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

New artport commission: {Software} Structures by Casey Reas (with Robert Hodgin, William Ngan, Jared Tarbell)


artport, The Whitney Museum's portal to net art, features a new commissione=
d project:

{Software} Structures

by Casey Reas (with Robert Hodgin, William Ngan, Jared Tarbell)

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

http://artport.whitney.org/commissions/softwarestructures/

Inspired by Sol LeWitt's wall drawings, {Software} Structures explores the=
relevance of conceptual art to the idea of software as art. As many works =
of conceptual art, software art is ultimately based on instructions and lan=
guage.

Reas implemented three of Sol LeWitt's drawings in software and then made =
modifications. After working with the LeWitt plans, he created three unique=
structures -- text descriptions outlining dynamic relations between elemen=
ts -- which were then implemented: 26 pieces of software derived from the t=
extual structures were coded to isolate different components, including int=
erpretation, material, and process. Reas invited three people -- Robert Hod=
gin, William Ngan, Jared Tarbell -- to interpret and implement one of his s=
oftware structures ("A surface filled with one hundred medium to small size=
d circles. Each circle has a different size and direction, but moves at the=
same slow rate."). In addition, this structure was implemented in three se=
parate programming environments (Java, Flash, C++). Finally, the process of=
realizing one structure is revealed by documenting its evolution from the =
first lines of code to the completed work. For each of the implementations,=
you may view the software, source code, and comments by the artists.

EVENT

agent.netart presents


Dates:
Tue Sep 14, 2004 00:00 - Fri Aug 13, 2004

agent.netart presents

The Passage of Mirage -- Illusory Virtual Objects
featuring works by Jim Campbell, Vuk Cosic, John Gerrard, W. Bradford Paley, Eric Paulos, Wolfgang Staehle, Thomson & Craighaid, and Carlo Zanni

September 14 - October 16
Chelsea Art Museum
556 West 22nd Street, @ 11th avenue
New York, NY 10011 USA
http://chelseaartmuseum.org

===========================
+Opening reception: Tues, September 14, 6-8 PM
+Artist Talk: Thurs., September 30, 7 - 9 PM
+Symposium: "Negotiating Realities: New Media Art and the Post-Object"
Sun, Oct. 10, 11-5 PM, Tishman Auditorium, New School University, 66 W 12th St.

Exhibition and symposium 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)

Curators and symposium co-ordinators:
Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media Arts, Whitney Museum)
Zhang Ga (Director, Netart Initiative; Professor, MFA Design and Technology program, Parsons School of Design)

The exhibition and symposium are made possible by funding from
THE ROCKEFELLER FOUNDATION
============================

The exhibition "The Passage of Mirage" explores concepts surrounding the "virtual object" and the issues of representation that have been raised by it. While the coalition of virtual and object seems contradictory at first glance, it dialectically illuminates the complex relationships between the virtual and the real that unfold in new media art. In classical optical theories of the 18th century, the word "virtual" was used to describe the reflected image of an object. Today's digital image does not require a physical object to represent a physical reality; rather than reproducing reality, it encodes data and therefore alludes to an expanded concept of objecthood.

New media art both connects to and expands the dematerialization of the art object that occurred in earlier art movements. The new media object is a process in flux that is potentially interactive, dynamic, participatory and customizable and often oscillates between its inherent ephemeral nature and its material components or people’s desire to objectify it.

"The Passage of Mirage" features nine projects that address these issues by portraying 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.

The works of Jim Campbell and Thomson & Craighead, for example, offer different approaches to processing the medium of film. Campbell's "Accumulating Psycho" continuously collapses and accumulates the images of the entire 1 hour, 50 minutes Hitchcock film; by contrast, the artist's "Night Light" visualizes Psycho's sound level and the brightness of the image throughout the film. Thomson & Craighead's "Short Films about Flying" is an edition of unique cinematic works that were generated in real-from existing data found on the World Wide Web: each "movie" (replete with opening titles and end credits) combines a video feed from Logan Airport in Boston with randomly loaded net radio sourced from elsewhere in the world.

John Gerrard's "Watchful" and Carlo Zanni's "Oriana" both transform a portrait into a "living" process that is networked or responds to haptic sensation; and Wolfgang Staehle's and Vuk Cosic's works present a "live" version of a photograph or painting. In very different ways, the idea of the object as data carrier unfolds both in W. Bradford Paley's "Code Profiles" and Eric Paulos' "Limelight," a sculptural object that doubles as automated threat detection and indication system.

While still informed by the aesthetics of more traditional media, the artworks in the exhibition are media objects that are process-oriented, reactive, or open to (real-time) data processing an


DISCUSSION

artport gate page August 04: playMusicBox by Jin-Yo Mok + Gicheo l Lee


artport gate page August 04
playMusicBox
by Jin-Yo Mok + Gicheol Lee
http://artport.whitney.org

Jin-Yo Mok's and Gicheol Lee's MusicBox is a sound instrument that
integrates an installation with interactions over the Internet. The physical
installation consists of an old-fashioned music box with a crank handle, in
which the pins have been replaced with LEDs and the notes with photo sensors
for user interaction.

Users can draw a shape and pattern on the screen with their mouse and the
same pattern of LEDs will light up on the physical music box. Turning the
crank handle on the LED cylinder, any sensors that detect light from the
LEDs will make a sound. Data submitted by users is stored in a database and
shared by the online and offline music box.

Jin-Yo Mok is a Korean multimedia artist who has lived and worked in New
York since 2002. His net art work has been featured at the Korea web-art
festival; Media City Seoul; Digitaliterature Festival; the Seoul Museum of
Art Netart Gallery; American ElectroLiterature; in the Rhizome artbase and
other venues. He began to create physical computing artwork in 2002 and
since then, has focused on integrating physical installation with user
interactions on the Internet.

Gicheol Lee is an interactive designer and programmer who is interested in
applying art and science concepts to information and interface design
through programming. He holds an MFA degree in Computer Art from the School
of Visual Arts, NY and a BS degree in Mathematics from Sogang University in
Korea. His experimental web site http://www.Typorganism.com received awards
from the Communication Arts Interactive Annual and in the HOW Magazine's
Interactive Design Competition.

http://artport.whitney.org

DISCUSSION

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


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

New 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:

//editorial//
+ Patrick Lichty, Ruminations on Freedom
Lichty considers the ideal of 'freedom' in the light of the challenges to
artistic expression posed by intellectual property rights; and the
dismantling of civil liberties for the sake of national security that
occurred in the case of the Critical Art Ensemble's investigation by the
FBI.

//copyright //
+ Joy Garnett, Steal This Look
Taking its title from Abbie Hoffman's incendiary Yippy classic "Steal This
Book," Joy Garnett's article recounts the story of how her oil painting
"Molotov," derived from the detail of a photograph, led to charges of
copyright infringement and the ensuing "Joywar." Garnett reflects on the
function of images in the media -- as rogue entities that resist the
controls that people and cultures impose upon them -- and the principle of
fair use.

//free cooperation//
+ Free Cooperation: A Conversation Between Trebor Scholz and Geert Lovink
Trebor Scholz and Geert Lovink discuss issues surrounding the rise of the
cultural economy and necessity of collaboration; approaches to crediting in
the context of collaboration in the arts; accountability in amorphous social
structures; and face-to-face meetings as the glue and accelerator of online
projects.

//embodiment//
+ Gregory P. Garvey, Solitude of the Self and Virtual Beings
"Our children now spend endless hours commanding ever increasing, realistic
multiple selves as they are immersed in games such as The Matrix or the
lawless intersections of Grand Theft Auto. Today, computer screens are
colonized by virtual beings. Endowed with 'artificial intelligence,' they
converse with us by synthesized speech, woo us with their affective
emotions, beckon to us with on-demand promiscuity, seduce us with their
verisimilitude, captivate us with their impossible perfection, dazzle us
with superhuman feats and thrill us with the promise of immortality."
Gregory Garvey discusses philosophical approaches to Virtual Beings and how,
with "The Matrix Reloaded," a religious melange of Christian, Gnostic and
Buddhist thought has secured a new place in pop culture and the popular
imagination.

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 July 04: Paul Catanese


artport gatepage July 04
features
projects by Paul Catanese
http://artport.whitney.org

This month's artport gate page provides a portal to the projects of media
artist Paul Catanese whose recent work has been using the Gameboy Advance
(GBA) as a platform. The gate page gives a preview of Catanese's current
work-in-progress -- a series of virtual artist's books he is creating for
the GBA (to be completed in Sept. 04). Also featured is information on
Catanese's work "Super Ichthyologist Advance," an installation in which he
converted the Gameboy Advance into a virtual repository for show quality
Koi; as well as his essay "Evolution of a GBA Artist."

artport
The Whitney Museum portal to net art
http://artport.whitney.org