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)
EVENT

jihui presents Motomichi Nakamura & Marina Zurkow -- Thurs., January 27, 7 - 9 PM


Dates:
Thu Jan 27, 2005 00:00 - Wed Jan 19, 2005

jihui - Digital Salon presents Motomichi Nakamura & Marina Zurkow
Thursday, January 27, 2005, 7 - 9 PM
Parsons Design Lab
55 West 13th Street, 9th Fl.
New York, NY 10011
http://agent.netart-init.org

Motomichi Nakamura and Marina Zurkow will present their works in the area of animation and character design. Motomichi will discuss the technical and creative processes involved in creating his digital projects and his interest in expanding to different media. As examples, he will present some of his widely exhibited animations (among them Qrime, Bcc, Hey Now, Drops, EVOE, Laptops and Martini's), his VJ performances, his work in the realm of character design, as well as paintings based on his characters. He will also give a quick demonstration of live video mixing. Marina Zurkow will show excerpts from her award-winning, web-based animation series Braingirl (2000-2003), which chronicles a mutant-cute girl who wears her insides on the outside; Pussy Weevil, an animated, reactive character installation; and Nicking the Never, a 7-channel, multi-linear animated video installation, which was presented as a work-in-progress at The Kitchen in New York, and premiered at FACT in the U.K. in 2004.

Motomichi Nakamura was born in Tokyo, Japan in 1972 and graduated from Parsons School of Design in 1996. As a visual artist, he has used digital animation as a means to explore themes related to personal fears and violence and has worked in collaboration with electronic musicians in the creation of music videos of a minimalist nature. As a VJ he combines video, animation and music as part of a live performance. He recently presented his work as part of the EyeWash Festival at MOMA and at the Cartoombria Festival in Perugia, Italy. For more information visit: http://www.motomichi.com

Marina Zurkow is a multidisciplinary artist who works with character, icon, and narrative in several forms: animated works, interactive installations, and material objects. Zurkow’s icons and characters have been incorporated into diverse projects, from animated films to hotel design, lightboxes and clothing. Other projects include PDPal (2001-2004), a set of experimental mapping applications for screen, web, print and mobile devices that allows a user to "write her own city," in collaboration with architect Scott Paterson and technologist Julian Bleecker. Zurkow’s work has been exhibited at the Sundance Film Festival, the Rotterdam Film Festival, Ars Electronica, the Walker Art Center, the Brooklyn Museum, SFMoMA, Eyebeam Atelier, Totem Design and bitforms gallery, and broadcast on MTV and PBS. Zurkow was a 2003 Rockefeller New Media Fellow, and received grants in 2001-2002 from the Creative Capital Foundation, the Jerome Foundation and the Walker Art Center. She is currently an adjunct professor at NYU’s Interactive Telecommunications Program. For more information visit: http://www.o-matic.com

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
A joint public program by NETART INITIATIVE and INTELLIGENT AGENT


DISCUSSION

artport gatepage January 05: C-SPAN x 4 by Barbara Lattanzi


artport gatepage January 05

features

C-SPAN x 4 by Barbara Lattanzi

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

Barbara Lattanzi's C-SPAN x 4 consists of 4 different variations on video c=
lips of current news made available by the C-SPAN Network:


DISCUSSION

intelligent agent - Vol. 4 No. 3: new essays


intelligent agent - Vol. 4 No. 3: architecture / sound

available at http://www.intelligentagent.com <http://www.intelligentagent.c=
om>

intelligent agent is published in a modular format:

+Thematic threads

Threads of Vol. 4 No. 3:

//architecture//

//sound//

+reviews of games, exhibitions, Web projects, books

NEW:

//architecture //

+ Ranulph Glanville, Architecture as Ecosystem

Ranulph Glanville approaches buildings as natural ecosystems, an argument r=
unning counter to many centralized approaches to "intelligent buildings" be=
cause it places building occupants in a larger situated system, with possib=
ilities of emergent behavior. His essay looks at edge conditions -- the bou=
ndaries of a building -- and their possibilities as a place for hypothetica=
l robots or "edge monkeys."

//free radical //

+ Andrea Polli, The Dragonfly and the Peering Locust

Using the dragonfly and the locust as a case study, Andrea Polli examines h=
ow the vision of insects relates to that of humans. Polli discusses the or=
igins of the theory that the visual scene unfolds over time -- from portray=
al of motion using photography to the description of apparent motion in Ge=
stalt Psychology -- and connects this theory to current machine vision rese=
arch. The essay suggests that interactive moving image technology presents =
a unique opportunity to not only portray objects and subjects in motion, bu=
t to portray the experience of the observer in motion.

//sound //

+Eric Redlinger, Sound Night at Share

Eric Redlinger discusses the weekly SHARE party at New York's OpenAir bar -=
- the east-coast Mecca for real-time performance -- in the context of the e=
volution of self-styled VJing.

//probe //

+Manik, A New Page in Art History

//review: tool/stock media//

+ Patrick Lichty, JumpBacks / Video Traxx / Directors' Toolkit

Patrick Lichty reviews JumpBacks, Video Traxx and the Director's Toolkit, a=
series of royalty-free stock video and stock imagery for media producers, =
and discusses their shortcomings and merits for artists who appropriate ind=
ustrial imagery.

For a full Table of Contents, visit http://www.intelligentagent.com <http:/=
/www.intelligentagent.comThis>

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

intelligent agent - Vol. 4 No. 3: architecture / sound


intelligent agent - Vol. 4 No. 3: architecture / sound

available at http://www.intelligentagent.com

intelligent agent is published in a modular format:

+Thematic threads

Threads of Vol. 4 No. 3:

//architecture//

//sound//

+reviews of games, exhibitions, Web projects, books

NEW:

//architecture //

+ Camille Silva, Cyberspace: the architecture of instability

Silva discusses virtual environments as a new social space for communicatio=
n that leads to a new notion of interactivity, where technical and aestheti=
c transformations happen in the realm of one's participation. Using Artur M=
atuck's notion of "Interpresence," she explores how interactivity and inter=
-communication configure a set of interrelations between the interaction of=
one / another as well as the larger audience. If the state of mind / place=
, virtual / real is unstable, are we still engaged in the search for the "r=
ight" place?

+ Audra Magermans, Architecture and Cyberspace

Magermans addresses the various ways in which new media force us to re-exam=
ine aspects of the practice of architecture, and our notion of three-dimens=
ional spaces designed for the human experience. Using examples such as the =
Virtual House -- an elaborate, photorealistic computer model that allows l=
imited modifications -- Magermans attempts to find the "incomplete" aspects=
in the relationship between architecture and cyberspace.

//sound //

+ Robin Rimbaud, Sound and Image -- A Brief Consideration in a Non Place

Sitting on a train to London, Robin Rimbaud aka Scanner ponders the relatio=
nship between image and sound: "In the modern recording studio, digital tec=
hnology has allowed us to search beneath the surface of sound and its image=
through the application of software that visualizes a vibration, a note. W=
e now have the technology to peel open virtually any zone of information an=
d consume the contents -- personal video documents, sound recordings, phone=
scans, modem and net intercepts -- highly personalized and voyeuristic for=
ms of grazing for info foods."

//review: exhibition/conference//

+ Camille Silva, Talking about Art.ficial emotions: A report from Sao Pau=
lo, Brazil

Camille Silva reports on "Emocao Art.ficial - Technological Divergences=
2.0," the second edition of an international exhibition and symposium held=
by Itau Cultural in Sao Paulo, Brazil. Curated by Arlindo Machado and =
Gilbertto Prado, the exhibition displayed thirty works by artists from seve=
ral countries to stimulate thoughts and experiments questioning the hegemon=
ic technological discourse of marketing and consumption. The symposium held=
in conjunction with the exhibition raised questions surrounding the inclus=
iveness of digital media, collaboration, intervention, immersion, and emerg=
ing realities.

For a full Table of Contents, visit http://www.intelligentagent.com <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 <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 Nov 04: Peoples' Portrait by Zhang Ga


artport gatepage Nov 04

Peoples' Portrait

by Zhang Ga

http://artport.whitney.org

This month the artport gatepage serves as one of the Web portals to "People=
s' Portrait," a global networked public art project conceived by media arti=
st Zhang Ga. "Peoples' Portrait" utilizes the Internet as the underlying me=
chanism to create a global portrait of people, rendered in real time and di=
splayed instantly and simultaneously on various museum websites and video w=
alls / displays in cosmopolitan urban centers.

Five photo capturing kiosks have been set up around the world at Reuters No=
rth American Headquarters in Times Square, New York City; the Central Busin=
ess District of Singapore City, Singapore; in Rotterdam, the Netherlands; B=
risbane, Australia; and Linz, Austria. The kiosk consists of a camera that =
allows passersby to take snapshots, which are then transmitted via the Inte=
rnet to an image database on a central server. Every few seconds, the video=
walls in different locations -- Reuters' Times Square display screen, NYC;=
Multimedia Art Asia Pacific (MAAP ) Festival (October 27 - November 28), S=
ingapore; the Dutch Electronic Arts Festival (DEAF) 2004 (November 9 - 21),=
Rotterdam; Creative Industries, Brisbane; Ars Electronica Center, Linz -- =
will retrieve the peoples' portraits from the same server and display them =
first in time stamped order, then randomly from the archive.

The project investigates the aesthetics of portraiture in the context of sp=
eed and scale. How would a public, fluctuating environment dramatically alt=
er our notion of portraiture as a fixed moment in a private arena?