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: 1.23.08
Date: Wed, 23 Jan 2008 23:41:02 -0500

RHIZOME DIGEST: January 23, 2008


1. Rhizomer: Slow Art -- SIGGRAPH 2008 Juried Exhibition
2. Mark Shepard: Assistant/Associate Professor- Interaction Design Interaction Design
3. Catherine Forster: Around the Coyote Video Lounge Curated by LiveBox
4. Vicente Matallana: Deadline Reminder: January, 31st 2008- Competition ARTE 2.0 VOCENTO

5. marc garrett: Video Vortex Workshop by
6. MarkDavid Hosale: Quasar
7. sachiko hayashi- N00sphere Playground
8. ana ortero: VIDA 10.0 Awards

9. Ceci Moss: Interview with Michael Bell-Smith

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FROM: Rhizomer
DATE: January 18, 2008
SUBJECT: Slow Art -- SIGGRAPH 2008 Juried Exhibition


In our digital culture, we can task simultaneously, message instantly, and prototype rapidly, but, in doing so, do we create an oasis for contemplation, or do we fuel a hunger for yet more speed? As technology colors all aspects of our world, we see the inevitable pendular response in campaigns that advocate slowness.

The Italian membership organization Cittaslow's manifesto defines criteria for slow cities, focusing on improved quality of life. Internationally, people are organizing to protect regional food systems, traditions, and cuisine as part of the Slow Food Movement. There is a return to artisanship, and a renewed focus on the local, as opposed to the global.

Throughout time, artists have pioneered the important task of illustrating and preserving humanity. For the SIGGRAPH 2008 art program, we are seeking art and investigations that address our overarching conference themes (Complexity and Accessibility, Future History, Global Responsibility, Impact on Society, and Professional Development and Education) through the filter of Slowness. Some questions we hope to explore are:

* In which ways do new media artists employ the tools of speed to address the issue of slowness?
* How does the speed afforded by technology affect the work we make?
* With the rapid changes in new media, how will these artworks be preserved, and do questions of legacy affect the creative process?
* How can new media art assist in the preservation of cultural diversity?

All submissions will be juried. International works are highly encouraged. All forms of digitally mediated work are eligible, as well as works made in traditional media that comment on technology. Selections will be made according to the following criteria: relevance to the SIGGRAPH 2008 themes, creative use of media, depth of critical exploration, and quality of accompanying artist statement.

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FROM: Mark Shepard
DATE: January 22, 2008
SUBJECT: Assistant/Associate Professor- Interaction Design

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The Department of Architecture at the University at Buffalo is seeking candidates for a full-time, tenure-track faculty position at the level of Assistant or Associate Professor in Interaction Design, to begin Fall 2008 or Spring 2009.

Qualified applicants should have a terminal degree in Architecture, Interaction Design or Human Computer Interaction (HCI) and have a demonstrated record of excellence in teaching, research and/or creative practice. We seek applicants with expertise in one or more of the following areas: human-computer interaction; perceptual and cognitive factors in design; tangible and social computing; digital fabrication and rapid prototyping. The successful candidate will teach graduate design courses, advanced seminars and conduct research in their area of expertise. S/he will be committed to interdisciplinary research related to Architecture and Pervasive Computing through the Center for Virtual Architecture (CVA), a designated center for excellence at the University at Buffalo.

The CVAs research is located at the intersection of architecture, new media and computing. This research is aligned with the Universitys UB 2020 strategic strengths in Information and Computing Technology and Artistic Expression and Performing
Arts []. The CVA is interested in the possibilities offered by computational systems for rethinking human interaction with (and within) the built environment. Its focus areas include responsive architecture, pervasive media, and learning environments [].

The School of Architecture and Planning at the University at Buffalo is the only unit in the State University of New York (SUNY) system that offers the fully accredited Master of Architecture degree. The University at Buffalo is an Equal Opportunity Employer/Recruiter. Women and minorities are encouraged to apply.

The Search Committee will begin reviewing applications on March 1, 2008, and continue thereafter until the position is filled. To apply, please send a letter of interest, curriculum vitae, electronic portfolio of research and/or creative activity (DVD or URL) and names
of three references to:

Interaction Design Search Committee
Department of Architecture
University at Buffalo,
The State University of New York
112 Hayes Hall, 3435 Main Street
Buffalo, NY 14214-3087

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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.
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FROM: Catherine Forster
DATE: January 22, 2008
SUBJECT: Around the Coyote Video Lounge Curated by LiveBox

Call for Video
Deadline March 1st (received)
Around the Coyote, as a cultural partner of The Artist Project at Artropolis, brings you the Around the Coyote Video Lounge curated by LiveBox. ARTropolis is Chicago’s citywide celebration of arts, antiques and culture. Running concurrently with Art Chicago, The Artist Project features original work from cutting-edge artists undiscovered by the gallery community. The Video Lounge will open for the preview celebrations on April24th, and run through April 28, 2008

Since the rise of You Tube and the use of video as a communication language, there has been talk about the death of video art. For many it is becoming increasing difficult to access the artistic quality of video art when the format represents entertainment and cheap reproduction. Very recently though, there has been talk of Video as “New”. New York times critic Holland Cotter wrote in January 08, “ At present it is shaped by a combination of pop fantasy, ingrainedcybersmarts, neo tribalism and the angst-free take on contemporary life that marks attention-deficient internet culture.” Cotter was talking about a collection of rising video artists who were creating stunning original video. You Tube habitation and the like had liberated these artists to create fearless work. The ARTropolis Video Lounge is a celebration of video as a seminal medium for young artists today.

Send a CD with resume, statement, short synopsis of the work, and jpg images. Video should be NTSC DVD, if your piece is in PAL, please send mini DV tape. Label DVD and case with title, running time and contact info. Note materials will not be returned, unless specifically requested. Send proposals to:
Catherine Forster
LiveBox submissions
1031 North Shore Dr
Crystal lake, IL 60014

For more information contact cf AT

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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.
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FROM: Vicente Matallana
DATE: January 21, 2008
SUBJECT: Deadline Reminder- January, 31st 2008- Competition ARTE 2.0 VOCENTO

Reminder of closing date for inscription January, 31st 2008.

Competition ARTE 2.0 VOCENTO
Open call for proposals by VOCENTO in collaboration with ARCO
Prize 15.000 euros.

VOCENTO and ARCO announce an Open Call for Proposals addressing the potential of Web 2.0 for art galleries. The competition invites proposals for web solutions that respond to the needs and enhance the presence of art galleries online.

Total award is 15.000 euros.

DEADLINE – 31st January, 2008


VOCENTO and ARCO invite proposals for innovative and experimental online platforms and effective tools to foster and stimulate the presence, exhibition, communication and management of art on the Internet. Selected proposal will be awarded with 15.000 euros (taxes included) of a production budget to realise the project.

The competition wishes to encourage research in the field of social technologies and artistic practice, and more specifically to identify current needs and provide suitable solutions for art galleries in the context of the Internet. The solutions will notably benefit communication between art and society.

The proposal, a complete web concept, or environment, or tool will be an applicable service to be implemented by art galleries.

The winning proposal will be selected by an international Jury, made up of two experts in the field of art and technology: (Joasia Krysa of KURATOR/UoP, UK and Santiago Ortiz, artist,, a representative of VOCENTO; LaAgencia will act as coordinator of the award and jury secretary.

· Production of the award-winning proposal has to be completed in a maximum period of six months. Once produced, a complete web concept, or environment, or tool, will be freely distributed for implementation by the participant galleries at ARCO´s 2008 edition and the galleries participating at ARCO´s 2009 edition.

· Notification of the winner date: 16th of February 2008.

· The Award prize: the winning proposal will receive a total of 15.000 euros budget (taxes included).

Conditions for entry to participate:

· The Call for Proposals ARTE 2.0 VOCENTO is an open call to any individual or a group, of any nationality or legal entity. It is open and international award contest.

· The proposal must be submitted through an application form available on the dedicated ‘Call for Proposals’ website.

· Each individual or a group is allowed to submit only one proposal. In case of submission of more than one proposal, only the first proposal will be considered.

· Proposals sent by e-mail, post or any other way will not be accepted.

· Applications for ARTE 2.0 VOCENTO competition can be submitted in English or Spanish. We highly recommend submitting bilingual versions of the proposal.

· The participating proposals must be for projects realisable for the value of the prize money, i.e. E15,000 (including taxes), within a maximum production period of six months from the date of the Jury’s decision.
· The Jury reserves the right to accept or reject any of the projects, and its decision is final.

· Accepting the prize implies the transfer of property rights of the awarded project to VOCENTO, after the termination of its free distribution among art galleries participating at ARCO 2008 and those taking part in the 2009 edition. VOCENTO agrees not to commercialise nor distribute it in any other form than that described. After two years VOCENTO will make the project available to the public under the license CreativeCommons, Attribution 2.5 Spain.


· Opening date for applications to ARTE 2.0 VOCENTO competition is the 1st January 2008 at 17:00 hours (GMT+1) through the Call for Proposals website.

· Deadline for applications to ARTE 2.0 VOCENTO competition is the 31st January 2008 at 17:00 hours (GMT+1) through the Call of Proposals website.

ARTE 2.0 VOCENTO competition aims not only to enable the development of a powerful tool or web environment serving art, but also to promote the development of a creative, striking and original environment appropriate to its target, ART, which can express the sensibility of both creators and a dynamic public eager for creative environments.

Therefore, this Call for Proposals is not only a search for efficiency but also for creativity, originality and innovation; for collaborative proposals by programmers, software engineers and artists alike reflecting the new social sensibility, and art’s ability to surprise.

The deadline for the inscription is the 31st of January of 2008. You can find the application form in The Call for Proposals ARTE 2.0 VOCENTO website at

For further information about The Competition of ideas ARTE 2.0 VOCENTO, please get in contact with:

Vicente Matallana
Tel: (34) 91 366 8821
E-mail: ArteWebVOCENTO AT

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FROM: marc garrett
DATE: January 17, 2008
SUBJECT: Video Vortex Workshop by

Video Vortex Workshop by

SWAMP Splash: about the deluge of information rising up through the grass-roots.

feb 2nd
12:00 pm and 15:00pm

Nederlands Instituut voor Mediakunst
Keizersgracht 264, 1016 EV Amsterdam
organisator: Institute of Network Cultures
T +31 (0)20 5951866 Nederlands Instituut voor Mediakunst
T 020-6237101

Marc Garrett and Ruth Catlow from will demo VisitorsStudio and introduce participants to its (easy-to-use) tool-set and features. Using your own files (bring jpg, mp3, swf, flv under 200k) or harvesting files from the net, you can work with others to create and distribute mixes and remixes. The day will end with a live online performance by all participants.

VisitorsStudio ( 2003-) is an networked, many to many, real-time art project created and distributed live in real-time across the Internet. Participants link together at the same time and mix and remix audio-visual files. The VisitorsStudio artware is also an always-on, open, social space. As they work together, live conversations between participants (identified by their moving cursor arrows) become a part of the performance- along with comments and heckling from the audience.

Through VisitorsStudio explores the ongoing expressive and communicative processes of human beings collaborating in new ways in this context, as active agents in the production of the cultural landscape.

More information
For reservations (free) mail to: malka AT
Participants will need: laptops with browser, wireless capability

Furtherfield website at:
Visitorsstudio at:

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Organizational memberships with Rhizome

Sign your library, university or organization up for a Rhizome organizational membership! Give your community access to the largest online archives of digital art and new media art-related writing, the opportunity to organize member-curated exhibitions, participate in critical discussion, community boards, and learn about residency, educational and professional possibilities. Rhizome also offers subsidized memberships for qualifying institutions with limited access to the Internet. Please visit for more information or contact sales AT

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FROM: MarkDavid Hosale
DATE: January 22, 2008

Quasar is an immersive light and sound space made from prototype membranes and realized as an interactive light/sound object and comprised of a dense array of interlinked elements describing an intricate three-dimensional structure…

Jean-Michel Crettaz
Aaron Bocanegra, MarkDavid Hosale, Duly Lee, Slac, Kavali
Opening Reception Jan. 25th 7-9pm
Exhibition Discussion Feb. 15th 7-9pm

Southern California Institute of Architecture
960 East 3rd Street, Los Angeles, CA 90013

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FROM: sachiko hayashi
DATE: January 21, 2008
SUBJECT: N00sphere Playground

N00sphere Playground at Statens Museum for Kunst, Copenhagen, as part of Virtual Moves

VIRTUAL MOVES is a row of 4 international art exhibitions in SecondLife (SL) and at Statens Museum for Kunst (SMK) in Copenhagen organized by TAGGING ART. The aim of the exhibitions is to explore and challenge SL as a platform for artistic practice, a public space, and a cultural community and to discuss critically how SL affects our notion of reality. The set off is a critical point of view and experimental focus.

8 artists are invited to create a visually moving art piece each in which they consider SL as a platform for art and artistic interaction. The works are created especially for this event by Mogens Jacobsen (DK), Sachiko Hayashi (JP/SE), Nis Rømer (DK), Maria Lavman Veto(SE), Annette Finnsdottir (DK/IS), Kristoffer Gansing and Linda Hilfling(SE/DK), Jan Northoff (DE) and Ida Grøn (DK/UK).

Virtual Moves is supported by the Danish Art Council.
The 4 openings take place in SL and SMK: 18th of January (through 29 January), 1st, 15 th and 29th of February 2008.

"N00sphere Playground" by Sachiko Hayashi
Mimicking the from of a sphere in a real-life playground, "N00sphere Playground" is an interactive sound installation in which a sphere of enjoyment is created through play and experience of sounds. Beneath its surface is an underlying notion of noosphere, closely related to Henri Bergson's "Elan Vital" and its role in evolution.

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Rhizome Commissions Program

In 2009, Rhizome will award seven commissions with fees ranging from $3000-$5000. This year, Rhizome has expanded our scope, formerly focused strictly on Internet-based art to encompass the broad range of practices that fall under new media art. This includes projects that creatively engage new and networked technologies to works that reflect on the impact of these tools and media in a variety of forms. With this expanded format, commissioned works can take the final form of online works, performance, video, installation or sound art. Projects can be made for the context of the gallery, the public, the web or networked devices. This year, all applicants will be reviewed by a selected jury and several awards will be granted through Rhizome's membership in an open, community vote. Proposal submission takes place online. The deadline is midnight on Monday, March 31, 2008.

To Download the Call for Proposals and Submit a Proposal, visit:

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FROM: ana otero
DATE: January 21, 2008
SUBJECT: VIDA 10.0 Awards

The hybrid forms of the artistic proposals submitted to VIDA and the transformation of the discipline of A-Life itself have prompted the jury to consider new issues, such as the rising importance of simulation in both social life (for example, in the concept of virtual personality) and organic life (evident in the concept of "neo-organisms"). These phenomena are increasingly present and have therefore received special attention in our current approach to art and artificial life.

Jury for the Vida 10.0 competition: Daniel Canogar (Spain), Monica Bello (Spain), Jose-Carlos Mariategui (Peru/UK), Simon Penny (USA) and Nell Tenhaaf (Canada). The jury reviewed 152 submissions received from 32 countries.

Vida 10.0 competition awards are as follow:

Mission eternity sarcophagus (Switzerland, 2006-07)

Oron Catts y Ionat Zurr
NoArk (Australia, 2007)

Leandro M. Nunez
Propagations (Argentina, 2007)

David Rokeby
Cloud (Canada, 2007)

Julius Popp
bit-flow (Germany, 2006-07)

Jed Berk
ALAVs 2.0 (USA., 2006)

London Fieldworks
Hibernator: Prince of Petrified Forest (Great Britain, 2007)

Evelina Domnitch y Dmitry Gelfand
Camera Lucida: Sonochemical Observatory (USA - Belarus, 2007)

Kelly Dobson
OMO (USA, 2007)

Chris Sugrue
Delicate Boundaries (USA, 2007)

Alex Posada y Alejo Duque
Greenbots (Spain)

Francisco Lopez
Sonic Alter Ego (Spain)

Hamilton Mestizo Reyes, Luis Enrique Martinez, Sofia Cordero, Marcela Ayala, Patricia Muethe y Jonatan Gomez
Electricium Vitum (Colombia)

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FROM: Ceci Moss
DATE: Wednesday January 23, 2008
SUBJECT: Interview with Michael Bell-Smith

Philadelphia-based artist Michael Bell-Smith creates digital animations comprised of repurposed images from the internet and video games. Presented as meditative scenes shown on flat screens and the web, his practice engages the history of perspective and painting in light of a larger visual culture informed by digital technology. For his new show “Bouncing Lights Forever”, which opened at New York gallery Foxy Production January 10th, Bell-Smith continued this exploration by increasing the size and scale of his works. Smith will give a talk on the exhibition Electronic Arts Intermix February 6th at 6:30pm.

CECI MOSS: The title of the show is "Bouncing Lights Forever". In your work, the viewer feels suspended in infinite motion, a quality aptly captured by the title for your exhibition. I think your work proposes a meditative loop in relationship to historiographer Hayden White’s idea of a "modernist event", a term which refers to the contemporary convergence of the event, its representation, and the dissemination of that representation into one moment. I would like to know what your thoughts are on the acceleration of these kind of events in time, and if you feel this is represented in your aesthetic.

MICHAEL BELL-SMITH: I think of this "meditative loop" more in terms of moments frozen in time, excerpts of a larger narrative or system that we can focus in on and break apart. It's hard for me to tie that into the idea of a modernist event, as I see this work as pretty far removed from a real-world referent, from an original event. I think what's more at play for me, is not the acceleration of this representation and dissemination, but the displacement - that these various references are floating around, bouncing off each other and multiplying.

CECI MOSS: Is there a larger narrative or system at play in the work? You describe displacement, and I wonder if this is a result of an overflow of multiple representations, rather than the dismantling of one larger narrative. That’s what I was getting at when I asked about the “modernist event”. Why do you think your work is removed from a real-world referent? How do you make that distinction?

MICHAEL BELL-SMITH: You’re right - it’s not a singular thing, it’s the various systems and narratives of visual culture: movies, the Internet, television, advertising, video games, art history, etc. But there’s also a way in which all these separate things are blurred together - I think this is what you’re getting at. Works like “Starfields 1” and “Starfields 2,” there’s different entry points: is it Star Trek, a screensaver, a video game, an advertisement, the act of flying through space itself, or just a bunch of white squares moving out from a center point? This is what I meant by being removed from a real world referent - that for me these pieces fit more in this realm of messy references, than one where you can trace things back to an original event.

CECI MOSS: In the past, in pieces such as "Self Portrait, NYC" and "Continue 2000", you amplified the sensation of movement by using human figures as a static focal point. In your most recent work, I noticed not only that these figures were absent, but also that you increased the size and scale of your works immensely, for "Glitter Bend" especially. It seems you intend to generate a vantage point of magnitude, and in so doing, envelop the viewer into the piece. Why did you decide to expand perspective in this way?

MICHAEL BELL-SMITH: There’s a pictorial completeness in "Self Portrait, NYC" and "Continue: 2000" - a foreground and a background which add up to a picture, suggest a situation, etc. With the work in this show, I wasn’t interested in complete pictures as much as the elements we use to construct them. The lack of figures is my way of focusing on the backgrounds, making it more about these pieces and how we use them, than about full compositions.

There’s an aspect of the larger scale of the works – as far as physical size is concerned - which is simply about putting the works on an experiential par with paintings and other large scale pictures. I didn’t want the digital-ness of the pieces so tied to the experience of a personal computer, because ultimately the ways in which technology affects the way we view and process images – my main interest - extend way beyond the computer screen. So the scale is partially a gesture towards saying this is about more than personal computers, the internet, or video games.

I often aim to make work that while immersive, also foregrounds the simplicity of it's structure, offering a counterpoint to that seduction. With "Glitter Bend" and "Building Across from Glitter Bend," especially, I think the larger scale helps to serve that duality – blown up, they're simultaneously more immersive, and easier to pick apart.

CECI MOSS: What is the structure that you’re “foregrounding”?

MICHAEL BELL-SMITH: The structure of the work itself, the way it’s been constructed - the pixels, the different elements, the layers, the composition, etc. I want people to be able to look at a work like Glitter Bend, and on one hand say “wow,” but on the other, be able to say “it’s just a bunch of shapes; I can see the individual pixels; I can see how each piece loops; I can see how he constructs perspective; I can see how he suggests scale; etc. ” They may have no sense of the technology behind it - the software I use, etc. - but on that certain level, they know how I made it. It’s the opposite of the way these things usually work: while most digital images are designed to hide their construction, I want it up front.

CECI MOSS: The five panels of "Moving, Endless (Samples)" immediately reminded me of the tonality of James Turrell's installations. Turrell sculpted light within the boundaries of the built structure, whereas in your work, light is dictated by the limitations of the screen. Turrell's practice heightened the viewer's awareness of sight, and I would
like to know if this concern propels you, especially as it relates to the contemporary experience of a viewer stationed in front of the computer.

MICHAEL BELL-SMITH: I had certainly thought about James Turrell with those pieces (as well as Donald Judd, Sol Lewitt and Mark Rothko, etc.), but his work is so much about experiencing these controlled environments, while to me, those panels are mostly pictures, or things. Bringing in the experience of sitting at a computer isn't intentional. I was more interested in creating a setting where these digital images could employ the forms of minimalism, or the physical presence of framed pictures. Again, it’s a tactic to have the work read in relationship to concerns broader than the computer itself. For me, one aspect of the piece is computer-centric: the idea of quantization, that in order to represent something digitally, one needs to chop it into pieces. The reduced palette and pixilated dithering are gestures towards this idea. Again, its emphasizing that which is normally hidden. But that idea is coupled with something broader – the color gradient and the connotations it carries in visual culture. While gradients are simple systems, they’re also used as shorthand for big sophisticated things like skys and sunsets, a starting point in the creation of this piece. In one sense the work is a series of quantized sunsets – a gesture that is as much about representation, language and the sublime as it is about technology.


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

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Rhizome Digest is filtered by Ceci Moss (ceci.moss AT ISSN: 1525-9110. Volume 13, number 4. 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

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