Posts for 2011

Call for Applications

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Art in General is seeking New York-based artists who have completed school for their Open Call program. More information below. Deadline is February 15, 2011.

Founded in 1981, Art in General facilitates the production and exhibition of new work and aims to provide artists with an optimal support structure and venue in which to realize and present their work, whether this format entails an exhibition, event, performance, location-based work in the public domain, or the very platforms of discursive space (i.e. publication, website, etc.). There are a variety of programs that support this mission, including solo commissioned exhibitions and projects, residencies, a site-specific elevator program, and off-site projects.

The Open Call is an opportunity for artists to present their current practice to a group of arts professionals, curators, critics, and fellow artists. The selection process takes into account the many and diverse artistic practices that artists develop and use, with the purpose of presenting exhibitions that respond to different ways of being, experiencing, and producing in the world today.

This year, on the occasion of our 30th Anniversary, which launches in September 2011, we will be reviewing applications to commission artists for a variety of special projects, as well as selecting artists for the following year of programs (September 2012-July 2013). In contrast to previous years, this year we ask artists to present a portfolio of their work for review, rather than a proposal for a specific project or exhibition. Specifically, artists are asked to submit a 500-word statement, a resume, and eight digital samples of recent artwork (images, video or audio). As with previous Art in General Open Call applications, users create a profile and may save their work to review and edit until the deadline.

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Rhizome Community Campaign Ends on 1/21/11

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Hi Readers!

We have been pretty overwhelmed with support for our annual Community Campaign. We're really grateful, because we could not do without the support of our members. Our Campaign ends on 1/21/11, which is just over a week away, and we are so close to achieving our goal of $35,000. If you like Rhizome, and what we do and want to see us continue, please consider supporting us today. The amount of $35,000 is not arbitrary; it directly supports our Commissions Program (which will begin in February), this blog, and the efforts to run all of our other programs.

Arts organizations survive on the support of the publics they serve. Now is the time to become a member of Rhizome (for only $25/ a year). Our membership program offers a range of benefits, which will be enhanced when our new site launches. It's a worthwhile range of benefits, and your support will keep our programs running.

Thanks for your attention and involvement with Rhizome!

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The Postmedia Perspective

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The following excerpt comes from the final chapter of my book Media, New Media, Postmedia, recently published in Italian by Postmediabooks, who kindly gave Rhizome permission to republish it in English. The book is an attempt to analyze the current positioning of so-called “New Media Art” in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history.

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Blah Blah Blah from F.A.T. Lab

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Another fun participatory project by F.A.T. Lab, Blah Blah Blah. Directions are simple: 1. Go to 3fram.es 2. BLAH BLAH BLAH 3. Post your URL to get added (or tweet @jamiew)




More Blah Blah Blahs here.

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HTML5 and Actionscript experiments by Mr.doob

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Water - 01

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Anaglyph Render

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Cluttered Desk

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Zoom blur - 03

For more, visit Mr.doob.

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Exposé (2010) - Twain Team

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Mark Essen's Games on Adult Swim are Totally Radical

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Screenshot of Pipedreamz

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Screenshot of Turbo Turbo Turbo

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Screenshot of Cream Wolf

Game designer and artist Mark Essen started producing games for Adult Swim, and boy, are they cool. Take Pipedreamz, which features a hungry ghost who must secretly binge on meat in order to advance to the next level, which involves surfing for condiments like ketchup and relish. Or the comically masculine Turbo Turbo Turbo, where you smash into cars, win bar fights, and drink to gain points. Or Cream Wolf, where you play an ice cream truck driver/werewolf who must collect cones, feed kids and avoid cops. Every so often the game slips into a nighttime world, where the aim is to lure customers back to your lair with dreamy music. The games are a testament to Essen's genius and unique sense of humor, so check them out!

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Required Reading

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The thorn lodged in your swollen thumb is matter; the thought lodged in your mind is not. Yet that discrepancy can be troubled by any admission that thoughts are the outcome of, say, electrochemical impulses, or even (to borrow a medium-inspired tripe) the effect of synapses within a neural network. No matter how immaterial you understand your thoughts to be, you can't help but grant that they have some neurophysiological ground. Which is simply to say that the process of thinking has a materiality of its own.

This hardly means that you should abandon the original distinction (phenomenological or epistemological or ontological) between thoughts and thorns. Rather, it's a way to begin recognizing how, both in ordinary language and more specialized language, materiality can refer to different dimensions of experience, or dimensions beyond (or below) what we generally consider experience to be. Like many concepts, materiality may seem to make the most sense when it is opposed to another term: the material serves as a commonsensical antithesis to, for instance, the spiritual, the abstract, the phenomenal, the virtual, and the formal, not to mention the immaterial. And yet materiality has a specificity that differentiates it from its superficial cognates, such as physicality, reality, or concreteness. When you admire the materiality of a sweater, you're acknowledging something about its look and feel, not simply its existence as a physical object. When you complain of another sweater that it lacks this materiality, you're not asserting its immateriality. And if, after machine-washing the first sweater, you allow that you have witlessly destroyed its materiality, you mean that you've altered some of its physical qualities, not that you have eradicated the object tout court. Nonetheless, the obfuscation of an object can be the requisite result of gaining greater access ...

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Arduino: The Documentary (2010) - Rodrigo Calvo Eguren and Raúl Díez Alaejos

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Originally via mediateletipos

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Ch-ch-changes

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Some Rhizome staff news:

John Michael Boling stepped down from his position as Associate Director this past December to pursue the greener pastures of freelance. John Michael (popularly known as JMB) started at Rhizome over 2 years ago as a blogger, and soon went on to assume greater responsibilities, managing our membership program, heading community projects like 50K and Tiny Sketch, designing websites for the organization like Seven on Seven, curating projects such as Domain at Zero1, among many other initiatives--all executed with his singular wit and sparkling ingenuity. In his time here, John Michael was truly devoted to Rhizome, and all the artists with whom he worked. We are incredibly grateful to him, and wish him the best of luck in his future endeavors!

We've hired Zoë Salditch as Collections and Membership Manager, she begins this month. In this new role, Zoe will work with participating artists in our revamped ArtBase, and set various policies and procedures related to preservation. She will also be the liaison for all member affairs, individual and organizational. Zoe came to Rhizome via a Museum Studies program at Tufts University. She was a part-time volunteer before we hired her, and she impressed us all with her extensive knowledge of archival systems and contemporary art, as well as her zest for administration and systems management of all kinds. Welcome Zoë!

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