PORTFOLIO (4)
BIO
after ten years of film business alexandra reill focused on the development of experimenteal new media projects and - with a special view on interactive dramaturgies - transported all activities to the online platform kanonmedia, orginally founded in 1996 as the gallery kanon, situated in vienna / austria. today kanonmedia serves as a networking / content providing / exhibition platform for innovative & experimental new media projects as much as for the presentation of inhouse productions.
Re: Re: RHIZOME_RARE: Mirapaul on Dietz Departure
i am also wondering why the net art pieces should be installed in the gift
shop ... strange idea
cheers, sascha
----- Original Message -----
From: "marc.garrett" <marc.garrett@furtherfield.org>
To: "Mark Tribe" <mt@rhizome.org>
Cc: <list@rhizome.org>
Sent: Tuesday, May 13, 2003 9:57 PM
Subject: RHIZOME_RAW: Re: RHIZOME_RARE: Mirapaul on Dietz Departure
> Hi Mark,
>
> It seems, looking from over here in the UK that 'Net Art' in America is
> moving into the dark ages. A power hungry governmental administration that
> is gradually closing many portals/doors for creative net adventurers
> nationally and of course internationally. May be business indicatives (not
> necessarily corporate or Rockefeller based) and separate from funding
> demands can offer new answers...
>
> marc
>
>
>
> > To view this entire thread, click here:
> > http://rhizome.org/thread.rhiz?thread
shop ... strange idea
cheers, sascha
----- Original Message -----
From: "marc.garrett" <marc.garrett@furtherfield.org>
To: "Mark Tribe" <mt@rhizome.org>
Cc: <list@rhizome.org>
Sent: Tuesday, May 13, 2003 9:57 PM
Subject: RHIZOME_RAW: Re: RHIZOME_RARE: Mirapaul on Dietz Departure
> Hi Mark,
>
> It seems, looking from over here in the UK that 'Net Art' in America is
> moving into the dark ages. A power hungry governmental administration that
> is gradually closing many portals/doors for creative net adventurers
> nationally and of course internationally. May be business indicatives (not
> necessarily corporate or Rockefeller based) and separate from funding
> demands can offer new answers...
>
> marc
>
>
>
> > To view this entire thread, click here:
> > http://rhizome.org/thread.rhiz?thread
SAVE / SAFE : open call
-----------------------------------------------------------------------
SAVE / SAFE
borderlining as a contemporary phenomenon
a collaborative online ground
-----------------------------------------------------------------------
play & participate in SAVE / SAFE on http://www.kanonmedia.com
-----------------------------------------------------------------------
from may 23, 03 to june 07, 03 SAVE / SAFE will perform in vienna as a
local installation at the art festival SOHO IN OTTAKRING.
apple users, please note: send your texts to office@kanonmedia.com & we do
the onlining for you. SAVE / SAFE is designed for PC / IE 6.0 only.
SAVE / SAFE theme & concept:
SAVE / SAFE researches human states-of-being related to the impact of New
Technologies on the perception and self-consciousness of individual
existence. The main figure Anna serves as a 'modern' individual describing
situative experience and personal interpretations of emotionally perceived
situations occurring during her journey through Oceania.
Using the atmosphaeric background of a journey to Oceania - a context of
highly social municipal communities still existing on many of the
geographically isolated Polynesian islands and a westernized New Zealand
having integrated all attitudes of 'modern' life - SAVE / SAFE compares
Anna's individual experience to results of the scientific research of
philosophy, psychology, ethics, sociology and new media theory.
Citations out of technical literature form contemporary conclusions related
to the development of the 3rd industrial revolution and reflect and mirror
Anna's individual perception. Anna is a representative of a majority of
humans not having realized yet the subversive progressing of so-called
post-human conditioning. She still thinks of many components of her self as
personal traits of character while they are a direct expression of
post-human existence strongly being enhanced through the influence of
digital interactivity, thus excessively strengthening logical thinking &
ratio as prioritary approach to life.
* The cultural container representing itself to society today and going to
reign the 21st century ... is characterized by substitutional relations
based on the central involvement with information technology, pursued from
a position of pseudo-autism ... With the decay of inter-personal culture
and the expansion of IT-controlled substitutes of inter-relation only one
mass container is left for and generally accepted by a borderlining
majority: the unavoidable search for the ego and for techniques allowing
the construction of identity. *
* J. Erik Mertz, in: Borderline - weder tot noch lebendig, 2000
Anna tells the story of a journey into the center of her self, embedded in
the story of her journey to the other end of the world. Her central theme
is the nature of ego and non-ego, the relevance of involvement and
interaction, and the meaning of non-attachment.
** What really does authenticity of personal development mean ? Having it
worked through for so many years, it finally emerges - this realization of
a self, leading to autonomy and self-control of authority in the framework
of a society demanding for autonomous responsibility and respecting it.
Which sense though does this authenticity make, if with its final acquiring
its inner character proves to be fluid and transparent, if personal vanity,
ego-profiling and the exertion of authority having become a natural option
prove to be nothing but accessories of again dependent, mechanistic
existence, thus loosing significance completely ? **
** Alexandra Reill, Anna in: SAVE / SAFE, 2002
*** While in the framework of old value systems the individual always has
been subject to communal models, developed themselves by individuals again,
in the context of new orientation amongst other components something like
'altruistic individualism' is emerging.***
*** Ulrich Beck, aus: Kinder der Freiheit, 1998
the SAVE / SAFE platform: a collaborative playground SAVE / SAFE transports
its content through textual content expressing
itself not only via wording but strongly through atmosphere created via
visual design and interactive structure.
The database application SAVE / SAFE is a reading machine mirroring through
its structure contemporary conditioning, thus provoking the user to
consciously read without reading, understand without analyzing, experience
without touching. SAVE / SAFE uses structure not only for the transport of
data - it is a reading automat.
The SAVE / SAFE machine is a communal platform. As much as SAVE / SAFE can
be viewed in a linear way or by individual intuition it lets you use all
material contained to recompose and edit it or to upload newly created
content to your personally created thread of individual views on the themes
of borderlining & post - humanity.
SAVE / SAFE has been developed with the kind support of the Department for
Cultural Affairs, City of Vienna.
POST YOUR PERSONAL VIEW ... USE YOUR OWN LANGUAGE
PLAY SAVE / SAFE on http://www.kanonmedia.com
kanonmedia.com, non - profit org. for new media
singapur / sydney / new zealand / fiji / western samoa / vienna
2000 - 2003
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media
12/24 richtergasse
a - 1070 vienna
call: ++43 - 1 - 920 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
sorry for cross postings.for unsubscribing from our info mailer
just click reply and say 'unsubscribe'in the header.
SAVE / SAFE
borderlining as a contemporary phenomenon
a collaborative online ground
-----------------------------------------------------------------------
play & participate in SAVE / SAFE on http://www.kanonmedia.com
-----------------------------------------------------------------------
from may 23, 03 to june 07, 03 SAVE / SAFE will perform in vienna as a
local installation at the art festival SOHO IN OTTAKRING.
apple users, please note: send your texts to office@kanonmedia.com & we do
the onlining for you. SAVE / SAFE is designed for PC / IE 6.0 only.
SAVE / SAFE theme & concept:
SAVE / SAFE researches human states-of-being related to the impact of New
Technologies on the perception and self-consciousness of individual
existence. The main figure Anna serves as a 'modern' individual describing
situative experience and personal interpretations of emotionally perceived
situations occurring during her journey through Oceania.
Using the atmosphaeric background of a journey to Oceania - a context of
highly social municipal communities still existing on many of the
geographically isolated Polynesian islands and a westernized New Zealand
having integrated all attitudes of 'modern' life - SAVE / SAFE compares
Anna's individual experience to results of the scientific research of
philosophy, psychology, ethics, sociology and new media theory.
Citations out of technical literature form contemporary conclusions related
to the development of the 3rd industrial revolution and reflect and mirror
Anna's individual perception. Anna is a representative of a majority of
humans not having realized yet the subversive progressing of so-called
post-human conditioning. She still thinks of many components of her self as
personal traits of character while they are a direct expression of
post-human existence strongly being enhanced through the influence of
digital interactivity, thus excessively strengthening logical thinking &
ratio as prioritary approach to life.
* The cultural container representing itself to society today and going to
reign the 21st century ... is characterized by substitutional relations
based on the central involvement with information technology, pursued from
a position of pseudo-autism ... With the decay of inter-personal culture
and the expansion of IT-controlled substitutes of inter-relation only one
mass container is left for and generally accepted by a borderlining
majority: the unavoidable search for the ego and for techniques allowing
the construction of identity. *
* J. Erik Mertz, in: Borderline - weder tot noch lebendig, 2000
Anna tells the story of a journey into the center of her self, embedded in
the story of her journey to the other end of the world. Her central theme
is the nature of ego and non-ego, the relevance of involvement and
interaction, and the meaning of non-attachment.
** What really does authenticity of personal development mean ? Having it
worked through for so many years, it finally emerges - this realization of
a self, leading to autonomy and self-control of authority in the framework
of a society demanding for autonomous responsibility and respecting it.
Which sense though does this authenticity make, if with its final acquiring
its inner character proves to be fluid and transparent, if personal vanity,
ego-profiling and the exertion of authority having become a natural option
prove to be nothing but accessories of again dependent, mechanistic
existence, thus loosing significance completely ? **
** Alexandra Reill, Anna in: SAVE / SAFE, 2002
*** While in the framework of old value systems the individual always has
been subject to communal models, developed themselves by individuals again,
in the context of new orientation amongst other components something like
'altruistic individualism' is emerging.***
*** Ulrich Beck, aus: Kinder der Freiheit, 1998
the SAVE / SAFE platform: a collaborative playground SAVE / SAFE transports
its content through textual content expressing
itself not only via wording but strongly through atmosphere created via
visual design and interactive structure.
The database application SAVE / SAFE is a reading machine mirroring through
its structure contemporary conditioning, thus provoking the user to
consciously read without reading, understand without analyzing, experience
without touching. SAVE / SAFE uses structure not only for the transport of
data - it is a reading automat.
The SAVE / SAFE machine is a communal platform. As much as SAVE / SAFE can
be viewed in a linear way or by individual intuition it lets you use all
material contained to recompose and edit it or to upload newly created
content to your personally created thread of individual views on the themes
of borderlining & post - humanity.
SAVE / SAFE has been developed with the kind support of the Department for
Cultural Affairs, City of Vienna.
POST YOUR PERSONAL VIEW ... USE YOUR OWN LANGUAGE
PLAY SAVE / SAFE on http://www.kanonmedia.com
kanonmedia.com, non - profit org. for new media
singapur / sydney / new zealand / fiji / western samoa / vienna
2000 - 2003
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media
12/24 richtergasse
a - 1070 vienna
call: ++43 - 1 - 920 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
sorry for cross postings.for unsubscribing from our info mailer
just click reply and say 'unsubscribe'in the header.
Re: invitation to participate: your favorite four letter words
life
cheers, a
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media
call: ++43 - 1 - 920 70 03
mobile: ++43 - 699 - 1- 820 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
----- Original Message -----
From: "D. Jean Hester" <jenajunk@hotmail.com>
To: <ivan@ivanpope.com>; <neil@devoid.co.uk>; <list@rhizome.org>
Cc: <marc.garrett@furtherfield.org>
Sent: Thursday, April 17, 2003 6:43 PM
Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
letter words
> so i should just go through the rhizome list and add all four letter names
> then? oh, but i need to add "eryk" twice... ;)
>
> -- D. Jean Hester
> www.divestudio.org
> Interviewer: "Must an artist be a programmer to make truly original online
> art?"
> John Simon: "Truly original? You Modernist! Whether you make art or not,
> understanding programming is an amazing understanding."
> from "Code as Creative Writing: An Interview with John Simon"
>
>
>
>
>
> >From: "Ivan Pope" <ivan@ivanpope.com>
> >Reply-To: "Ivan Pope" <ivan@ivanpope.com>
> >To: "neil jenkins" <neil@devoid.co.uk>, "rhizome" <list@rhizome.org>
> >CC: "marc.garrett" <marc.garrett@furtherfield.org>
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >Date: Thu, 17 Apr 2003 06:20:11 +0100
> >
> >ivan &/or pope
> >
> >
> >--
> >Ivan Pope
> >ivan@ivanpope.com
> >www.ivanpope.com
> >www.tochki-inc.com
> >
> >"Faster, faster, until the thrill of speed overcomes the fear of death"
> >Hunter S. Thompson
> >----- Original Message -----
> >From: "neil jenkins" <neil@devoid.co.uk>
> >To: "rhizome" <list@rhizome.org>
> >Cc: "marc.garrett" <marc.garrett@furtherfield.org>
> >Sent: Thursday, April 17, 2003 12:32 PM
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >
> >
> > > neil
> > >
> > > :)
> > >
> > >
> > > On Thursday, April 17, 2003, at 11:40 am, marc.garrett wrote:
> > >
> > > > mine is 'marc'
> > > >
> > > >
> > > >
> > > >
> > > >>
> > > >> "Eryk" is my favorite four letter word.
> > > >>
> > > >> -e.
> > > >>
> > > >>
> > > >>
> > > >> ----- Original Message -----
> > > >> From: "D. Jean Hester" <jenajunk@hotmail.com>
> > > >> To: <list@rhizome.org>
> > > >> Sent: Wednesday, April 16, 2003 4:08 PM
> > > >> Subject: RHIZOME_RAW: invitation to participate: your favorite four
> > > >> letter
> > > >> words
> > > >>
> > > >>
> > > >>> Hey Rhizomers,
> > > >>>
> > > >>> I'd like to ask you to contribute/participate in my latest
> > > >>> collaborative-participative-what-the-hell-is-it-ART-THANG. (FYI,
I
> > > >>> have
> > > >>> included my bio at the end of this email.)
> > > >>>
> > > >>> It's SO EASY: send me a list of your favorite four letter words
(as
> > > > many
> > > >> or
> > > >>> as few as you want). Yeah, and remember, four letter doesn't have
> >to
> > > > mean
> > > >>> f*ck, sh*t, d*mn, although those certainly are glorious four
letter
> > > > words.
> > > >>> Hand, post, June, list, dive, chow, Oslo, poke are all perfectly
> > > >> reasonable
> > > >>> four letter words as well.
> > > >>>
> > > >>> The words will be used in a video installation planned for a
> > > >>> music/video/art/dance-like-crazy-people event at the Hollywood
> > > >>> Athletic
> > > >> Club
> > > >>> in Los Angeles for May 17. The words will be placed in a
database,
> > > >>> and
> > > >>> reconfigured in odd random pairings based on an algorithm, along
> >with
> > > > odd
> > > >>> random pairings of video footage.
> > > >>>
> > > >>> Thanks, and send those words in to jenajunk@hotmail.com! I need a
> > > >>> lot
> > > > of
> > > >>> them...
> > > >>>
> > > >>> BIO: <warning: art jargon ahead>
> > > >>> D. Jean Hester is a media artist living in Los Angeles,
California,
> > > > whose
> > > >>> work combines programming, databases, film and video to create
> > > > interactive
> > > >>> pieces for both physical installations and online platforms.
Hester
> > > >> wishes
> > > >>> to involve users as active, thinking, engaged
> > > >>> participant-collaborators
> > > > in
> > > >>> the creation of art. Her work explores the nature of
interactivity
> > > >>> and
> > > >>> audience/user participation, and what happens when a work is no
> > > >>> longer a
> > > >>> stand-alone authored environment with a tightly controlled
> > > > author-defined
> > > >>> outcome, but when the users themselves are
> >contributing/collaborating
> > > >>> through the use of interactivity (be it physical real-world
> > > >>> performative
> > > >>> actions or interaction with a database or some other program). In
> > > >>> this
> > > >>> scenario the artist's intention is only part of the puzzle - the
art
> > > > does
> > > >>> not exist until it is engaged. Without a user as a contributor,
it
> > > >>> is
> > > >> only
> > > >>> a potentiality - not an actuality. Her work has been shown in
> > > >>> numerous
> > > >>> exhibits, festivals, and screenings in the United States, Canada,
> >and
> > > >>> Mexico, and can be seen online at www.divestudio.org.
> > > >>>
> > > >>> -- D. Jean Hester
> > > >>> www.divestudio.org
> > > >>> Interviewer: "Must an artist be a programmer to make truly
original
> > > > online
> > > >>> art?"
> > > >>> John Simon: "Truly original? You Modernist! Whether you make art
or
> > > >>> not,
> > > >>> understanding programming is an amazing understanding."
> > > >>> from "Code as Creative Writing: An Interview with John Simon"
> > > >>>
> > > >>>
> > > >>>
> > > >>>
> > > >>> _________________________________________________________________
> > > >>> Tired of spam? Get advanced junk mail protection with MSN 8.
> > > >>> http://join.msn.com/?pagethatures/junkmail
> > > >>>
> > > >>> + ti esrever dna ti pilf nwod gniht ym tup
> > > >>> -> post: list@rhizome.org
> > > >>> -> questions: info@rhizome.org
> > > >>> -> subscribe/unsubscribe:
> > > >>> http://rhizome.org/preferences/subscribe.rhiz
> > > >>> -> give: http://rhizome.org/support
> > > >>> +
> > > >>> Subscribers to Rhizome are subject to the terms set out in the
> > > >>> Membership Agreement available online at
> > > >>> http://rhizome.org/info/29.php
> > > >>>
> > > >>
> > > >> + ti esrever dna ti pilf nwod gniht ym tup
> > > >> -> post: list@rhizome.org
> > > >> -> questions: info@rhizome.org
> > > >> -> subscribe/unsubscribe:
> > > >> http://rhizome.org/preferences/subscribe.rhiz
> > > >> -> give: http://rhizome.org/support
> > > >> +
> > > >> Subscribers to Rhizome are subject to the terms set out in the
> > > >> Membership Agreement available online at
> > > >> http://rhizome.org/info/29.php
> > > >>
> > > >
> > > >
> > > >
> > > > + ti esrever dna ti pilf nwod gniht ym tup
> > > > -> post: list@rhizome.org
> > > > -> questions: info@rhizome.org
> > > > -> subscribe/unsubscribe:
> >http://rhizome.org/preferences/subscribe.rhiz
> > > > -> give: http://rhizome.org/support
> > > > +
> > > > Subscribers to Rhizome are subject to the terms set out in the
> > > > Membership Agreement available online at
> >http://rhizome.org/info/29.php
> > > >
> > >
> > > + ti esrever dna ti pilf nwod gniht ym tup
> > > -> post: list@rhizome.org
> > > -> questions: info@rhizome.org
> > > -> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz
> > > -> give: http://rhizome.org/support
> > > +
> > > Subscribers to Rhizome are subject to the terms set out in the
> > > Membership Agreement available online at
http://rhizome.org/info/29.php
> > >
> >
> >+ ti esrever dna ti pilf nwod gniht ym tup
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set out in the
> >Membership Agreement available online at http://rhizome.org/info/29.php
>
>
> _________________________________________________________________
> The new MSN 8: advanced junk mail protection and 2 months FREE*
> http://join.msn.com/?pagethatures/junkmail
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
cheers, a
---------------------------------------------------------------
kanonmedia.com
non - profit org for new media
call: ++43 - 1 - 920 70 03
mobile: ++43 - 699 - 1- 820 70 03
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
---------------------------------------------------------------
----- Original Message -----
From: "D. Jean Hester" <jenajunk@hotmail.com>
To: <ivan@ivanpope.com>; <neil@devoid.co.uk>; <list@rhizome.org>
Cc: <marc.garrett@furtherfield.org>
Sent: Thursday, April 17, 2003 6:43 PM
Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
letter words
> so i should just go through the rhizome list and add all four letter names
> then? oh, but i need to add "eryk" twice... ;)
>
> -- D. Jean Hester
> www.divestudio.org
> Interviewer: "Must an artist be a programmer to make truly original online
> art?"
> John Simon: "Truly original? You Modernist! Whether you make art or not,
> understanding programming is an amazing understanding."
> from "Code as Creative Writing: An Interview with John Simon"
>
>
>
>
>
> >From: "Ivan Pope" <ivan@ivanpope.com>
> >Reply-To: "Ivan Pope" <ivan@ivanpope.com>
> >To: "neil jenkins" <neil@devoid.co.uk>, "rhizome" <list@rhizome.org>
> >CC: "marc.garrett" <marc.garrett@furtherfield.org>
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >Date: Thu, 17 Apr 2003 06:20:11 +0100
> >
> >ivan &/or pope
> >
> >
> >--
> >Ivan Pope
> >ivan@ivanpope.com
> >www.ivanpope.com
> >www.tochki-inc.com
> >
> >"Faster, faster, until the thrill of speed overcomes the fear of death"
> >Hunter S. Thompson
> >----- Original Message -----
> >From: "neil jenkins" <neil@devoid.co.uk>
> >To: "rhizome" <list@rhizome.org>
> >Cc: "marc.garrett" <marc.garrett@furtherfield.org>
> >Sent: Thursday, April 17, 2003 12:32 PM
> >Subject: Re: RHIZOME_RAW: invitation to participate: your favorite four
> >letter words
> >
> >
> > > neil
> > >
> > > :)
> > >
> > >
> > > On Thursday, April 17, 2003, at 11:40 am, marc.garrett wrote:
> > >
> > > > mine is 'marc'
> > > >
> > > >
> > > >
> > > >
> > > >>
> > > >> "Eryk" is my favorite four letter word.
> > > >>
> > > >> -e.
> > > >>
> > > >>
> > > >>
> > > >> ----- Original Message -----
> > > >> From: "D. Jean Hester" <jenajunk@hotmail.com>
> > > >> To: <list@rhizome.org>
> > > >> Sent: Wednesday, April 16, 2003 4:08 PM
> > > >> Subject: RHIZOME_RAW: invitation to participate: your favorite four
> > > >> letter
> > > >> words
> > > >>
> > > >>
> > > >>> Hey Rhizomers,
> > > >>>
> > > >>> I'd like to ask you to contribute/participate in my latest
> > > >>> collaborative-participative-what-the-hell-is-it-ART-THANG. (FYI,
I
> > > >>> have
> > > >>> included my bio at the end of this email.)
> > > >>>
> > > >>> It's SO EASY: send me a list of your favorite four letter words
(as
> > > > many
> > > >> or
> > > >>> as few as you want). Yeah, and remember, four letter doesn't have
> >to
> > > > mean
> > > >>> f*ck, sh*t, d*mn, although those certainly are glorious four
letter
> > > > words.
> > > >>> Hand, post, June, list, dive, chow, Oslo, poke are all perfectly
> > > >> reasonable
> > > >>> four letter words as well.
> > > >>>
> > > >>> The words will be used in a video installation planned for a
> > > >>> music/video/art/dance-like-crazy-people event at the Hollywood
> > > >>> Athletic
> > > >> Club
> > > >>> in Los Angeles for May 17. The words will be placed in a
database,
> > > >>> and
> > > >>> reconfigured in odd random pairings based on an algorithm, along
> >with
> > > > odd
> > > >>> random pairings of video footage.
> > > >>>
> > > >>> Thanks, and send those words in to jenajunk@hotmail.com! I need a
> > > >>> lot
> > > > of
> > > >>> them...
> > > >>>
> > > >>> BIO: <warning: art jargon ahead>
> > > >>> D. Jean Hester is a media artist living in Los Angeles,
California,
> > > > whose
> > > >>> work combines programming, databases, film and video to create
> > > > interactive
> > > >>> pieces for both physical installations and online platforms.
Hester
> > > >> wishes
> > > >>> to involve users as active, thinking, engaged
> > > >>> participant-collaborators
> > > > in
> > > >>> the creation of art. Her work explores the nature of
interactivity
> > > >>> and
> > > >>> audience/user participation, and what happens when a work is no
> > > >>> longer a
> > > >>> stand-alone authored environment with a tightly controlled
> > > > author-defined
> > > >>> outcome, but when the users themselves are
> >contributing/collaborating
> > > >>> through the use of interactivity (be it physical real-world
> > > >>> performative
> > > >>> actions or interaction with a database or some other program). In
> > > >>> this
> > > >>> scenario the artist's intention is only part of the puzzle - the
art
> > > > does
> > > >>> not exist until it is engaged. Without a user as a contributor,
it
> > > >>> is
> > > >> only
> > > >>> a potentiality - not an actuality. Her work has been shown in
> > > >>> numerous
> > > >>> exhibits, festivals, and screenings in the United States, Canada,
> >and
> > > >>> Mexico, and can be seen online at www.divestudio.org.
> > > >>>
> > > >>> -- D. Jean Hester
> > > >>> www.divestudio.org
> > > >>> Interviewer: "Must an artist be a programmer to make truly
original
> > > > online
> > > >>> art?"
> > > >>> John Simon: "Truly original? You Modernist! Whether you make art
or
> > > >>> not,
> > > >>> understanding programming is an amazing understanding."
> > > >>> from "Code as Creative Writing: An Interview with John Simon"
> > > >>>
> > > >>>
> > > >>>
> > > >>>
> > > >>> _________________________________________________________________
> > > >>> Tired of spam? Get advanced junk mail protection with MSN 8.
> > > >>> http://join.msn.com/?pagethatures/junkmail
> > > >>>
> > > >>> + ti esrever dna ti pilf nwod gniht ym tup
> > > >>> -> post: list@rhizome.org
> > > >>> -> questions: info@rhizome.org
> > > >>> -> subscribe/unsubscribe:
> > > >>> http://rhizome.org/preferences/subscribe.rhiz
> > > >>> -> give: http://rhizome.org/support
> > > >>> +
> > > >>> Subscribers to Rhizome are subject to the terms set out in the
> > > >>> Membership Agreement available online at
> > > >>> http://rhizome.org/info/29.php
> > > >>>
> > > >>
> > > >> + ti esrever dna ti pilf nwod gniht ym tup
> > > >> -> post: list@rhizome.org
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> > > >> +
> > > >> Subscribers to Rhizome are subject to the terms set out in the
> > > >> Membership Agreement available online at
> > > >> http://rhizome.org/info/29.php
> > > >>
> > > >
> > > >
> > > >
> > > > + ti esrever dna ti pilf nwod gniht ym tup
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> > > > +
> > > > Subscribers to Rhizome are subject to the terms set out in the
> > > > Membership Agreement available online at
> >http://rhizome.org/info/29.php
> > > >
> > >
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> >-> post: list@rhizome.org
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> >+
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>
>
> _________________________________________________________________
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> -> questions: info@rhizome.org
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> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
Re: Mesopotamia. Babylon. The Tigris and Euphrates
yes marc, i was feeling this when listening to the news this morning ... it=
's so sad
love, a
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, April 03, 2003 10:58 AM
Subject: RHIZOME_RAW: Mesopotamia. Babylon. The Tigris and Euphrates
Mesopotamia. Babylon. The Tigris and Euphrates
How many children, in how many classrooms, over how many centuries, have =
hang-glided through the past, transported on the wings of these words? And =
now the bombs are falling, incinerating and humiliating that ancient civili=
sation
Arundhati Roy
Wednesday April 2, 2003
The Guardian
On the steel torsos of their missiles, adolescent American soldiers scraw=
l colourful messages in childish handwriting: For Saddam, from the Fat Boy =
Posse. A building goes down. A marketplace. A home. A girl who loves a boy.=
A child who only ever wanted to play with his older brother's marbles.
On March 21, the day after American and British troops began their illega=
l invasion and occupation of Iraq, an "embedded" CNN correspondent intervie=
wed an American soldier. "I wanna get in there and get my nose dirty," Priv=
ate AJ said. "I wanna take revenge for 9/11."
To be fair to the correspondent, even though he was "embedded" he did sor=
t of weakly suggest that so far there was no real evidence that linked the =
Iraqi government to the September 11 attacks. Private AJ stuck his teenage =
tongue out all the way down to the end of his chin. "Yeah, well that stuff'=
s way over my head," he said.
According to a New York Times/CBS News survey, 42 per cent of the America=
n public believes that Saddam Hussein is directly responsible for the Septe=
mber 11 attacks on the World Trade Centre and the Pentagon. And an ABC news=
poll says that 55 per cent of Americans believe that Saddam Hussein direct=
ly supports al-Qaida. What percentage of America's armed forces believe the=
se fabrications is anybody's guess.
http://www.guardian.co.uk/Print/0,3858,4638796,00.html
's so sad
love, a
----- Original Message -----
From: marc.garrett
To: list@rhizome.org
Sent: Thursday, April 03, 2003 10:58 AM
Subject: RHIZOME_RAW: Mesopotamia. Babylon. The Tigris and Euphrates
Mesopotamia. Babylon. The Tigris and Euphrates
How many children, in how many classrooms, over how many centuries, have =
hang-glided through the past, transported on the wings of these words? And =
now the bombs are falling, incinerating and humiliating that ancient civili=
sation
Arundhati Roy
Wednesday April 2, 2003
The Guardian
On the steel torsos of their missiles, adolescent American soldiers scraw=
l colourful messages in childish handwriting: For Saddam, from the Fat Boy =
Posse. A building goes down. A marketplace. A home. A girl who loves a boy.=
A child who only ever wanted to play with his older brother's marbles.
On March 21, the day after American and British troops began their illega=
l invasion and occupation of Iraq, an "embedded" CNN correspondent intervie=
wed an American soldier. "I wanna get in there and get my nose dirty," Priv=
ate AJ said. "I wanna take revenge for 9/11."
To be fair to the correspondent, even though he was "embedded" he did sor=
t of weakly suggest that so far there was no real evidence that linked the =
Iraqi government to the September 11 attacks. Private AJ stuck his teenage =
tongue out all the way down to the end of his chin. "Yeah, well that stuff'=
s way over my head," he said.
According to a New York Times/CBS News survey, 42 per cent of the America=
n public believes that Saddam Hussein is directly responsible for the Septe=
mber 11 attacks on the World Trade Centre and the Pentagon. And an ABC news=
poll says that 55 per cent of Americans believe that Saddam Hussein direct=
ly supports al-Qaida. What percentage of America's armed forces believe the=
se fabrications is anybody's guess.
http://www.guardian.co.uk/Print/0,3858,4638796,00.html
Re: Prix Ars Electronica 2003 Call for Entry!
it has been announced for a months; but the online submission has been
extended until 25th of march recently.
cheers, a
----- Original Message -----
From: "Rachel Greene" <rachel@rhizome.org>
To: <list@rhizome.org>
Sent: Saturday, March 22, 2003 10:45 PM
Subject: Re: RHIZOME_RAW: Prix Ars Electronica 2003 Call for Entry!
> is it just me, or should they have been posting about this deadline
sooner?
> or have I just completely missed their previous announcements?.... rachel
>
>
> > Prix Ars Electronica 2003 - Competition for CyberArts
> > Welcome to participate!
> >
> > The deadline for the entry is March 20, 2003 (postmarked)
> >
> > For the 17th time, the Austrian Broadcasting Company, Upper Austrian
Regional
> > Studio, as the organizer of the Prix Ars Electronica, invites artists,
> > scientists, researchers and developers from all over the world to
participate
> > in the annual CYBERARTS competition in the categories:
> >
> > Computer Animation, Net Vision / Net Excellence, Interactive Art and
Digital
> > Musics.
> >
> > The total prize money for the Prix Ars Electronica 2003 amounts to Euro
> > 100,000 (USD 98,650 app).
> >
> > If you are interested to participate please send us your work. Detailed
> > information and registration forms are available online:
http://prixars.orf.at
> >
> > Should you have any questions as a participant in the category Net
Vision /
> > Net Excellence, please feel free to contact: iris.mayr@orf.at
> >
> > Please forward this information to interested parties!
> >
> > best
> > iris
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
extended until 25th of march recently.
cheers, a
----- Original Message -----
From: "Rachel Greene" <rachel@rhizome.org>
To: <list@rhizome.org>
Sent: Saturday, March 22, 2003 10:45 PM
Subject: Re: RHIZOME_RAW: Prix Ars Electronica 2003 Call for Entry!
> is it just me, or should they have been posting about this deadline
sooner?
> or have I just completely missed their previous announcements?.... rachel
>
>
> > Prix Ars Electronica 2003 - Competition for CyberArts
> > Welcome to participate!
> >
> > The deadline for the entry is March 20, 2003 (postmarked)
> >
> > For the 17th time, the Austrian Broadcasting Company, Upper Austrian
Regional
> > Studio, as the organizer of the Prix Ars Electronica, invites artists,
> > scientists, researchers and developers from all over the world to
participate
> > in the annual CYBERARTS competition in the categories:
> >
> > Computer Animation, Net Vision / Net Excellence, Interactive Art and
Digital
> > Musics.
> >
> > The total prize money for the Prix Ars Electronica 2003 amounts to Euro
> > 100,000 (USD 98,650 app).
> >
> > If you are interested to participate please send us your work. Detailed
> > information and registration forms are available online:
http://prixars.orf.at
> >
> > Should you have any questions as a participant in the category Net
Vision /
> > Net Excellence, please feel free to contact: iris.mayr@orf.at
> >
> > Please forward this information to interested parties!
> >
> > best
> > iris
> > + ti esrever dna ti pilf nwod gniht ym tup
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms set out in the
> > Membership Agreement available online at http://rhizome.org/info/29.php
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>