Christiane Paul
Since the beginning
Works in Broooklyn, New York United States of America


Always Evolving, Historically Rooted — Rhizome Needs Your Support


Still frame from Cory Arcangel, Various Self Playing Bowling Games (2011), as featured in Cory Arcangel: Pro Tools, curated by Christiane Paul for the Whitney Museum of American Art.

Rhizome puts the future of new media art in dialogue with its past — support the conversation, donate today.

Rhizome has been online since 1996 and I have been lucky enough to witness its growth from an informal email list to the organization it is today.

What I appreciate about Rhizome is that even as it continues to evolve and reinvent itself year after year, seeking out emerging ideas, artists, and areas of practice, it remains firmly rooted in a historical context. This can be seen not only in its pioneering work in the field of digital preservation, but also in programming and writing that finds contemporary relevance in media archives and brings different generations into dialogue.

Rhizome is a vital link between the past, present, and future of art and technology.

Support them, as I do. Give today.

— Christiane Paul, curator and scholar



Discussions (67) Opportunities (5) Events (47) Jobs (2)
DISCUSSION

artport gatepage Oct. 05: John F.Simon, Jr. -- A Look Inside "Mobility Agents"


The October 05 gatepage
for artport, the Whitney Museum's portal to Internet art
features
A Look Inside "Mobility Agents"
by John F. Simon, Jr.
http://artport.whitney.org

The 6 applets featured on the artport gatepage are excerpts from "Mobility =
Agents" -- an artist book and software project by John F. Simon, Jr. that i=
s co-published this month by the Whitney Museum of American Art and Printed=
Matter, Inc. The 6 applets function as code improvisations and software dr=
awing tools, which are (together with many others) available for exploratio=
n in "Mobility Agents." The artist's book and software CD traces the develo=
pment of John Simon's dynamic drawing tools: influenced by the notebooks of=
Paul Klee, Simon transformed diagrams of moving lines into software drawin=
g tools. The software is an electronic book ending with a fully functional =
drawing program.

John Simon's work will be featured this month in a solo museum exhibition a=
t The Alexandria Museum of Art, Louisiana. His work has been included in th=
e Whitney Museum's 2000 Biennial and "Bitstreams" (2001), and he received t=
he Aldrich Museum Trustee's Award for an Emerging Artist in the fall of 200=
0. His software panel works have been collected by the Whitney Museum of Am=
erican Art; the Guggenheim Museum; the Los Angeles County Museum of Art; an=
d the San Francisco Museum of Modern Art, among others.

EVENT

jihui Digital Salon presents Joachim Sauter -- Chelsea Art Museum, Fri. Sept. 30, 6-8PM


Dates:
Fri Sep 30, 2005 00:00 - Fri Sep 23, 2005

jihui Digital Salon
In cooperation with The Project Room@Chelsea Art Museum
presents
Joachim Sauter

Friday Sept. 30, 2005 - 6-8 PM
NEW LOCATION:
Chelsea Art Museum, 3rd Floor
556 West 22nd Street
New York, NY 10011

http://agent.netart-init.org
http://www.chelseaartmuseum.org

Joachim Sauter will discuss the groundbreaking work that he has developed as part of the art collective and company Art+COM (http://www.artcom.de), one of the leaders in the field of interactive applications. Founded in 1988 by a group of artists, designers, scientists, and technicians, Art+Com has been committed to the future of new media and realizes ambitious, custom-tailored applications in the field of information and communication technologies.

BIO:
Joachim Sauter studied design at the polytechnic university Schwabisch Gmund. After completing his MA at the academy of fine arts in Berlin, he continued his studies at the 'German Academy for Film and Television,' Berlin. During this time, he received several film awards such as the 'Lisitzky Award' from the 'Deutscher Kunstlerbund' and the 'Max Ophuels short-film-award.'

Sauter has been using computers both as a tool and as a medium from the early stages of his work. Fueled by this interest, he founded Art+Com in 1988, together with other artist, designers, scientists and technicians. Their goal was to practically research this new upcoming medium in the realm of art and design.

In the course of his work he was invited to participate on many exhibitions. Beside others he showed his work at Ars Electronica, Linz: Centre Pompidou, Paris, Stejdilik Museum, Amsterdam; Museum for Contemporary Art, Sidney; Deichtorhallen, Hamburg; Venice Biennial; ICC, Tokyo; Getty Center, Los Angeles; and ZKM, Karlsruhe.

He received several awards like the 'Ars Electronica Interactive Award,' the 'Los Angeles Interactive Media Award,' the 'Prix Pixel INA,' the 'British Academy for Film and Television Interactive Award,' the 'German Design Award,' and the 'Swiss Design Award.'
Since 1991 he is full professor for "New Media Art and Design" at the University of the Arts Berlin and since 2001 adjunct professor at the Design | Media Arts Center at UCLA, Los Angeles.

jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc.
jihui is where your voice is heard and your vision shared.
jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT
http://www.netart-init.org | http://www.intelligentagent.com
THE PROJECT ROOM is a special projects and education program at the Chelsea Art Museum that brings together international artists, curators, cultural, educational and corporate organizations.


DISCUSSION

artport gatepage Sept. 05: Ben Fry -- computational information design | sketches


The September 05 gatepage
for artport, the Whitney Museum's portal to Internet art
features
computational information design | sketches
by Ben Fry
http://artport.whitney.org

Ben Fry's computational information design sketches combine graphic design,=
statistics, computer science and other related fields to address complex d=
ata sets. Featured on the artport gatepage are four sketches:

"isometricblocks"
compares the genetic data of several people.

"distellamap"
looks at the operation of code in Atari 2600 games. This is a dual reprise =
of Fry's "dismap" and "mariosoup" pieces that explore the code of cartridge=
games, and how the graphics are mixed in.

"salary vs. performance"
visualizes what baseball teams are spending in 2005, and how it changes ove=
r the course of the season.

"zipdecode"
geographically positions u.s. postal codes.

Ben Fry received his doctoral degree at the MIT Media Laboratory, where his=
research focused on methods of visualizing large amounts of data from dyna=
mic information sources. His current research involves the visualization of=
genetic data at the Eli & Edyth Broad Insitute of MIT & Harvard.

His work has been shown at the Whitney Biennial in 2002 and the Cooper Hewi=
tt Design Triennial in 2003. Other work has appeared in the Museum of Moder=
n Art in New York, at Ars Electronica in Linz, Austria, and in the films "M=
inority Report" and "The Hulk." With Casey Reas of UCLA, he is currently de=
veloping Processing, an environment for teaching computational design and s=
ketching interactive media software.

DISCUSSION

intelligent agent Vol. 5 No. 1 -- Special Issue: Artistic Virtual Environments


intelligent agent Vol. 5 No. 1 -- Special Issue: Artistic Virtual Environme=
nts
Articles now available at
http://www.intelligentagent.com

intelligent agent is published in a modular format:
+Thematic threads
Special Issue Vol. 5 No. 1:
//artistic virtual environments//
+reviews of games, exhibitions, books

All content is available in html and as pdf files.

NEW:

//editorial//
+ Guest Editor: Dena Elisabeth Eber, "Artistic Virtual Environments, Aesthe=
tics and Experiences"
This special issue of Intelligent Agent presents six essays that explore th=
e aesthetics connected with virtual environments created and presented as w=
orks of art, works about art, or related genres. The essays primarily focus=
on the aesthetic experience for participants, aesthetic analysis, content,=
emotional content, emotional experiences, and the qualities of the medium.=

//artistic virtual environments//
+ Dena Eber, Greg Little, Brian Betz, "The Aesthetic Experience, Emotion an=
d an Artistic Virtual Environment"
Eber, Little, and Betz explore the aesthetic experience for participants in=
teracting with artistic virtual environments (AVEs). Their essay presents a=
formal study that measures the experience through the emotional response o=
f participants, which gauges the perceived emotional content of the AVE. Th=
e authors examine if this kind of content coupled with the immersive qualit=
ies of the AVE facilitates a rich aesthetic experience and thus a high feel=
ing of presence for the participant.

+ Josephine Anstey, "Agents in Love. On the Construction and Use of Emotion=
al Characters in VR"
Anstey discusses her approach to interactive drama that provides an "emotio=
nal terrain" for the participants to discover. According to Anstey, emotion=
al response is best elicited by employing two key components, the applicati=
on of dramatic tools for narrative media to immersive virtual environments =
and the use of artificial intelligent agent-actors that guide participants.=
Anstey applies ideas similar to Alfred Hitchcock's psychological approach =
to a scripting process in which the theme centers on anxiety and emotional =
tension.

//review: software / tool//
+ Patrick Lichty, "Derivative Touch Designer" (VJ Software / Media Art Tool=
, Derivative, Inc.)
Patrick Lichty tests "Derivative Touch Designer," a VJ software and 'medi=
a development artware

DISCUSSION