Posts for November 2006

Faculty Position: History and Critical Theory of New Media, Center for New Media, University of California, Berkeley


Berkeley's cross-disciplinary Center for New Media is seeking highly qualified candidates for a tenure-track faculty position at the Assistant Professor level beginning July 1, 2007, pending budgetary approval.

The Center for New Media, founded in 2004, focuses on the growing set of representational technologies that emerge from the paradigm of computation. The Center investigates the ways that new media have changed social and individual experience, and to anticipate and impact the future of digital media. The CNM combines research perspectives from art, technology, design, and the humanities. It has several full-time faculty and over 100 affiliated faculty representing 31 departments across campus. The Center offers graduate and undergraduate courses, a Designated Emphasis in New Media at the PhD level, and a variety of lectures, special events, and symposia.

Applicants should demonstrate scholarly command of the history and critical theory of New Media via written publications and experience with cross-disciplinary dialogue across divisions. Special attention will be paid to applicants with skills in designing and implementing innovative systems, games, artworks, or other modes of scholarly communication that explore contemporary issues.

The successful candidate will have a home appointment in an existing department (or departments) to be determined based on background and experience.

Applications must include:

One-page cover letter describing the candidate's distinguishing strengths in history and critical theory, experience, motivation, and objectives in applying; C.V.; one-page summary of research objectives; one-page summary of teaching objectives; one-page summary of the unique qualities the candidate might contribute with reference to the Center for New Media's existing programs and faculty; website where recent publications and projects may be reviewed with one-page description of three most significant items on that website; list of up to three most relevant Berkeley departments for home appointment; names and full contact information of three potential ...


Originally posted on Raw by Rhizome

Pall Thayer at Pace Digital Gallery


"wassup, tYgEr_lil_E?"
Pall Thayer, solo exhibition at Pace Digital Gallery
Nov 15 - Dec 8, 2006

Nov 15: discussion with the artist and reception 2-4pm
Pace University
2nd floor, 163 William Street (between Beekman and Ann Streets)
New York, NY

"Wassup, tYgEr_lil_E?" is an examination of the impact of digital media on abstract art. The title references Woody Allen's film, "What's up, Tiger Lily?" (1966) from which it borrows a simple idea: dubbing a foreign movie's dialogue with completely unrelated text, in an attempt to alter the story. "Wassup, tYgEr_lil_E?" captures images from live video feeds and provides on-screen subtitles with text captured from live Internet chat sessions. Thayer made no attempt to match images to text. Computers have no conscious understanding of the subject material they are being made to appropriate. Therefore the result, being generated by automated computer processes, becomes an abstraction.

Pall Thayer (1968) is an Icelandic artist working with computers and the Internet. He graduated from the Icelandic College of Art and Crafts in Reykjavik, Iceland in 1999 with a background in mixed-media. His work has been exhibited widely at festivals and group shows such as Nordic Interactive in Copenhagen, Transmediale in Berlin, The Boston CyberArts Festival, Hipersonica/File in Sao Paulo and PixxelPoint in Slovenia. In 2004 he organized the Trans-Cultural Mapping: Iceland Inside and Out workshop in locative media for Lorna, The Icelandic Organization for Electronic Arts, of which he is an active member. He is currently pursuing his MFA at Concordia University in Montreal, Quebec.

details and directions and map


Originally posted on vertexlistblog by Rhizome

Ars Virtua Artist-in-Residence (AVAIR): Call for Proposals


Ars Virtua Artist-in-Residence (AVAIR): Call for Proposals Deadline November 21, 2006

Ars Virtua Gallery and New Media Center in Second Life is soliciting proposals for its artist-in-residence program. The deadline for submissions is November 21, 2006. Established and emerging artists will work within the 3d rendered environment of Second Life. Each 11-week residency will culminate in an exhibition and a community-based event. Residents will also receive a $400 stipend, training and mentorship.

Ars Virtua Artist-in-Residence (AVAIR) is an extended performance that examines what it means to reside in a place that has no physical location.

Ars Virtua presents artists with a radical alternative to "real life" galleries: 1) Since it does not physically exist artists are not limited by physics, material budgets, building codes or landlords. Their only constraints are social conventions and (malleable-extensible) software. 2) The gallery is accessible 24 hours a day to a potentially infinite number of people in every part of the world simultaneously. 3) Because of the ever evolving, flexible nature of Second Life the "audience" is a far less predictable variable than one might find in a Real Life gallery. Residents will be encouraged to explore, experiment with and challenge traditional conventions of art making and distribution, value and the art market, artist and audience, space and place.

Application Process: Artists are encouraged to log in to Second Life and create an avatar BEFORE applying. Download the application requirements here: Finalists will be contacted for an interview. Interviews will take place from November 28-30.

About Ars Virtua: Ars Virtua is a new media center and gallery located entirely in the synthetic world of Second Life. It is a new type of space that leverages the tension between 3D rendered game space and terrestrial reality, between simulated and simulation ...


Originally posted on Raw by

Real-Time Visualizations, VJ by Hearbeat: Jan Kremlacek + Processing


Image from Whizz, projected at a Romanian club by Jan Kremlacek and coded in Processing.

Last week, we saw how Flash and Processing code can create custom VJ and visualization tools. Custom code means custom results, and all sorts of dynamic new possibilities for visuals. Jan Kremlacek writes from the Czech Republic to share his own projects. He’s been using Processing to create interactive visuals for clubs, based on everything from sound to motion detection to heartbeat inputs.

Jan writes:All of these projects listen to audio in real time and try to interpret it [dynamics, story and swings]. Everything can be changed through my own setup, because of all of it is my own piece of code :)


Originally posted on Processing Blogs by Rhizome

Recent Member-Curated Exhibitions


Marisa Olson:

Hi. A number of interesting member-curated exhibits have recently been
organized and can be accessed here:

Sadly, most of these went up while our server was down and only one of
them was announced to the list, but I wanted to encourage you to check
them out.

We're always excited when new member-curated shows open. Please
consider organizing one of your own!



Originally posted on Raw by Marisa Olson



Sat 4th of November sees the opening of a week long program of installations, sonic interventions, video works, animations and digital music in London. Openlab3 will celebrate and engage in the aesthetics and politics of Free Open Source Software Culture. Expect to see �computers start to paint pictures on their own, expose their internal circuits [...]


Originally posted on by paul

Carlos Katastrofsky



Two New Works

REMOTE IMPRESSIONIST ART: Remote Impressionist Art consists of a webpage with coloured squares in the center. Like a framed picture these colourfields are intended to transfer one principle of impressionism into the digital age: the emphasis on light in its changing qualities. Connected to different webcams in remote parts of the world the colours of the fields are determined by them. The automatic reload every 10 seconds lets you see always newly generated impressionist artworks. This is another free piece, accessible for everyone connected to the net.

CUMPUTER: Where is the art in the process of generating artificial images? Is it the programming of the algorithm generating the picture? Is it the algorithm "at work"? Or is it the result of this work? Is art in this context defined by the artist's choice for one or more of the results or by the interaction between the artist and the machine? All those conditions are possibilites to define the art in generated pictures. Are they art? [from netbehaviour]


Originally posted on networked_performance by jo

New Video: Every Building On The Sunset Strip (Internet Re-Creation)


Every Building Sunset Strip Web

For this video slide show, I attempted to recreate Ed Ruscha's Every Building on the Sunset Strip site unseen, by piecing together information and images from Amazon's (suddenly and mysteriously defunct) A9 mapping website.

(I showed this a month ago at Rhizome's awesome event "They Heart a Computer" with a soundtrack of midi Hotel California - this version, however, is silent).

Every Building On The Sunset Strip (Internet Re-Creation) (31MB qt)


Originally posted on The Copyright Convention by Rhizome

Streetsong (Beatup Remix)


"Streetsong (Beat Up Remix)" [6.1 MB .mp3]

John Parker's mix of my Mac SE tune "Streetsong," and my mix of his mix. Incorporating a famous drum lock groove.

The chart doesn't really apply to this song, because there's very little Mac SE in it. But it describes the working method for most of the other tunes we're doing.


Is this the newest Net Art Diagram? ~mo

Originally posted on Tom Moody by tom moody

Electronic Literature Collection, Vol 1


Jim Andrews: The Electronic Literature Collection, Volume One

The Electronic Literature Organization recently released the Electronic Literature Collection, Volume One. The Collection, edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg, and Stephanie Strickland, is an anthology of 60 eclectic works of electronic literature, published simultaneously on CD-ROM and on the web at It is being published by the Electronic Literature Organization under a Creative Commons License (Attribution-NonCommercial-NoDerivs 2.5), so readers are free to copy and share any of the works included, or for instance to install the collection on every computer in a school’s computer lab, without paying any licensing fees. The Collection will be free for individuals.

The 60 works included in the Electronic Literature Collection present a broad overview of the field of electronic literature, including selected works in new media forms such as hypertext fiction, kinetic poetry, generative and combinatory forms, network writing, codework, 3D, and narrative animations. Contributors include authors and artists from Brazil, the USA, Canada, the UK, France, Germany, and Australia. Each work is framed with brief editorial and author descriptions and tagged with descriptive keywords. The CD-ROM of the Collection runs on both Macintosh and Windows platforms and is published in a case appropriate for library processing, marking, and distribution. Free copies of the CD-ROM can be requested from The Electronic Literature Organization.


Read through for full details on collection, and participating writers and artists..

Originally posted on Raw by Jim Andrews