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)
OPPORTUNITY

Call for Papers -- REFRESH!


Deadline:
Tue Oct 26, 2004 14:41

**********************************************************************
CALL FOR PAPERS
REFRESH! FIRST INTERNATIONAL CONFERENCE ON
THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY
Banff New Media Institute, Canada, September 28 - October 3, 2005
http://www.mediaarthistory.org Deadline: Dec. 1st 2004
**********************************************************************

"The technology of the modern media has produced new possibilities of inter=
action... What is needed is a wider view encompassing the coming
rewards in the context of the treasures left us by the past experiences, po=
ssessions, and insights."
(Rudolf Arnheim, Summer 2000)

Recognizing the increasing significance of media art for our culture, this =
Conference (Evening of Sept. 28th, Sept. 29th, 30th, October 1st) on the Hi=
stories of Media Art will discuss for the first time the history of media a=
rt within the interdisciplinary and intercultural contexts of the histories=
of art. Leonardo/ISAST, Banff New Media Institute the Database for Virtua=
l Art and UNESCO DigiArts are collaborating to produce the first internatio=
nal art history conference covering art and new media, art and technology, =
art-science interaction, and the history of media as pertinent to contempor=
ary art.

Held at The Banff Centre, featuring lectures by invited and selected speake=
rs, the latter being chosen by an international jury from a call for papers=
, the main event will be followed by a two-day summit meeting (October 2-3,=
2005) for in-depth dialogues and international project initiation (proposa=
ls welcome).

For more information on the conference, please visit: www.MediaArtHisto=
ry.org

Papers are invited from scholars and postgraduates in any relevant discipli=
ne, particularly art history and new media, art and technology, the interac=
tion of art and science, and media history, are encouraged to submit for th=
e following sessions: (Please address your proposals to the sessions with =
the Priority A to C)

I. MediaArtHistories: Times and Landscapes I and II
I. After photography, film, video, and the little known media art history =
of the 1960s-80s, today media artists are active in a wide range of digital=
areas (including interactive, genetic, telematic and nano art). The Media =
Art History Project offers a basis for attempting an evolutionary history o=
f the audiovisual media, from the Laterna Magica to the Panorama, Phantasma=
goria, Film, and the Virtual Art of recent decades. This panel tries to cla=
rify, if and how varieties of Media Art have been splitting up during the l=
ast decades. It examines also how far back Media Art reaches as a historica=
l category within the history of Art, Science and Technology.

2. Although there has been important scholarship on intersections between a=
rt and technology, there is no comprehensive technological history of art (=
as there are feminist and Marxist histories of art, for example.) Canonica=
l histories of art fail to sufficiently address the inter-relatedness of de=
velopments in science, technology, and art. What similarities and differen=
ces, continuities and discontinuities, can be mapped onto artistic uses of =
technology and the role of artists in shaping technology throughout the his=
tory of art? This panel seeks to take account of extant literature on this=
history in order to establish foundations for further research and to gain=
perspective on its place with respect to larger historiographical concerns.

II. Methodologies
This session tries to give a critical overview of which methods art history=
has been using during the past to approach media art. Papers regarding med=
ia archaeological, anthropological, narrative and observer oriented approac=
hes are welcome. Equally encouraged are proposals on iconological, semiotic=
and cyberfeministic methods.

III. Art as Research / Artists as Inventors
Do "innovations" and "inventions" in the field of art differ from those in =
the field of technology and science? Do artists still contribute anything "=
new" to those fields of research - and did they ever in history? Which inve=
ntions changed the arts as well as technology and the media? These question=
s will be discussed in a frame from the 19th century until today, special f=
oci of interest are:
- modernism and the birth of media technology 1840 - 1880
- the utopia of merging art and technology in the 1920s and 1960s
- the crisis of the "new" vs. digital media art innovations since the 1980s

IV. Image Science and 'Representation': From a Cognitive Point of View
Although much recent scholarship in the Humanities and Social Sciences has =
been "body-minded," this research has yet to grapple with a major problem f=
amiliar to contemporary cognitive scientists and neuroscientists. How do we=
reconcile a top-down, functional view of cognition with a view of human be=
ings as elements of a culturally shaped biological world? Current scientifi=
c investigations into autopoiesis, emotion, symbolization, mind-body relati=
ons, consciousness, "mental representations", visual and perceptual systems=
Sopen up fresh ways of not only figuring the self but of approaching histo=
rical as well as elusive electronic media --again or anew--from the deeper =
vantage of an embodied and distributed brain. Papers that struggle concrete=
ly to relate and integrate aspects of the brain basis of cognition with any=
number of pattern-making media are solicited to stimulate debate.

V. Collaborative Practice/ Networking (history)
In a network people are working together, they share resources and knowledg=
e with each other - and they compete with each other. This process has sped=
up enormously within a few decades and has reached a new quality/dimension=
. It is the computer who had and has a forming influence on this change - f=
rom the Mainframes of the 50s and 60s to the PCs of the 70s and the growing=
popularity of the Internet during the 90s of the past century. The dataflo=
w created new economies and new forms of human communication - and last but=
not least the so-called globalization.

VI. Pop/Mass/Society
The dividing lines between art products and consumer products have been dis=
appearing more and more since the Pop Art of the 1960s. The distinction bet=
ween artist and recipient has also become blurred. Most recently, the digit=
alization of our society has sped up this process enormously. In principle,=
more and more artworks are no longer bound to a specific place and can be =
further developed relatively freely. The cut-and-paste principle has become=
an essential characteristic of contemporary culture production. The spread=
of access to the computer and the internet gives more people the possibili=
ty to participate in this production. The panel examines concrete forms, as=
for example computer games, determining the cultural context and what cons=
equences they could have for the understanding of art in the 21st century.

VII a. Collecting, preserving and archiving the media arts
Collections grow because of different influences such as art dealers, the a=
rt
market, curators and currents in the international contemporary art scene.
What are the conditions necessary for a wider consideration of media art
works and of new media in these collections?

VII b. Database/New Scientific Tools
Accessing and browsing the immense amount of data produced by individuals, =
institutions, and archives has become a key question to our information soc=
iety. In which way can new scientific tools of structuring and visualizing =
data provide new contexts and enhance our understanding of semantics?

VIII. Cross-Culture - Global Art
Issues of cultural difference will be included throughout Refresh! However=
, the panels in Cross-Culture--Global Art provide an opportunity to examine=
cross-cultural influences, the global and the local. Through these sessio=
ns we hope to construct the histories, influences and parallels to new medi=
a art and even the definitions of what constitutes new media from varied cu=
ltural perspectives. For example, how what are the impacts of narrative st=
ructures from Aboriginal and other oral cultures on the analysis and practi=
ce of new media? How do notions of identity shift across cultures historic=
ally, how are these embedded and transformed by new media practice? What p=
hilosophical perspectives can ground our understandings of new media aesthe=
tics? How does globalization and the construction of global contexts such =
as festivals and biennials effect local new media practices? We encourage p=
apers from diverse cultural perspectives and methodologies.

IX. What can the History of New Media Learn from History of Science/Science=
Studies?
As in the case of artists working in traditional media who have engaged sci=
ence and technology, new media artists must be situated contextually in the=
"cultural field" (Kate Hayles) in which they have worked or are working. =
Science and technology have been an important part of that cultural field i=
n the twentieth century, and the history of science and science studies-alo=
ng with the field of literature and science--offer important lessons for ar=
t historians writing the history of new media art. This session invites pa=
pers from art historians and scholars in science-related disciplines which =
explore methodological and theoretical issues as well as those that put int=
erdisciplinary approaches into practice in studying new media art.

X. Rejuvenate: Film, sound and music in media arts history
During an earlier period of new media arts discourse, time-based media were=
often considered to be "old media." While this conceit has been tempered, =
we still need to consider the sophistication and provocation of film, sound=
and music from the perspective of media arts history. This session invites=
papers, which examine the return of old media, thick in their natural habi=
tat of the discourses, practices and institutions of the arts, entertainmen=
t,
science, everyday life, wherever they existed.

---------------------------------------------------------------------------=
--
Please send a 200 word proposal and a very brief curriculum vitae by
December 1st, 2004
via e-mail to: MediaArtHistories@culture.hu-berlin.de.
Full papers (5000 to 7000 word long) must be received via e-mail
by July 1st., 2005. Details about their format will be sent separately
to the participants. All Papers will be considered for publication.
Registration information soon: www.banffcentre.ca/bnmi/
----------------------------------------------------------------------------
www.MediaArtHistory.org

SUPPORTED BY: LEONARDO, BANFF NMI, DATABASE OF VIRTUAL ART,
GERMAN RESEARCH FOUNDATION, UNESCO DIGIARTS, VILLA VIGONI, INTEL

HONORARY BOARD
Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI

ADVISORY BOARD
Andreas BROECKMANN, Berlin; Paul BROWN, London; Karin BRUNS, Linz; Annick B=
UREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do Sul; Fel=
ice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING, Chicago; Linda =
D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los Angeles; Ang=
el KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA, Tok=
yo; W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore; Eduard SHANKEN,=
Durham; Barbara STAFFORD, Chicago; Christiane PAUL, New York; Louise POISS=
ANT, Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, Paris; Peter WEIBEL, Ka=
rlsruhe; Steven WILSON, San Francisco.

BANFF
Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local Cha=
ir)
Susan KENNARD, Executive Producer of BNMI (Organisation)
www.banffcentre.ca/bnmi/

LEONARDO
Annick BUREAUD, Director Leonardo Pioneers and
Pathbreakers Art History Project, Leonardo/OLATS
www.olats.org

PUBLICATIONS COMMITTEE
Chair: Roger F MALINA, Chair Leonardo/ISAST
www.leonardo.info

CONFERENCE DIRECTOR & ORGANISATION
Oliver GRAU, Director Immersive Art & Database of Virtual Art
Humboldt University Berlin
http://virtualart.hu-berlin.de


DISCUSSION

artport gate page October 04: Ursula Endlicher


artport gate page October 04

by Ursula Endlicher

http://artport.whitney.org <http://artport.whitney.org/>

Ursula Endlicher presents some of her projects, among them her most recent =
web work, "Famous For One Spam" (2004), which repurposes the overload of SP=
AM email and juxtaposes the fake identity of the sender with the 'real' per=
son found under that name through Web searches; "Web Performer II" (2000), =
which lets the user choose and bring to life different characters in a play=
via search engine results; "Web Performer" (1999), the 'prototype,' which =
turns your browser experience into a stage full of characters searching for=
their online identity; as well as "Website Portraits," which visualizes th=
e site maps of Microsoft or Google in the form of a wig.

Ursula Endlicher is a multiple-media artist working at the intersection of =
Internet, performance, and installation art. Since 1996, she has been keepi=
ng a critical yet humorous eye on the intricacies of the online experience,=
focusing on its technical and social protocols and the visualizations of i=
nterface. Endlicher's artwork has been presented in Europe and the U.S. by =
THE THING, Channel13/WNET online, Postmasters Gallery, and the Austrian Cul=
tural Forum, New York. In 2000, she was a guest lecturer at the Banff New M=
edia Institute, Canada. Born in Vienna, Austria, she has been living in New=
York since 1993.

EVENT

Symposium: "Negotiating Realities -- New Media Art and the Post-Object" -- Sun. Oct. 10, Tishman Auditorium


Dates:
Sun Oct 10, 2004 00:00 - Tue Sep 28, 2004

Negotiating Realities -- New Media Art and the Post-Object
A symposium in conjunction with the exhibition "The Passage of Mirage -- Illusory Virtual Objects"

Sunday, October 10
Tishman Auditorium, New School University, 66 West 12th Street, New York, NY

Synthesizing Realities (11 AM - 1 PM)
A panel discussion featuring Barbara London, Brad Paley, and Kelly Dobson

Reception / Break (1-3 PM)

From Image to Digital "Image World" (3-5 PM)
a panel discussion featuring Ron Burnett, Timothy Druckrey, and Ken Perlin

The symposium will focus on new media art as "post-object" and the issues this art raises about the representation of realities. While art projects using digital technologies as a medium may still possess material properties -- referencing art forms such as sculpture, painting and film -- their underlying mechanism is code and a data structure. The programmability and instruction-based nature of new media art invites indexing and filtering and constitutes a shift to data representation and the image as tool for visualization. The principle of random access as a basis for processing and assembling information connects to notions of controlled randomness and the dematerialization of the art object that has been extensively explored by John Cage, the Fluxus artists, or Chance performances.

The process-oriented nature of new media art and its responsiveness to audience intervention enables a different experience, meditatively as well as haptically. The "post-object" suggests a new reality that obscures the boundaries between the material and the ephemeral, introducing a perceptual twist: the virtual as tangible and the real as "illusory." How do the language and aesthetics of new media art as a dynamic and fluctuating entity affect what we know as representation and what are the cultural and social changes brought about by this shift?

The symposium will address issues surrounding the "post-object" in two separate panels.

Synthesizing Realities (Sunday, October 10, 11 AM - 1 PM)
A panel discussion featuring Barbara London, Brad Paley, and Kelly Dobson
Moderated by Christiane Paul and Zhang Ga
While the virtual and the real are frequently understood as antithetical, they are closely connected states of human perception. Any intersection between the virtual and real (as in the phenomenon of virtual reality) relies on a process of mediation. This mediation is made possible by various kinds of "interfaces" ranging from the human-machine interface to the audio-visual layers that translate one form of data, information, or sensory input into another. The panel will explore the ways in which our realities are interfaced and the effects this mediation has on relationships between the subject and object.

From Image to Digital "Image World" (Sunday, October 10, 3-5 PM)
A panel discussion featuring Ron Burnett, Timothy Druckrey, and Ken Perlin
Moderated by Christiane Paul and Zhang Ga
The digital image has a profound effect on the way in which our culture communicates and perceives itself. Instant documentation, manipulation, and distribution are just a few of the characteristics of digital technologies that have changed how we "visualize" ourselves. Conventional approaches to exploring a work of art are challenged by the tension between "materiality / immateriality" inherent to digital technologies. In the digital world, the image seems to have changed from an object for viewing to a temporal, evolving and interaction-oriented space. The panel will address questions about today's "image world" and how it is reflected in art, news media, and a science context.

Organized by agent.netart (http://agent.netart-init.org)

(Joint public programs by Intelligent Agent and the Netart Initiative of the Parsons School of Design)

Coordinated by: Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media Arts, Whitney Museum of American Art), Zhang Ga (Director, Netart Initiative; faculty member, MFA Design and Technology Program, Parsons School of Design)

This symposium is made possible through funding from the ROCKEFELLER FOUNDATION

Speakers' Bios

Ron Burnett is the President of the Emily Carr Institute of Art + Design in Vancouver, and a member of the Board of Governors, New Media BC, as well as numerous boards of cultural organizations. He is an Adjunct Professor at the Graduate Program in Film and Video, York University, Toronto; a William Evans Fellow at the University of Otago, New Zealand; and a Burda Scholar at Ben Gurion University, Israel. He is the former Director of the Graduate Program in Communications at McGill University, the recipient of the Queen's Jubilee Medal for service to Canada and Canadians, and a recent inductee to the Royal Canadian Academy of Art. Burnett is the author of Cultures of Vision: Images, Media, and the Imaginary and the editor of Explorations in Film Theory. In his latest book, How Images Think (MIT Press, 2004), Ron Burnett explores how images become spaces of visualization with more and more intelligence programmed into the very fabric of communication processes. This new ecology transforms the relationships humans have with the image-based technologies they have created.

Kelly Dobson is a design engineer and artist. Working in the realms of technology, medicine, art, and culture, her projects involve the "parapraxis" of machine design -- what machines do and mean for people other than the use for which we consciously designed them. She is currently a researcher at the MIT Media Lab working towards her Ph.D. She holds a Bachelor of Fine Arts degree from Cornell University's Department of Architecture, Art and Planning and a Master of Science degree from MIT's Visual Studies Program. Kelly has performed/lectured at MIT in Cambridge, Massachusetts; the Smithsonian Institute in Washington, D.C.; and at Metapolis in Barcelona, Spain. She has shown her work in solo exhibitions at Cornell University's Tjaden Gallery and as performances/interventions in public places. Her work has been included in group exhibitions at the Herbert F. Johnson Museum in Ithaca, New York (1994); Witte de With in Rotterdam, The Netherlands (July - September 2000); The MIT Media Laboratory in Cambridge, Massachusetts (October 2001); The Kitchen in New York, New York (December 2001), Beall Center for Art & Technology, University of California, Irvine (January 2002); and Metapolis at the Circulo De Bellas Artes in Madrid, Spain (November 2002). While working in the Physics and Media Group at the MIT Media Lab, Dobson collaborated on work with the Flying Karamozov Brothers (1999 - 2000) and for The Un-Private House exhibition at MoMA (1999). As a member of the Interrogative Design Group at MIT's Center for Advanced Visual Studies, she worked on the Aegis Project with Krzysztof Wodiczko, Adam Whiton, Sung Ho Kim, Jurek Stypulkowski, and Brooklyn Model Works, which was featured in the Whitney Biennial in New York (2000) and at the Berlin Art Forum International with Gabrielle Maubrie Gallery (1999).

Timothy Druckrey is a curator, writer, and editor living in New York City. He lectures internationally about the social impact of electronic media, the transformation of representation, and communication in interactive and networked environments. He co-organized the international symposium "Ideologies of Technology" at the Dia Center of the Arts and co-edited the book Culture on the Brink: Ideologies of Technology (Bay Press). He also co-curated the exhibition "Iterations: The New Image" at the International Center of Photography and edited the book by the same name published by MIT Press. He recently edited Electronic Culture: Technology and Visual Representation and is Series Editor for "Electronic Culture: History, Theory, Practice" published by MIT Press. This series now includes Ars Electronica: Facing the Future, net_condition: art and global media, Geert Lovink's Dark Fiber, and Future Cinema: The Cinematic Imaginary After Film (edited by Jeffrey Shaw and Peter Weibel). Recent exhibitions he has curated include "Bits and Pieces" and "Critical Conditions." He currently teaches as Critic in Residence at MICA and is Guest Professor at the University of Applied Art, Vienna.

Curator Barbara London founded The Museum of Modern Art's video exhibition program and has guided it over a long pioneering career. She has helped assemble the Museum's premiere media collection. Her recent activity includes "Music and Media," with Laurie Anderson/Greil Marcus, Michel Gondry/Ed Halter, and Brian Eno/Todd Haynes; Gary Hill's installation HanD HearD; "TimeStream," a web commission by Tony Oursler; and a series of Web projects undertaken in China, Russia, and Japan. She has written and lectured widely.

W. Bradford Paley creates visual displays with the goal of making readable, clear, and engaging expressions of complex data. His visual representations are inspired by the calm, richly layered information in natural scenes. His process invokes three perspectives: rendering methods used by fine artists and graphic artists are informed by their possible underpinnings in human perception, then applied to creating narrowly-scoped, almost idiosyncratic representations whose visual semantics are often driven by the real-world metaphors of the experts who know the domains best. Brad did his first computer graphics in 1973, founded Digital Image Design Incorporated (didi.com) in 1982, and started doing financial and statistical data visualization in 1986. He has exhibited at the Museum of Modern Art; he created TextArc.org; he is in the ARTPORT collection of the Whitney Museum of American Art; has received multiple grants and awards for both art and design; and his designs are at work every day in the hands of brokers on the floor of the New York Stock Exchange. He is an adjunct associate professor at Columbia University, and is director of Information Esthetics, a fledgling interdisciplinary group exploring the creation and interpretation of data representations that are both readable and aesthetically satisfying.

Ken Perlin is a Professor in the Department of Computer Science, and Director of the New York University Media Research Laboratory and co-Director, NYU Center for Advanced Technology. Ken Perlin's research interests include graphics, animation, and multimedia. In 2002 he received the NYC Mayor's award for excellence in Science and Technology and the Sokol award for outstanding Science faculty at NYU. In 1997 he won an Academy Award for Technical Achievement from the Academy of Motion Picture Arts and Sciences for his noise and turbulence procedural texturing techniques, which are widely used in feature films and television. In 1991 he received a Presidential Young Investigator Award from the National Science Foundation. Perlin received his Ph.D. in Computer Science from New York University in 1986, and a B.A. in theoretical mathematics from Harvard University in 1979. He was Head of Software Development at R/GREENBERG Associates in New York, NY from 1984 through 1987. Prior to that, from 1979 to 1984, he was the System Architect for computer-generated animation at Mathematical Applications Group, Inc., Elmsford, NY. TRON was the first movie for which his name got onto the credits. He has served on the Board of Directors of the New York chapter of ACM/SIGGRAPH, and currently serves on the Board of Directors of the New York Software Industry Association.


DISCUSSION

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


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

The final installment of articles from Vol. 4 No. 2 is now available at ht=
tp://www.intelligentagent.com

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 //

+ Patrick Lichty, Grasping at Bits -- Art and Intellectual Control in the D=
igital Age: Version 1.1

Originally written in 2000, "Grasping at Bits" addressed issues in net.cult=
ure and globalism that are worth revisiting in 2004. In its original form, =
G@B was written in an 'associative' fashion, using The Brain technology to =
draw associations between more or less associated, yet semi-independent lex=
ia. This version is the first one to present the essay in a linear fashion.=
The original version was the recipient of an Honorable Mention at Ars Elec=
tronica 2000.

//free cooperation//

+ Gregory Scholette, Introducing Insouciant Art Collectives, the Latest Pro=
duct of Enterprise Culture

Scholette discusses the art world's current interest in art collectives, a =
new wave of group art making that has been described as "fast, cheap, and e=
xuberant" or "insouciant" -- to underscore their untroubled and ultimately =
apolitical disposition. Considering these groups within the rich history of=
collective art practice, Scholette raises the question whether they are a =
product of enterprise culture.

//review: book//

+ Leigh Clemons, What Video Games Have to Teach Us About Learning and Liter=
acy by James Paul Gee

Clemons reviews James Paul Gee's book What Video Games Have to Teach Us Abo=
ut Learning and Literacy, which examines how games shape the ways in which =
young people learn. Gee's thesis (and assumption) is that "if the principle=
s of learning in good video games are good, then better theories of learnin=
g are embedded in the video games many children in elementary and particula=
rly in high school play than in the schools they attend."

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

jihui presents: "Passage of Mirage" Artists / Curators Talk -- Sept. 30, 7-9 PM @ Chelsea Art Museum


jihui presents: "Passage of Mirage" Artists / Curators Talk

Thursday, September 30, 2004, 7 - 9 PM

@ Chelsea Art Museum, Project Room (2nd fl.)

556 West 22nd Street, @ 11th avenue, New York, NY 10011 USA

http://www.chelseaartmuseum.org/projectroom/2004/passageofmirage

http://agent.netart-init.org

Artists / Curators Talk

in connection with the exhibition "The Passage of Mirage" (Chelsea Art Muse=
um, Sept. 14 - Oct. 16)

featuring W. Bradford Paley, Carlo Zanni, Christiane Paul and Zhang Ga

Artists W. Bradford Paley and Carlo Zanni and curators Christiane Paul and =
Zhang Ga will discuss the projects and concepts of the exhibition "The Pass=
age of Mirage," which explores the "virtual object" and the issues of repre=
sentation that have been raised by it. "The Passage of Mirage" features nin=
e projects that portray the virtual object as a process, a data structure (=
or carrier thereof), or as an encoded reality. The artworks expand notions =
of the traditional art object, sometimes quite specifically with regard to =
more established art forms such as photography, film, or painting. While st=
ill informed by the aesthetics of more traditional media, the artworks in t=
he exhibition are media objects that are process-oriented, reactive, or ope=
n to (real-time) data processing and intervention.

W. Bradford Paley creates visual displays with the goal of making readable,=
clear, and engaging expressions of complex data. His visual representation=
s are inspired by the calm, richly layered information in natural scenes. H=
is process invokes three perspectives: rendering methods used by fine artis=
ts and graphic artists are informed by their possible underpinnings in huma=
n perception, then applied to creating narrowly-scoped, almost idiosyncrati=
c representations whose visual semantics are often driven by the real-world=
metaphors of the experts who know the domains best. Brad did his first com=
puter graphics in 1973, founded Digital Image Design Incorporated (didi.com=
) in 1982, and started doing financial and statistical data visualization i=
n 1986. He has exhibited at the Museum of Modern Art; he created TextArc.or=
g; he is in the ARTPORT collection of the Whitney Museum of American Art; h=
as received multiple grants and awards for both art and design; and his de=
signs are at work every day in the hands of brokers on the floor of the New=
York Stock Exchange. He is an adjunct associate professor at Columbia Univ=
ersity, and is director of Information Esthetics, a fledgling interdiscipli=
nary group exploring the creation and interpretation of data representation=
s that are both readable and aesthetically satisfying.

Carlo Zanni (La Spezia, 1975) is an Italian-born artist living between Mila=
n and NYC whose work focuses on the intersection of computation and represe=
ntation. He paints landscapes and programs portraits. In the past three yea=
rs, his work was shown at venues including P.S.1, NY; Museum of Contemporar=
y Art (MCA) Chicago; Bitforms gallery, NYC; 3rd Biennale de Montreal, Canad=
a; Analix Forever Gallery, Geneva; and Borusan Center for Culture and Arts,=
Istanbul. During Artissima X, Carlo presented a sculpture-server called Al=
tarboy (Altarboy-Cyrille), a combination of a sculpture and Internet-based =
work. Carlo Zanni has been a recipient of the "2004 Rhizome at The New Muse=
um" commission.

"The Passage of Mirage" is organized by agent.netart -- joint public progra=
ms by Intelligent Agent and the Netart Initiative of the Parsons School of =
Design

The exhibition is made possible by funding from THE ROCKEFELLER FOUNDATION

Upcoming events related to the exhibition: "Negotiating Realities -- New M=
edia Art and the Post-Object," a symposium at the Tishman Auditorium of the=
New School University, Oct. 10, 11 AM - 5 PM

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

jihui (the meeting point), a self-regulated digital salon, invites all inte=
rested 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

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