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 June 04: Create your own SWIPE data protection s tickers


The artport gatepage June 04
features
SWIPE stickers
"Create your own SWIPE data protection stickers"
by Beatriz da Costa, Jamie Schulte and Brooke Singer
http://artport.whitney.org

Since the Fall of 2002, Beatriz da Costa, Jamie Schulte and Brooke Singer
have been working together to produce SWIPE (http://www.we-swipe.us), a
project addressing the gathering of personal data from magnetic stripes and
2D barcodes on drivers licenses.

During the month of June, they are taking your submissions of slogans for
SWIPE stickers, which can be attached over barcodes or magnetic stripes on
your drivers licenses in order to control the release of your personal data.
Through the gate page, you can also download and print the stickers that you
and others have designed. (Caution: this sticker temporarily disables 2D
barcodes and magnetic stripes.)

With one swipe--that often occurs without notification or consent by the
cardholder--businesses acquire data that can be used to monitor and profile
customers. SWIPE brings attention to this practice by allowing people to see
what is stored on their mysterious stripe and prevents future transfer of
personal information into commercial databases.

SWIPE stickers @ http://artport.whitney.org

DISCUSSION

intelligent agent - Vol. 4 No. 2 : copyright / free cooperation / embodiment


intelligent agent - Vol. 4 No. 2

Articles from Vol. 4 No. 2 are now available at
http://www.intelligentagent.com

intelligent agent is published in a modular format:
*3 thematic threads
Threads of Vol. 4 No. 2:
//copyright//
//free cooperation//
//embodiment//
*reviews of games, exhibitions, Web projects, books

All content is available in html and as pdf files with layout.

NEW:

//copyright //
+ Share/Share Alike: A Panel Discussion featuring Prof. Lawrence Lessig
An edited transcript of the panel discussion "Share/Share Alike," which took
place on November 21, 2003, at Eyebeam in New York City
(http://eyebeam.org). Lawrence Lessig -- Chairman of the Board of Directors
of Creative Commons and Professor of Law at Stanford Law School -- and
respondents Joline Blais, Carrie McLaren and Jon Ippolito discuss issues
surrounding copyright and its impact on artistic and cultural production.

//free cooperation//
+ Christoph Spehr and Jorg Windszus, Grab the rules, play it hard. Basic
rules for free cooperation
A transcript of the dialogue in Spehr's and Windszus' video "On Rules and
Monsters. An introduction into free cooperation," which was screened at the
"Networks, Art & Collaboration" conference held at the
State University of New York at Buffalo in April 2004. The video takes the
form of a 1950s monster movie pastiche, combining classic genre films, such
as "Queen of Outer Space" and "The Time Machine."

//embodiment//
+ Bill Seaman, Toward the Production of Nano-computers and in Turn,
Nano-related Emotive Virtual/Physical Environments
The computer potentially establishes a continuum between the physical world
and the virtual / conceptual world. In the context of a potentially
"embodied" experience of dynamic media elements and processes, Bill Seaman
develops a series of research questions surrounding the production of
virtual / physical environments generated by Nano-computers. Using the
theories of Eric Drexler (Engines of Creation) and Ed Regis (Nano!) as
starting point, Seaman discusses the potential of nano-machines.

//reviews//
conference:
+ Adam Chapman, Report from GDC 2004
Adam Chapman reports from the Game Developers' Conference -- a regular,
week-long event where people are actively thinking about and discussing the
combination of interactivity, aesthetics, sound, user experience, artificial
intelligence, and non-linear narrative in a gaming context.

exhibition:
+ Adam Chapman, Bang the Machine: Computer Gaming Art and Artifacts
Adam Chapman reviews "Bang the Machine: Computer Gaming Art and Artifacts,"
an exhibition at the Yerba Buena Center for the Arts, San Francisco,
featuring game mods, work inspired by the game aesthetics, and original
games. Works presented include Waco Resurrection by the art collective
C-Level, Pain Station by Volker Morawe and Tilman Reiff, Paul Kaiser's and
Shelley Eskar's Arrival, as well as America's Army, part of the US Army's
"communications strategy."

game:
+ Patrick Lichty, Dead or Alive Extreme Beach Volleyball
Patrick Lichty reviews Team Ninja's game "Dead or Alive Extreme Beach
Volleyball," which takes on the popular Dead or Alive fighter games but
transports the female fighters to a tropical island for a special
tournament: "To put it bluntly, sometimes there are cultural event-sites
where the participant is simultaneously appalled, yet so fascinated by the
concept or addicted to the play that it's hard to disengage."

For a full Table of Contents, visit http://www.intelligentagent.com
This issue was made possible by funding from the Rockefeller Foundation.

+++++++++++++++++++++++++++++++++++++++
intelligent agent
Editor-in-Chief: Patrick Lichty
Director: Christiane Paul

http://www.intelligentagent.com
intelligent agent is a service organization and information
provider dedicated to interpreting and promoting art that
uses digital technologies for production and presentation.
++++++++++++++++++++++++++++++++++++++++

DISCUSSION

artport gatepage May 04: Andrea Polli -- Atmospherics / Weather Works


artport gatepage May 04
Andrea Polli, Atmospherics / Weather Works
http://artport.whitney.org

The May artport gatepage features Andrea Polli's Atmospherics / Weather
Works, a system for understanding weather patterns through sound. The
interactive work allows viewers to select and listen to the sound of data
generated by a highly detailed and physically accurate simulation of a
historic hurricane that devastated the New York / Long Island area. The
resultant compositions allow listeners to experience geographically scaled
events on the human scale of perception and provide a model for
understanding the unpredictable and complex rhythms and melodies of nature.

DISCUSSION

intelligent agent - Vol. 4 No. 1, final installment


intelligent agent - Vol. 4 No. 1, final articles

The final installment of articles from Vol. 4 No. 1 is now available at
http://www.intelligentagent.com

intelligent agent is published in a modular format:
*3 thematic threads
Threads of Vol. 4 No. 1:
//the DEMO scene//
//generativity//
//vj/dj//
*reviews on DVDs, Web, books, projects

All content is available in html and as pdf files with layout.

NEW:

//the DEMO scene //
+ Petri Kuittinen: Computer DEMOs -- The Story So far
Kuittinen surveys the Old School DEMO scene (1987-1996), from its origins to
the major parties, forms of competitions, and the different design schools
and tastes.

//generativity//
+ Scott Draves, The Interpretation of Dreams:
An Explanation of the Electric Sheep Distributed Screen-Saver
Draves provides background information on his work Electric Sheep, a
distributed screen-saver that harnesses idle computers into a render farm
for the purpose of animating and evolving artisficial life-forms. (Also see
Jeremy Turner's review of Draves' DVD in this issue).

//reviews//
DVD:
+ Jeremy Turner, Spotworks: The Evolution of Visuals, DVD by Scott Draves
Turner reviews Scott Draves' DVD Spotworks: TheEvolution of Visuals,
featuring Draves' Dub Visuals, as well as his works Electric Sheep and Bomb,
each with documentary explanation. Draves DVD archive presents a history of
aesthetic VJ processes and tastes, and points to the genealogy of
distributed computing. (Also see Draves' explanation of the Electric Sheep
screen-saver in this issue).

web:
+ Donato Mancini, UbuWeb
Mancini reviews Ubuweb, a site devoted to concrete / visual poetry, sound
poetry, and genre-defying conceptual textualities. Ubuweb represents these
by showcasing the work itself, featuring critical papers and notes, radio
interviews with the artists, as well as "Editions" -- PDF re-publications of
significant recent books.

For a full Table of Contents, visit http://www.intelligentagent.com
This issue was made possible by funding from the Rockefeller Foundation.

+++++++++++++++++++++++++++++++++++++++
intelligent agent
Editor-in-Chief: Patrick Lichty
Director: Christiane Paul

http://www.intelligentagent.com
intelligent agent is a service organization and information
provider dedicated to interpreting and promoting art that
uses digital technologies for production and presentation.
++++++++++++++++++++++++++++++++++++++++

EVENT

jihui presents Chico MacMurtrie & Adrianne Wortzel, Wed. May 5, 7 PM


Dates:
Wed May 05, 2004 00:00 - Mon Apr 19, 2004

jihui - Digital Salon presents Chico MacMurtrie & Adrianne Wortzel
Wednesday, May 5, 2004, 7 - 9 PM
Parsons Design Lab
55 West 13th Street, 9th Fl.
New York, NY 10011
http://agent.netart-init.org

"Robot Works"

Chico MacMurtrie, Artistic Director of Amorphic Robot Works (ARW; http://www.amorphicrobotworks.org), will present work from his recent retrospective exhibition of over 100 machines, recently shown at this year's European Cultural Capital exhibition in Lille, France. This exhibition included the large-scale Robotic Landscape, Cave of the Subconscious, Too Big Dog Monkey, Floaters, and Skeletal Reflections. MacMurtrie and ARW have toured around the world realizing this society of machines in various performance and installation formats., MacMurtrie will discuss the evolution of his work, recent projects, and the use of vision technology to create ongoing interactive performance in an installation setting.

Adrianne Wortzel will show and tell StudioBlue, the telerobotic theater she developed and directs at the Cooper Union for the Advancement of Science and Art, as well as her current work-in-progress there: Eliza Redux, a theatrical scenario in the form of psychoanalytic sessions. The sessions unfold via real-time streaming of a physical robot equipped with an interactive conversational computer program in the tradition of Eliza. Patients visiting the web site will control the robot's motion, and video camera pan, tilt, and zoom in real time. Transcripts of sessions will be archived for future examination. Ms. Wortzel will be joined by James Cruickshanks, a graduate student at Cooper Union whose thesis project was the development of GRASP, a performance control software. Graduate students in Professor Zhang Ga's Collaboration Studio class at Parsons created the web interface for this project.

Chico MacMurtrie was born in New Mexico in 1961, and currently resides in New York. He received his B.F.A. from the University of Arizona and an M.F.A. in New Forms and Concepts from the University of California at Los Angeles. He has been awarded four grants from the National Endowment for the Arts for Interdisciplinary Artists (individual grants in 1988, 1990 and 1991; a collaborative grant in 1993 for the premiere of Trigram: A Robotic Opera, which was staged at Theatre Artaud in San Francisco). Trigram was a feature story on The Next Step program on the Discovery Channel. He was a Performing Artist in Residence at the Exploratorium in San Francisco in 1989, and in 1990 received the San Francisco Bay Guardian Goldie Award. In 1991, MacMurtrie completed a month long tour of Europe, funded by an Arts International grant. During that time he traveled and performed in Czechoslovakia and presented an award winning performance at the Ars Electronica Festival in Linz, Austria, which appeared on television in Munich, Berlin, and Dortmund, Germany. The tour ended with performances in Amsterdam and an interactive installation at the Kijkhuis, in Den Haag, Holland. A retrospective exhibition of over 100 machines was shown at the 2004 European Cultural Capital exhibition in Lille, France

Adrianne Wortzel's work explores historical and cultural perspectives through new technologies. She creates fictive webworks, and interactive robotic and telerobotic theatrical scenarios in both physical and virtual networked environments. Works include Eliza Redux, a robot offering interactive online psychoanalytic sessions; Camouflage Town, a telerobotic installation exhibited in Data Dynamics at The Whitney Museum of American Art (Spring 2001); Sayonara Diorama (1998), intermingling human and robotic actors who tell the tale of a fictive second Voyage of the Beagle by Charles Darwin thirty years after the first; The Ship's Detective, in Cooper Union's Technoseduction exhibition (1997); The Hidden Archivists at the Anchorage at Creative Time's Art in the Anchorage (1997); NoMad is An Island at Ars Electronica97 (Linz, Austria); and Tableaux Vivant Dan Une Monde Parfait in Areale 99 (Baitz, Germany). Her work is documented at http://artnetweb.com/wortzel. As a recipient of the Artists-in-Labs-Award, she will be an Artist-in-Residence at the University of Zurich Artificial Intelligence Lab from July through December 2004. Wortzel is a Professor of Communication Design at New York City College of Technology, CUNY; an instructor in the Instructional Technology Certificate Program of the CUNY Graduate Center; and an Adjunct Professor of Mechanical Engineering at the Cooper Union for the Advancement of Science and Art where she is also the Director of StudioBlue, an arena for telerobotic performance productions.

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 made possible through the generous support from the Digital Design Department and Parsons Design Lab of the Parsons School of Design and from the Rockefeller Foundation
A joint public program by NETART INITIATIVE and INTELLIGENT AGENT