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: 1.9.08
Date: Wed, 9 Jan 2008 22:51:11 -0500

RHIZOME DIGEST: January 9, 2008


1. Amy Youngs: Call for Applications: New Media Artists at the Ohio State University
2. Betsey Biggs: Call For Works: Sonic Fragments (Due 2/15)
3. ana otero: Call For Applicants: DXARTS Ph.D Program
4. James: Call For Proposals: World of Warcraft Residence: AVAIR
5. Mark Shepard: CFP: Situated Advocacy
6. ana otero: Call For Submissions: ARTECH 2008, 4th International Conference on Digital Arts
7. Call For Net Art Proposals: Turbulence Commissions
8. Nerea Garcia: Call For Projects and Papers: Digital Networks and Physical Space: 2nd Inclusiva-net Meeting

9. carlos katastrofksy: atCalls (2004-2007)
11. Christina McPhee: January 2008 on -empyre- soft-skinned space: Stations, Sites and Volatile Landscapes
12. Lee Wells: Love at it's Best

13. judsoN: where did all the computer art go? // 3 Replies

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


FROM: Amy Youngs
DATE: January 4, 2008
SUBJECT: Call for Applications: New Media Artists at the Ohio State University

Art and Technology at the Ohio State University is seeking applicants to the MFA degree program for 2008 - 2009.

The MFA in Art and Technology is a two-year degree in computer-mediated art, offered in the Department of Art. It is an interdisciplinary program designed to foster experimentation and realization of new forms and to help students develop their own unique vision and aesthetic as a fine artist utilizing technological tools.

Our graduate students are focused on conceptualization as the driving force for creative explorations within digital media and advanced technologies. Computers and digital media are powerful tools of expression and we seek to expose our graduates to a wide array of creative approaches to understanding a critical use of technology that acknowledges history and theory while also defining what is next at the intersection of the arts, technology and the sciences. Media our graduates work in are: electronics and kinetics, interactive installation, robotic sculpture/installation, 3D modeling and rapid prototyping, holography and light, digital video, multimedia, biological media,, telematics, performance and sound.

Students are encouraged to consider conceptual approaches to art making while working with content and contexts that may not fit within traditional definitions of art or display venues.

Free tuition, plus a monthly stipend in the form of a Graduate Teaching Assistantship or University Fellowship is awarded to 90% of our graduate students. All graduate students in the Department of Art are provided with studio space.

The Ohio State University is one of the nation's largest, most comprehensive universities. The Columbus campus enrolls approximately 57,000 students, 3,600 of whom are international students representing more than 100 countries. Ohio State offers approximately 11,700 courses in over one hundred departments, including graduate programs in virtually every profession. As members of the University community, students in the Department of Art have the opportunity to draw on a wide variety of resources that may be pertinent to their work. The Art Department is across the street from the Wexner Center for the Arts, a world-class contemporary arts institution presenting exhibitions, music, performance and film.

Art Department:

Application information:

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


FROM: Betsey Biggs
DATE: January 6, 2008
SUBJECT: Call For Works: Call for Works: Sonic Fragments (Due 2/15)

Princeton University, Princeton, NJ
March 28-29, 2008
Deadline: February 15, 2008

We hear while we are in the womb, long before we see. For the rest of our lives, hearing essentially precedes the rest of the sensorium, as we move through a world of sonic fragments which affect us phenomenally and emotionally but of which we are often unaware. These fragments are mediated by our environment, our bodies, our individual and collective memories, and the technologies that pervade contemporary life: from books to radio to television to iPods. Through these mediations sounds give rise to stories, which though they might be as hazy as an aura, begin to narrate the world we move through as they themselves move through our bodies and minds.

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.

Central to the festival will be the presentation of works written specifically for mobile mp3 players which engage the spaces, places, objects, and paths on or near the Princeton University campus. We are soliciting works of ten minutes or less. These works will be available on mp3 players at a kiosk throughout the festival, downloadable from the festival website, and may also be compiled onto a limited edition CD-R for later distribution.

Sound works may be created for any location on or near campus. We are hoping that people will engage Princeton’s weird nooks and crannies as well as its wonderful art collection, perhaps atop one of the many Neogothic towers, inside Henry Moore’s sculpture Oval with Points, or in front of Ellen Gallagher’s large-scale Blubber. We hope that each piece will exhibit a distinct relationship to its site. Existing works which are not site-specific will not be considered.

A few resources to help you find a site:

Most crucially, you must visit and just poke around.
New Jersey Transit (about 1 hr, 15 minutes from NYC)

But to get a taste of what the campus is like…

Princeton University

Wikipedia Entry on Princeton University

Campus Scenes

Flickr Photos of Princeton

Orange Key Virtual Tour

Princeton University Art Museum

Putnam Collection of Sculpture

Princeton University: An Interactive Campus History

Please send an email containing the following to sonicfragments AT by February 15:

1. A short (200-word max) description of your project as it relates to the site
2. A short (100-word max) bio
3. The completed piece (10 minutes or under)
4. A photo or graphic which can be used as your ‘album art’ – we suggest a photo of the site.

Please use the sonicfragments AT address as it can accept large files.

Deadline: February 15, 2008

For more information, please contact Betsey Biggs at sonicfragments AT


Betsey Biggs and Seth Cluett

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
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: ana otero
DATE: January 7, 2008

The Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington in Seattle is seeking strong applications for its pioneering Ph.D. program. DXARTS is an autonomous degree granting Center in the College of Arts and Sciences at the UW. Doctoral students in the new Ph.D. program are fully funded and embrace an expansive range of digital and experimental arts practice, and research across multiple disciplines.

Faculty and students at DXARTS work in established areas of experimental arts such as Digital Video, Mechatronics, Computer Music and Sound Art, 3D Animation, and Telematics, as well as pursue innovative areas of arts research and creative context that have no media allegiance or historical precedent. Creative work underway at DXARTS draws from all combinations of the arts and sciences, and actively seeks the invention of completely new domains of arts practice.

The deadline for receipt of complete applications for the Ph.D. program is February 8th, for Fall 2008 admission. Though DXARTS highly encourages applications from all interdisciplinary fields of experimental arts practice, special attention will be focused this application cycle to artists whose backgrounds include interests and strong skill sets in at least one of the following: experimental digital cinema, computer music, computer programming, data acquisition, 3-D modeling, CNC machining, rapid prototyping, bioengineering, mechatronics, robotics and networked environments. International students should apply as soon as possible due to the extra administrative time needed to process these applications.

For more information please see

Forward your applications to,

shawn brixey professor | director
center for digital arts and experimental media
207 raitt hall | university of washington
box 353414 | seattle, washington 98195, usa


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
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: James
DATE: January 7, 2008
SUBJECT: World of Warcraft Residence: AVAIR
Deadline: January 15, 2008

Ars Virtua Gallery and New Media Center is soliciting proposals for its artist-in-residence program. Established and emerging artists will work within the massively multiplayer online environment of World of Warcraft. The residency will culminate in an exhibition of documentation in Second Life and/or on the web. Residents will also receive a $400 stipend, training and mentorship as necessary.

Jurors: Eddo Stern, James Morgan, Amy Wilson, and Jay Van Buran

Application Process: Artists are encouraged to log in to World of Warcraft BEFORE applying. Be aware that Blizzard offers a 10 day Free trial, and that finalists will be contacted for an in world interview. Applications will be judged based on ideas presented and work previously executed. We are looking for an artist who is willing to work within what may be a new environment for them and be prepared to evolve in response to the synthetic world and Massively Multiplayer Online Role-Playing Game that is WoW.

To apply send the following information to

1) Name, address, phone number, email, Warcraft Character/Realm/Faction.
2) Link to an online portfolio (expect a 5 minute visit) and one page proposal. If you do not have an online portfolio please briefly discuss your work.

Jan 7 - official call
Jan 15 - applications/letters of interest due
Jan 16-20 - interviews (or equivalent in WoW)
Jan 21/22 Announcement

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
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: Mark Shepard
DATE: January 8, 2008
SUBJECT: CFP: Situated Advocacy


Situated Technologies Pamphlet 3: Situated Advocacy

Deadline for abstracts: February 15, 2008

The Situated Technologies Pamphlet Series invites submissions for its
upcoming volume on Situated Advocacy.

Advocacy is the act of arguing on behalf of a particular issue, idea or person, and addresses issues including self-advocacy, environmental protection, the rights of women, youth and minorities, social justice, the re-structured digital divide and political
reform. How might Situated Technologies be mobilized toward changing and/or influencing social or political policies, practices, and beliefs? What new forms of advocacy are enabled by contemporary location-based or context-aware media and information systems? How might they lend tactical support to the process of managing information flows and disseminating strategic knowledge that influences individual behavior or opinion, corporate conduct or public policy and law?

+ Submission details:
We are seeking submissions from pairs of authors, in keeping with the format of a conversation between two individuals or groups. Please submit a 500 word abstract and short bio for each author (150 words max) in Rich Text Format (RTF) by February 15, 2008 to editors AT We expect final manuscripts will range from 7500-10,000 words and will be due by May 16, 2008. Please contact us if you have questions about potential essays or the Situated Technologies Pamphlet Series in general. More information is available at

+ About the Series:
The Situated Technologies Pamphlet Series consists of nine short pamphlets to be published over the next three years, exploring the implications of ubiquitous computing for architecture and urbanism: how our experience of space and the choices we make within it are affected by a range of mobile, pervasive, embedded or otherwise
situated technologies. The series, published via print-on-demand (POD), consists of a succession of conversations between researchers, writers and other practitioners from architecture, art, science and technology studies, comparative media study, performance
studies, and engineering.

+ Series Editors:
Omar Khan, Trebor Scholz, Mark Shepard

+ Advisory Committee:
Keller Easterling, Anne Galloway, Malcolm McCullough, Howard Rheingold

+ Publisher:
The Architectural League of New York

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


FROM: ana otero
DATE: January 8, 2008
SUBJECT: Call For Submissions: ARTECH 2008, 4th International Conference on Digital Arts

ARTECH 2008 | Nas Fronteiras do Imaginario
4th International Conference on Digital Arts

Artech 2008 is the fourth international workshop held in Portugal and Galicia on the topic of Digital Arts. It aims to promote contacts between Iberian and International contributors concerned with the conception, production and dissemination of Digital and Electronic Art. Artech 2008 brings the scientific, technological and artistic community together, promoting the interest in the digital culture and its intersection with art and technology as an important research field, a common space for discussion, an exchange of experiences, a forum for emerging digital artists and a way of understanding and appreciating new forms of cultural expression.

Main Topics
Main areas are related with sound, image, video, music, multimedia and other new media related topics, in the context of emerging practice of artistic creation.
Although non exclusive, the main topics of the conference are:
* Art and Science
* Audio-Visual and Multimedia Design
* Creativity Theory
* Electronic Music
* Generative and Algorithmic Art
* Interactive Systems for Artistic Applications
* Media Art history
* Mobile Multimedia
* Net Art and Digital Culture
* New Experiences with New Media and New Applications
* Tangible and Gesture Interfaces
* Technology in Art Education
* Virtual Reality and Augmented Reality

Authors are invited to submit:
* A full paper of six to ten pages for oral presentation
* A short paper up to four pages for poster presentations or Art Installations proposals Submissions are accepted in the conference official languages: English, Portuguese, Galician and Castilian (Spanish).

Artech 2008 has the format of a conference with technical sessions, invited talks and discussion panels as well an exposition area for installations. All the contributions are subject to a blind peer-review and evaluation by the International Programme Committee. All papers accepted for presentation will be published in a duly registered book (ISBN) and a selection of the best papers will be published in an appropriate scientific and technological academic journal.

Important dates
Full papers submission: 2 June 2008
Installations proposals and short papers submission: 9 June 2008 Full papers notice of acceptance: 7 July 2008 Installations proposal and short papers notice of acceptance: 14 July 2008
Workshop: November 7-8, 2008

[CITAR] Research Center for Science and Technology of the Arts [] [UCP] Portuguese Catholic University - Porto, Portugal [] [UM] Minho University []

Conference Chair:
Antonio Camurri, DIST-U.Genova (IT)

Scientific Commitee:

Alvaro Barbosa, EA-UCP (PT) - President
Lola Dopico, FBA-UV (ES) - Vice-President
Leonel Valbom, DSI-UM (PT) - Vice-President
Henrique Silva, Bienal de Cerveira (PT) - Vice-President

Ana Amelia Carvalho, UM (PT)
Antoni Mercader, DEVP-UB (ES)
Carlos Guedes, ESMAE-IPP (PT)
Charles A. Wuethrich, Bauhaus U. (DE)
Christa Sommerer, K.U. Linz (AT)
Daniel Tercio, FMH-UTL (PT)
Diego Dall'Osto, CLMCM (IT)
Fabien Gouyon, INESC-Porto (PT)
Heitor Alvelos, FBA-UP (PT)
Ido Iurgel, CCG (PT)
James Faure-Walker, U. A. Camberwell, (UK)
Jon McCormack, Monash U. (AU)
Laura Baigorri, FBA-UB (ES)
Lucia Santaella Braga, PUC-SP (BR)
Manuel Gamito, Sheffield U. (UK)
Marc Cavazza, SC-TU (UK)
Marcelo Wanderlei, U. McGill (CA)
Nelson Zagalo, ICS-UM (PT)
Nuno Correia, DIFCT-UNL (PT)
Pau Alsina, UOC (ES)
Paulo Dias, UM (PT)
Paulo Ferreira Lopes, EA-UCP (PT)
Paulo Rodrigues, Casa da Musica (PT)
Pavel Sedlak, CIANT (CZ)
Pedro Branco, UM (PT)
Pedro Faria Lopes, ISCTE (PT)
Penousal Machado, DEI-UC (PT)
Perla Innocenti, U. Glasgow, (UK)
Roberto Bresin, KTH (SE)
Sandra Paulleto, U. York (UK)
Seamus Ross, U. Glasgow (UK )
Sol Alonso Romera, UV (ES)
Stefan Gobel, ZGDV (DE)
Sefania Serafin, IMI-AAU (DK)
Sudhir Mudur, UC (CA)
Tomas Henriques, FCSH-UNL (PT)


Steering Committee

Aderito Marcos, DSI-UM (PT)
Lola Dopico, FBA-UV (ES)
Leonel Valbom, ESG (PT)
Henrique Silva, Bienal de Cerveira (PT)

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


DATE: January 9, 2008
SUBJECT: Turbulence Commissions

Deadline: February 29, 2008

Turbulence is open to net art proposals from artists living in New York City.

General guidelines are here:

Write to jo AT turbulence dot org if you have any questions.

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

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: Nerea Garcia
DATE: January 9, 2008
SUBJECT: Call For Projects and Papers: Digital Networks and Physical Space: 2nd Inclusiva-net Meeting

2nd Inclusiva-net Meeting: Digital Networks and Physical Space. Call for papers and projects

Medialab-Prado issues a call to participate in the Second Inclusiva-net Meeting: Digital Networks and Physical Space, a 2-weeks workshop/seminar directed by Juan Martin Prada, that will take place in Madrid from March 3 through 14, 2008.

The purpose of this open and collaborative meeting is to explore the relationship between digital networks and physical space: how new locative technologies are changing the way citizens perceive the physical and geographic space (cellphones, Google Earth, GPS...) and how these media are reorganizing civic communication and interaction (from "geobrowsers" to the Local Web 2.0 or the "hiperlocal" journalism).

Through and open call, selected projects will be collaboratively developed during a two-weeks production workshop-seminary (March 3-14). Papers will also be publicly presented during the encounter

Deadline for submissions: 30th January 2008
Notification of Acceptance: 8th February 2008

More information and application guidelines at

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


FROM: carlos katastrofsky
DATE: January 5, 2008
SUBJECT: atCalls (2004-2007)

atCalls started as a social utopia: free circulation of relevant information ought to be a social sculpture and undermine the capitalistic functionality of some fields of artistic practises. executed as a free platform of information about calls concerning fine
arts, media arts and theory the aim was to decrease the pressure of competition by providing equal access to all interested parties. often artists -especially in the net-context- are acting as collectives, but when it comes to redistribution of calls and opportunities most of them are not willing to pass on the according information. too big is
the pressure to catch every single chance to enhance their individual career advancements or to get support for their own projects.

the setup and expansion of the infrastructure for atCalls came about in different steps: starting as an unregular newsletter distributed to friends only, soon a blog was installed to make the gathered calls easier accessible to a broader public. Not long after this a regular newsletter had been set up. this form of communication persisted over
the years, only the process of collecting information changed from time to time. different free blog-platforms and other systems had been tested to optimize the workflow.

after some unsuccessful attempts to get funds of different kinds the project has been discontinued since october 2007. the amount of regular users at this time worldwide was around 500.

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


DATE: January 4, 2008


February 7 - April 15, 2008
OPENING AND PERFORMANCE: February 7, 2008; 5-7 pm. Pierre Proske's CATERWAUL
will be performed by Emerson College students at 5:30 pm
VENUES: Huret & Spector Gallery (Emerson College, Boston),
(Internet), and Ars Virtua (Second Life)
ARTISTS: Drew Baker, Neill Donaldson, John (Craig) Freeman, Usman Haque, Ai
Hasegawa, Scott Kildall, Michael Takeo Magruder, Pierre Proske, Victoria
Scott, David Steele, Georg Tremmel

PRESENTATIONS AND DISCUSSION: February 8; 10 am - 5 pm
WORKSHOP: February 9; 1-5 pm
VENUES: Emerson College and Emerson Island (Second Life)
PARTICIPANTS: Burak Arikan, Drew Baker, John (Craig) Freeman, Usman Haque,
Drew Harry, Scott Kildall, Gene Koo, Pierre Proske, Michael Takeo Magruder,
Victoria Scott, David Steele
TO REGISTER: email jo AT

Mixed Reality is the merging of real and virtual worlds to produce new environments where physical and digital objects can co-exist and interact in real-time.

Mixed Realities is an exhibition and symposium that explores the convergence-through cyberspace-of real and synthetic places made possible by computers and networks. Mixed Realities links and overlays the Huret & Spector Gallery (Boston), (Internet), and Ars Virtua (Second Life). Second Life is a shared, synthetic, 3-D environment through which people can interact in real-time by means of a virtual self or avatar. Although it's an imaginary place, it is often able to "masquerade as real"
(Richard Bartle) because it approximates reality persuasively enough to facilitate player immersion. Audience members - who will be embodied as avatars in Second Life, browsing the works at, and/or be physically present in the gallery - will interact with the works and with one another. Thus, Mixed Realities will enable people who are distributed across multiple physical and virtual spaces to communicate with one another and share experiences in real time.

Five works were commissioned by New Radio and Performing Arts, Inc. specifically for the Mixed Realities exhibition. Collectively, they combine sensor, video, sound, streaming, webcam, projection, processing, world wide web, and 3-D technologies to produce immersive, interactive and participatory performances and installations. They allow audiences to experience real and fictional places simultaneously in "Imaging Beijing" and "The Vitruvian World"; debate the value of virtual labor and currency in "No
Matter"; communicate physical data from multiple sources through "Remote";
and question mediated communication itself in "Caterwaul."


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

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


FROM: Christina McPhee
DATE: January 8, 2008
SUBJECT: January 2008 on -empyre- soft-skinned space: Stations, Sites and Volatile Landscapes

January 2008 on -empyre- soft-skinned space: Stations, Sites and Volatile Landscapes

with Naeem Mohaiemen, Katherine Carl, Srdjan Jovanovic Weiss, Nat Muller and John Haber

In the wake of the post-war situationists, the seventies Moebius-strip concept of site/non-site initiated a dynamic of ironic play as if subjectivity and the art object interpolated freely, to project a new participatory space. On offer was a new kind of public transgression, produced at ground level. Post 9/11, new media is after the net.
What follows in the traces of the site/non-site? Globalization inflects locality through branding, privatization and glamour from the top down. The ubiquity of digital tools as integrated circuitry within hypercapitalism and war opens onto an ethical problem for media arts-- how to extend free modes of encounter: here sites become stations.

Please join us!

Subscribe at

Our guest this month:

--Naeem Mohaiemen (BD/US) works in Dhaka/New York , using video, archive and text. Areas of investigation include national security panic, failed revolutionary movements, and the slippage between utopia and dystopia.Projects include a multiyear investigation of hysterical conditions (Visible Collective,, My Camera Can Lie? (UK House of Lords), and Sartre Kommt Nacht Stammheim (Pavillion).

--Katherine Carl (School of Missing Studies) (US) is writing her PhD on conceptual art of the sixties and seventies in the former Yugoslavia in the Department of Art History and Criticism at the State University of New York, Stony Brook, and currently holds a fellowship from the American Council of Learned Societies. For two years in
2005-2006, she was Curator of Contemporary Exhibitions at The Drawing Center after her work as Assistant Curator there. This follows her work at Dia Art Foundation (1999-2003), ArtsLink (1996-1997) and the National Endowment for the Arts (1991-1995). Carl taught art history and contemporary culture in the Department of Art at New York University (2002-3). She was curator of Flipside: ArtsLink at Artists Space (2004) and go_HOME (2001), and is a founding member of School of Missing Studies.

--Srdjan Jovanovic Weiss (SP/US) (School of Missing Studies) is an architect and founder of NAO (Normal Architecture Office) as well as founding member of the School of Missing Studies. His book /Almost Architecture/ published by Merz & Solitude and kuda.nao about
architecture vis-a-vis emerging democratic processes is available through Vice Versa Vertrieb. Weiss has recently collaborated with Herzog & de Meuron architects and is currently faculty at the University of Pennsylvania in Philadelphia as well as a PhD candidateat Goldsmiths College, London. He is currently in design process for
Stadium Culture in collaboration with New Media Centre in Novi Sad to preserve public spaces left from socialist planning.

--Nat Muller (NL) Is an independent curator and critic based in Rotterdam. She has held positions as staff curator at V2_, Institute for Unstable Media (Rotterdam) and De Balie, Centre for Culture and Politics (Amsterdam). Her main interests include: the intersections of aesthetics, media and politics; (new) media and art in the Middle East. She recently co-edited the Reader2: Between Paper and Pixel with Alessandro Ludovico (2007), and Reader3: Processual Publlishing. Actual gestures. (forthcoming 2008). She is co-initiator of the Upgrade! Amsterdam. In 2008 she will spend a year at the Townhouse Gallery in Cairo as curator-in-residence.

--John Haber (US) is a prolific American art critic who lives in New York. He uses the perspective of critical theory in an accessible,journalistic prose to write online reviews and essays about topics ranging from traditional Art History, Modernism and
Postmodernism. When his New York Art Crit site started in 1994 with art reviews from around New York, it was the most thorough and extensive set of gallery and museumreviews anywhere online. This art hyperbook currently features about 700 artists, critics, and art historians from the early Renaissance to Postmodernism, with more than
5,000 links between reviews. Of special interest is the connection of art to feminism, philosophy, and politics.His essays on New Media bridge the interplay between science and art. Many of Habers articles have also appeared in Artillery Magazine, Perfect 8, Artists Books Reviews, American Abstract Artists, and Sharkforum.

Moderated by Christina McPhee,

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


FROM: Lee Wells
DATE: January 8, 2008
SUBJECT: Love at it's Best

Hi Rhizome:

If you are free this tuesday and are in New York we recommend stopping by Rodney's first solo exhibition with Gasser & Grunert Gallery in Chelsea. Love at it's Best a multi-media installation, is a culmination of many years work and research. Those of you may know his work through his performance installation The Queen Bee Snake Bar and his more recent Queen Bee War Remnants Museum that premiered as a featured special project at Art|Basel Miami Beach. His work is very strong and engages in an honest and informed social dialogue about War that you dont get to see everyday, especially in Chelsea.

This exhibition is sure to inspire others to become more socio-politically concerned and to make more art with meaning in these days of an overly commercialized artworld and big brothers clones knocking at our doors. Show is up through February 9th.

148 Ninth Avenue, at the Northeastern corner with 19th Street.
Tuesday, January 8th – Saturday, February 9th 2008
Opening Reception January 8, 6.00PM - 8PM

Love at It's Best is an analysis of warfare, sexual exploitation and genocide, which aims to shed light on the plight of the civilians whose lives have been tainted by these brutal realities. While Rodney Dickson specifically references Vietnam, Cambodia, Korea, World War 1 and 2, as well as conflicts in his native Northern Ireland, he intends for these pieces to be universal commentaries on current global events. The ongoing war in Iraq poignantly underlies all of the work displayed, as Primaries for the 2008 US Presidential Election began just days before the exhibition opens.

The exhibition will feature six large scale paintings from Dickson’s series Kill ‘em all and let Buddha sort ‘em out. The paintings are predominantly white surfaces with imagery and text-related to the above mentioned wars. They are layered over several months time as Dickson creates and destroys, so the paintings building up over time and have a history as objects. Dickson applies a number of media onto the surfaces and collages additional elements on as well, some of these steps will remain, some will be removed, some obscured or altered as Dickson works. Dickson has stated “These are not pristine works of art; these are not pampered lifeless works. I am not trying to show how clever I am at manipulating paint nor am I trying to show how well I can draw. I want to create an object that has a life of its own and exists in the real world. I use War as a subject, this is partly because of growing up in Northern Ireland during 'The Troubles' and partly because I see it as the worst human tragedy of our time.”

The exhibition will also include a version of Dickson’s War Remnants Museum, a series of 6 neon lights, and a group of ten floral paintings.

For Art Basel Miami Beach 2007 Rodney Dickson created a ramshackle structure that served as a ‘homemade’ museum; Dickson recreated such museums he has visited and documented in both rural locations within third-world countries, as well as within the Untied States. Now Dickson will recreate this War Remnants Museum’s collection of authentic artifacts, historic objects altered by the artists, and original works of art that recreate war remnants.

The neon lights relate to Dickson’s ongoing installations of the Queen Bee Bar, a full-scale interactive performance / installation that mimics a typical Saigon bar that American soldiers frequented during the war to find women. Enjoyable and seemingly light-hearted the installations function as an actual bar. The audience in fact follows in the footsteps of American soldiers by enjoying the bar and unwittingly creating the debris, which will be “memorialized” and left behind permanently after they go in a manner similar to US troops leaving Vietnam. The audience is creating the art of the aftermath. In this exhibition, six neon signs will reference the locations around the world where this bar has been created.

Since 1992 Rodney Dickson has researched and exhibited work related to his interest in Vietnam and Cambodia. There he witnessed the aftermath of conflict in its indiscriminately brutal form: it is from this point that Dickson’s work proceeds. This will be his first exhibition at Klemens Gasser & Tanja Grunert, Inc.


Mike Hendershot, 2nd Battalion, 12th Marines 1966, 67, 68, DMZ, Vietnam:

“you know basically War is Hell.... water..only warm blood and
congealed blood..... that smells sort of like raw fish... noise at
any moment...trauma...concussion...flying thru the air to a hard
landing........relieved your in one piece while others were not so
The old women with a beattel nut smile.... rolling up her sleeve to
reach down in a 50 gallon barrel full or bubbling fetid slop..garbage
...picking out the good pieces.........the good pieces????

I have a lot of visions.... a toddler standing at the high part of the
side of the road giving me the finger...children so hungry that the
would jump on garbage trucks before they stopped moving to get there parents.......grunts throwing food in cans and kids
piling on them..only the fittest get there in time..some times a a
Marine would throw a hand grenade off a moving truck and the kids would
pile on it thinking it was food only to be blown up.....a soldier is a
Army person....a Marine is called a Marine in war....we are the it goes etc.....That person would suffer the wrath of
God....he would be over the edge..... in hatred etc...Parents so
desperate that they would push their child in front of a moving vehicle
to certain death,,,,, to collect a sum of money from our forces... The NVA soldier who was a son or husband to the truck
rolled over his body while he lay face up.... only his head and face
were kept from the wheels and you would be next to go over him because
you were driving on a trail and there was no way to turn left or right
..that's where he fell..his face looking up at you..... as you are next
to go over him......his flattened body and his eerie, spooky look... on
his human face..his young human face...side ways lighting...rain so
thick you could only see a short distance...water flying side
ways...rats at your food when you were stuck on guard at some forward
position in a hole waiting on the dawn...your food covered by your
helmut ..only to find very small red ants... after you began to eat
it.... too stay your lips and tongue begin to
swell..... like exaggerated fish lips.....
The rotten cloth that was your uniform.....the faces caked with
dirt......waiting for the rain....then cold and wet...the vegetation so
thick that you could not see the enemy so near you...only his
particular body oder gives him away ..and like wise... your own
smell... gives you away...but you never smell yourself....ever. So many things to wite little time....I am getting older
now...and senior moments harass me with my spelling I peck
away....young my time...the world goes on
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


FROM: judsoN
DATE: January 5, 2008
SUBJECT: where did all the computer art go?


i make Computer Art and have done it for over a decade now. there are list of calls like rohrpost and pourinfos, but for a long time rhizome's had the most announcements. has anyone else noticed or am i just looking in the wrong place? where did the computer art go? help! what gives?

on rhizome there used to be several calls a week for computer and web art - art that integrates computers or the web fundamentally, not simply art that used a computer somewhere in the process or art that could also be posted. nothing against video, like paint and sculpture and drawing with a quill (even by a robot) are fine, but there's no real reason this older sensorial (art you look at, listen to, smell ... ) art has anything to do with the experiential or even interactive (art about your decisions and impulses, which may influence your senses tangentally) art scene (like rhizome).

They both require electricity? So does the lighting required for paintings? Calls for outdoor sculpture are generally listed separately. What logic is used to differentiate?

video art is traditional art. that's not an accusation, but it does lack hype. the packaging off the shelf is new but the medium (a series of still photos to create motion) is 100+ years old. it's not particularly clever or a newer perspective than movies.

That said, there is absolutely no bonus value in "new-ness". CA (which isn't all that new either) is hardly superior or inferior to video art. But putting them together seems to have been so misleading to these curators. Instead of web art, you see blogs. Nothing wrong with blogs either, but this is not a huge leap from a dinner party conversation (albeit usually one after folks are dead drunk). by lumping these in with CA, it just brings the perception of all 3 down.

does someone have any opinions?

we certainly don't need to hear how wonderful "new media" is. it may be wonderful, but this is not a deep insight as to A. why so many folks are quick to put video in with CA, and (maybe more importantly) B. why then does video spread like an epidemic, while CA is an endangered species? CA may even deserve it, who cares, but why do folks think this happens?


+3 Replies+

+Reply by carlos katastrofsky+
January 6, 2008 12:50 pm

maybe computer-art is slowly dissolving into the general art-biz and there's no need to specify it anymore? i don't know, but if it does i really would appreciate it. this ghetto of "computer art" kind of sucks to me. i see myself as an artist, not as a computer-artist. and, to be honest, computer-art is something i really dislike. if you e.g. visit ars electronica -which is clearly labelled as computer-art happening- all you will find are some funny, gadgety toys to play with (ok, ok, there are always a few exceptions. but you really have to look hard to find them). yes, there's technology in it, sometimes it's fun, but art? maybe i'm too bourgeois but art is something more than fun for the moment. (sorry for drifting away here...)

however, the huge amount of calls for video is a totally different thing. video is cheap to produce (you just need a computer and sometimes a camera) very easy to distribute (send a dvd or transfer files via the net) and to show (a room, a projector and some amplification for the sound is enough to present an endless amound of artworks) and it's entertaining. the perfect mixture: as artist you have the possibility to show your work somewhere in the world (which sounds good in the biography) and as organizer you can do a show for cheap.

but does computer art really get mixed up with blogs and video art? i don't think so. it's true that most curators don't have any idea what computer-art (to stay with that term) could be besides retouching photos. and if they do some of them simply don't want to use it - it's unstable, needs technical knowledge to set it up etc. etc.
and the ones who are willing to pick computer art for a show possibly (as said in the beginning) don't think that they have to state this explicitly anymore. hopefully.


+Reply by Max Herman+
January 6, 2008 2:55 pm
Hi Judson,

I'm not really skilled at using computers though I am trying to gain more skills in this area. That said, I would venture a guess that the computer emphasis may have gone down (though I can't claim to know about all activity in the area) due perhaps to a) decline in novelty and b) relative difficulty of computer art.

I also think we need a new art-historical period overall, and the prevalence of video may owe something to what Carlos said about ease but also that it fits in nicely to Postmodernism and existing frameworks. Video also has a kind of web-camp cachet now which you could ascribe to easy access to streaming video. There is also a resurgence of Pop art I think, which may not focus as much on computers per se but more on their Pop ramifications. I think this might be called Avant-Pop, or was once called that, and I'm not sure if it's so much new as having a revival or as I argue in Le Cafe helping contemporary Postmodernism compensate for the lack of a new art-historical period. this could correlate to the 1890's and early 1900's use of "Decadentism" to fill the vacuum existing after Victorianism.

Regarding the computer or internet focus, I think Rhizome has broadened its mission from "new media" to something inclusive of more, i.e. "art that uses technology in significant ways," though I can't say for sure if we ever had a strict confinement to new media and computers.

But I have to acknowledge again that I don't have much skill with computers, and cannot program for example. So I could be wrong about this analysis. My sense is that there are still a lot of people doing it, but maybe just not the majority anymore? Also, people are doing things like taking computers apart and making new re-functioned machines like sculptures I think, and linking objects to web activity like Carlo Zanni's project. Is it perhaps programming-intensive art like Mark Napier's that you see as declining in prevalence? Or, do you also see work explicitly or innovatively addressing computers and computer networks in principle (i.e. as concepts or ideas) as declining too? Maybe such work never caught on in galleries or art schools and therefore is less common now in the 2nd decade of the internet.

Best regards,


+Reply by judsoN+
January 6, 2008 6:18 pm

that's a totally cool thing if you (max) aren't a hard-core computer programmer. lots of valid art (obviously) wouldn't fit the CA genre. an odd side issue is why people even want to say "this is computer art!" when it really isn't. why not just be happy with "this is graphic art!" or "this is conceptual art!"? glad you chimed in. you can have opinions about sculpture too!

carlos had some good thoughts. we all probably agree that the cost is a major factor in the ubiquity of video. the gadgety thing in CA is pretty juvenile. it'd be nice if all art was just art. a lot of CA is moving toward electronic sculpture, but there is still art that runs on a CPU and displayed on your monitor. Folks often think CA means something preservable. Preservation is just ignorance + eagerness. CA is ephemeral, so if everything is of no interest tomorrow, that's the way the cookie crumbles. You've seen a lot of CA in the ArtBase here (more than anywhere by a long shot), but it isn't all CA by a stretch. i think Carlos is right, that many curators (to use the term loosely) are a bit apprehensive of this genre, especially the inconsistent ways it works (or doesn't).

max is also right that rhizome has been at the head of the pack. not always perfect, but making a much more effective effort than say prix ars. no doubt a lot of that comes from listening to a much wider range of voices (you all), rather than a few "experts" who may buy early-adaptor gizmos, but probably never actually have used anything more than email. where they aren't perfect, it's still a compromise between a few people in charge and the community. the pros and cons of democracy are arguable in politics but pretty well suited for an emerging art form.

Galleries, are social places. Mice/keyboards isolate. So we computer artists need to use camera tracking, microphones, etc. The galleries need to be patient and learn how to light audiences for camera tracking. connecting a $50 USB web cam is not that amazingly mystical. This is easy stuff, but only if we stop playing "expert" and listen to each other's needs.

it would be nice if art was just art. but the real problem, is that when you talk to these curators, they say something like "no we only accept computer art, and must be in .jpeg, .gif, .mov or a link to UTube". Folks often have little unspoken addendums. "art of any medium" usually means only linear artforms we are long familiar with. I wouldn't mind if they said "this is a screening" and then sent the call to somewhere like hi-beam (not eyebeam).

There are a few list just of video screenings, but none of just calls that accept CA without video. It's a practical issue, not an aesthetic one. If you are curating a screening for an audience to sit for 2 hours, no performing (since that needs lighting and crew), you may not want interactive work. totally fair.

>From about 1995 - 2000, there weren't many open calls for CA on the web to speak of. From 2000 - 2005 they seemed to very steadily increase, and a few video calls made their way onto list of announcements for techno-art. But why in the last couple of years are there hundreds of these evenings for every one show where CA would work (audiences walk around). (Would think Carlos may have good insights here? yes, art is art, but some art is for screenings and some for exhibitions with hard drives awaiting artwork to run?)

ok, so I take it, it's not simply a matter that i am missing out on the new CA calls list. but (as i figured) those lists are all also video art screening lists. though they still aren't getting many calls on those lists for say glass blowing for neon or airbrush (both could be called "new media"). again, somebody correct me if i'm wrong though.

ps. oh Max, been reading a lot of pre-2000 books about the net. Definitely this is a new historical era. A repeat of old tech histories. silents to talkies particularly, but the invention of cars too. we are in the 2nd phase. Experiments are over. This is the part where we sit on the back burner. Then, Al Jolson will make us an overnight sensation in about 4 years.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Ceci Moss (ceci.moss AT ISSN: 1525-9110. Volume 13, number 2. 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

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