia applied to domotics.

EiTB / Victor Iriarte
Documentary format

Fundacin Ikertia / Cuantics Creatives
Health emergencies in public spaces.

Grupo Sarkis Lagunketa / Daniela Bershan
Environmental architecture.

Imar / ReD, Research + Design, Lda
Applications for perforated sheet metal and expanded metal.

Lanik / Recetas Urbanas (Santiago Cirugeda +)
Transformable architecture.

Lantegi Batuak / AMAST
New relationship spaces between people with disabilities and the social framework.

Polo Garaia / Mariano Maturana & Consol Rodrguez
New services to support Connection, Collaboration and Development (C&C&D) between the different target publics of the Garaia Innovation Centre.

Tecnalia / Ania Bas
Sustainable urban environment model.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: geoloss AT <geoloss AT>
Date: Nov 23, 2007
Subject: Power and Space

December 6, 2007

Faculty of Law, Cambridge University, 6, 7, 8 December 2007

The conference runs from Thursday 6th December through to Saturday 8th December, and will be held in the Faculty of Law, Cambridge University (Sidgwick site, Cambridge, UK).

Power & Space seeks to investigate how diverse forms of inquiry across different disciplines address issues of power and space in the contemporary urban environment. In studying the contemporary city, as a pluralistic cultural, economic and political system, a variety of interpretive procedures provide insights into how power shapes space and, in reverse, how space reflects power.

Power & Space's keynote speakers include renowned architects and theorists Charles Jencks and Lebbeus Woods. Other guest speakers include Lawrence Barth (Architectural Association, UK), Jonathan Hill (School of Architecture, The Bartlett, UCL; UK), Jord den Hollander (Architect, Filmmaker; The Netherlands), and Jane Rendell (School of Architecture, The Bartlett, UCL; UK).
Additionally, the conference will feature speakers from a wide variety of disciplines ? including Social Policy, Art, Architecture, Film, Social Anthropology, Environmental Design, Philosophy, and International Studies ? and Power & Space will also include a poster series and a film/video series.

For the conference programme please visit:

To register for the conference please visit this link:

PLEASE NOTE: after Monday 26th November the registration fee for the conference will increase to 60/30 consessions.


Directions to the Cambridge University Faculty of Law can be found at the following links:

- The Law Faculty's website,

- The University of Cambridge official map,;tl=Sidgwick Site

- The University of Cambridge Visitor's Information,


If you are coming from outside of Cambridge, the Cambridge Tourist Board offers a wide range of options for accommodation:

Also, Newnham College offers single standard rooms with shared bathroom facilities. The cost is 36.80 per night and continental breakfast can be had in the College's buttery on a cash basis at the price of 5.75. For additional information and bookings please contact Marilyn Dowling at: Tel: +44-01223-335803; Fax: +44-01223-335800; dburs3 AT (Conference & Events Co-ordinator, Newnham College, Cambridge, CB3 9DF, England, UK)


The conference organising committee includes:

- Stavros Alifragkis (PhD researcher, Digital Studio, University of Cambridge)

- Giorgos Artopoulos (PhD researcher, Digital Studio, University of Cambridge)

- Popi Iacovou (PhD researcher, The Bartlett School of Architecture, UCL)

- Kai Fierle-Hedrick (Program Manager at the non-profit Free Arts NYC; USA)

- Matina Rassia (PhD researcher, Martin Centre, University of Cambridge)

If you have any questions regarding Power & Space: Transforming the Contemporary City please feel free to contact us at: info.powerspace AT Or at:

Power & Space: Transforming the Contemporary City conference, Department of Architecture, University of Cambridge, 1-5 Scroope Terrace, Trumpington Street, Cambridge, CB2 1PX, England, UK

The Organising Committee

Power & Space Conference
University of Cambridge

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Nick Hallett <nick AT>
Date: Nov 28, 2007
Subject: DARMSTADT's third-annual anniversary performance of TERRY RILEY's IN C

November 29, 2007
DARMSTADT: Classics of the Avant-Garde performance series at Galapagos celebrates its third anniversary with an annual performance of Terry Riley's seminal classic "In C".

Join hosts Zach Layton and Nick Hallett for DARMSTADT "Classics of the Avant Garde" as we observe our now-annual tradition of performing InC along with an "all-star" ensemble of instrumentalists, singers, electronic sound artists, and visualists.

Zach writes:

"As we saw last year, this is by no means a "traditional" interpretation of Terry Riley's 1964 work. It is always an incredible experience, we hope you can join us! This year's concert proves to be especially poignant, considering this will be the last darmstadt event at the Williamsburg Galapagos location...the club will be moving to Dumbo shortly afterwards."

All Star Lineup includes: Luke Dubois, David Linton, Tristan Perich, Ha Yang Kim, Joshua Goldberg, Alex Waterman, Peter Hess, Amy Cimini, Hans Tammen, Christine Bard, Nick Hallett, Zach Layton, Josh Rubin, Jon Gibson, Du Yun, adsf;, Angela Babin, David Della Costa, Matthew Ostrowski, Chris McIntyre, Dafna Naftali, and several more special guests TBA

Darmstadt is the Brooklyn-based contemporary music series led by Zach Layton and Nick Hallett. Held at the Galapagos Arts Space, featuring New York's leading experimental composers, performers and video artists

70 North 6th Street
between Kent and Wythe
Williamsburg, Brooklyn, NY 11211
718 782-5188
thursday, nov 29, 8pm, $5.00

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


From: Marisa Olson <marisa AT>
Date: Nov 28, 2007
Subject: Interview with Mark Amerika, by Rick Silva

+ Editor's Note: Rhizome originally planned a Summer of Books editorial project that would deliver a handful of reviews and interviews to your inbox, over the Summer of 2007. It turns out that people would rather play on the beach than review books in the warmer months, and the project evaporated like a summer dream. But this interview between new media artists Rick Silva ( and Mark Amerika ( still cried out for publication.

Rick Silva: Where are you right now?

Mar Amerika: I'm in Falmouth, near Land's End, Cornwall, UK. It's the perfect location for my second feature-length "foreign film" as part of my Foreign Film Series. The first one, "My Autoerotic Muse" was shot in New York City on Central Park West. Muse was made with HDV technology, was seeded at Sundance two years ago, and is in the final stages of postproduction. This new one, "Immobilite," is being shot entirely on mobile phone and is being seeded by the Tate Modern and the iRES research group at the University College Falmouth. Once you get on some of these country roads in Cornwall and start driving by these dramatic cliffs overlooking the vast sea, you realize why some say it feels like the absolute end of the Earth.

RS: Your new book META/DATA is a collection of your writings on the web over the last 15 years, why in book form and why now?

MA: Well, it's only partly my web writings. META/DATA is a mix of writing that includes spontaneous artist theory, short fictions, scholarly investigations, and dialogues with other artists that I've been improvising over the last 15 years. Some of it has been previously published online, but a lot of it has also appeared in print. There are also collage-styled experimental essays pieced together from various keynote presentations and seminars I've delivered over the years.

One of the things I discussed with Joel Slayton who was then editor of the Leonardo Book Series, and Doug Sery at MIT Press, is that I felt like there was a lot of writing out there that was valuable for its techno-theoretical context and did a pretty good job of reporting on the emerging new media scene and the effects new media technology is having on the culture at large, but that it might also be valuable to publish a collection of writing by an artist who, while having a background in net art, is also a published novelist and experimental essayist, someone who could blur the difference between fiction, memoir, theory, conceptual art document, and scholarly writing. MIT has a reputation for publishing these kinds of collections with artists who come from other scenes like Carolee Schneeman, Robert Smithson, Vito Acconci, Martha Rosler, Mike Kelley, etc. Fortunately, they read my prospectus and early excerpts, and agreed to publish it. So I have been piecing together this book for the last few years. Because I've been moving around a lot and activating my "digital art personas" in many parts of the network art culture, the book is finding a diverse audience. For example, right now, the European VJ and live A/V scene seems to be attracted to it. I just heard from a colleague who will include it in their graduate course on World Literature. And of course, the net art world is likely to find it useful too.

RS: How does writing influence your artmaking and vice versa?

MA: Writing is where it all begins. Writing, for me, is like hacking into virtual space and shaping the world I live in. It can even be prophetic, as Burroughs says. Not in the sense of writing down "I will win the Lotto tomorrow" and then it happens (although that's cool too -- drinks are on me!). Rather, by intuitively tapping into the creative unconscious, one can oftentimes reveal an image of themselves in the world that they may have never visualized before. I can do this by writing. Others draw, or paint, or play sax.

Look at my character in GRAMMATRON, Abe Golam. GTRON turned ten years old this June. I wrote it as a multimedia hypertext in 1993-1997. The story of GTRON takes place way in the future and is partly about a cyborg-narrator (Golam) who was once part of a net art scene that collectively hacked itself into the mainstream art world and changed art history. But this was 1993, before anyone really had a clue that that would actually happen six or seven years later (I'm still waiting for the film "2000: The Year Net Art Broke"). Abe Golam, it ends up, was the first net artist, albeit a fictionalized version of one that precedes what we now know of as the early history of net art.

Of course, in my current Foreign Film Series, writing is still at the core of my project as the narrative is driven by the subtitles which reveal the disappearing persona (protagonist) who hovers over the scene. For example, in the first film, "My Autoerotic Muse," this invisible protagonist obsesses over the web cam performance of a very well-to-do European writer who lives on Central Park West and uses her web cam performance as source material for her research. This is all revealed in the subtitles, even though we spend long moments throughout the film looking at her web cam image ourselves.

RS: You also have a background in filmmaking, could you talk about your use of (moving and still) image and text?

MA: As an undergraduate, I studied with Alain Robbe-Grillet, a major figure in the French Nouveau Roman literary movement and who also was then securing his reputation as an experimental filmmaker. He wrote very erotic books, was the principal collaborator on Resnais' Last Year at Marienbad, touched off a wave of artist-generated theory, and his own films, like Glissements Progressifs du Plaisir, were very influential on my impressionable mind back then. At 19, I decided that I would leave the University of Florida, where I was studying creative writing and literature at the time, and move to L.A. to study film at UCLA so that I too could make my erotic art films. Very naive, yes? But I learned a lot while at UCLA and made some life-long friends including Nile Southern who has helped me direct the cinematography on the Muse film. It took me 25 years, but now I am making my foreign art films, although not as movies per se, rather, I see them as unique works of moving visual art that are adapting to the changes taking place in network culture. Most people who will be reading this interview know exactly what I am talking about, that is, what is the difference between cinema, digital narrative, net art, video art, VJing, and mobile blogging? Recognizing the differences while simultaneosuly blurring them into a hybridized art practice that I call "postproduction art" is where a lot of contemporary art and writing is shifting to these days. I have been working in all of these areas for the last 25 years and yes, there's a difference in technology and even methodology between the genres and formats, but going back to your previous question, I am able to shift between these media and mediums quite fluidly because at root, I approach them as a writer, a hacker, a semiotic codeworker.

RS: Will Abe Golam be running for president in 2008?

MA: I have been consulting with him. I did a lot of his speechwriting and took on the press secretary duties for the 2004 election and found it gratifying work. I believed in his candidacy, thought he was the right avatar for the job, and felt deeply connected to the mission which was to oust the current administration and implant a virtual government. He's in a position now where I think he can patiently wait and take his time deciding if he thinks his entry into the race would be best for the country. He could easily come in later, after all of the other announced candidates have essentially tired themselves out. He is well-positioned to take advantage of the netroots political environment to spread his memes and generate huge Facebook, Myspace, flash-mob, and meet-up support. It would be great if he did. But I also know that he's enjoying his life outside of mainstream politics and may not want all of the attention that an active campaign would bring. That's all I can say right now.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN: 1525-9110. Volume 12, number 46. 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

To unsubscribe from this list, visit Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +