Posts for 2012

This Week on Rhizome Community Boards: I'm Here and There, Jobs, Opportunities, and More


Recently added to the Artbase: I'm Here and There by Jonas Lund

Through a custom browser extension, Lund has opened his personal web browsing to a level of full transparency and public scrutiny. At the URL of the website the artist is currently browsing is published in real time. When the artist visits a new site the work automatically refreshes – providing a mirror to the artist's life and browser 



Call for Submissions:





The Pirate Bay just announced a new file type available on the site: "physibles," digital files for 3D printing. It expects in 20 years you'll be downloading sneakers. In the meantime there are lawn darts and plastic toys:

We're always trying to foresee the future a bit here at TPB. One of the things that we really know is that we as a society will always share. Digital communication has made that a lot easier and will continue to do so. And after the internets evolutionized data to go from analog to digital, it's time for the next step.

Today most data is born digitally. It's not about the transition from analog to digital anymore. We don't talk about how to rip anything without losing quality since we make perfect 1 to 1 digital copies of things. Music, movies, books, all come from the digital sphere. But we're physical people and we need objects to touch sometimes as well!

We believe that the next step in copying will be made from digital form into physical form. It will be physical objects. Or as we decided to call them: Physibles. Data objects that are able (and feasible) to become physical. We believe that things like three dimensional printersscanners and such are just the first step. We believe that in the nearby future you will print your spare sparts for your vehicles. You will download your sneakers within 20 years.

The benefit to society is huge. No more shipping huge amount of products around the world. No more shipping the broken products back. No more child labour. We'll be able to print food for hungry people. We'll be able to share not only a recipe, but the full meal. We'll be able ...


Sexts from Patricia Lockwood


Image by altffour

Editor’s Note: “"Tricia u MUST join Twitter to network with Poets" *tricia joins twitter, falls in with a million Comedy Fuckers, forgets what poem even is*” — @TriciaLockwood, September 2, 2011

Patricia Lockwood is an actual poet—published in the New Yorker, even!—who has inappropriately touched the imaginations of a thousand followers with her “sexts.” Born around the time of the Anthony Weiner scandal, the genre congeals gobs of glowing poetry from networked life’s greasy stew of blunt spam copy, collaged pop culture, and constant little spells of titillation. This is a selection of Lockwood’s hottest sexts.



A ghost teasingly takes off his sheet. Underneath he is so sexy that everyone screams out loud

Do you smell like a mousetrap? I am a cruel woman and I simply adore the smell of mousetraps

A Teenage Turtle takes extreme pleasure from sticking his head in and out of his shell very slowly while a rat watches

Midnight. My wife and children are asleep. Breathlessly I begin to search for my favorite kind of porn: "Women Standing in Big Jeans"


These jeansluts stand up really straight with their tits out, holding the jeans as far away from their bodies as possible! SO RAW

This girl wants a denim vest, a denim scrunchie, and denim Keds -- are YOU the sicko who's going to give them to her

You are miniature, and I put you in the bell of a saxophone and play a long soulful B-flat

I am Everest and I JO while a 100-year-old grampa tries to climb me. At the moment he reaches my peak I produce a thunderous rockslide...



Artists Respond to W.A.G.E. Open Forum with Hans Abbing


Photo by John Powers

Earlier this month, Dutch artist/economist Hans Abbing, author of Why Are Artists Poor: The Exceptional Economy of the Arts, lectured at Artists Space, the first of a series of open forums organized by W.A.G.E. Artists John Powersand William Powhida attended the event. I asked over email for their thoughts on the talk -JM ...


Book Review: Programmed Visions: Software and Memory


ENIAC programmers, late 1940s. (U.S. military photo, Redstone Arsenal Archives, Huntsville, Alabama), from Programmed Visions by Wendy Hui Kyong Chun.

After “getting fit” and whatever else people typically declare to be their new year’s resolutions, this year’s most popular goal is surprisingly nerdy: learning to code. Within the first week of 2012, over 250,000 people, including New York’s mayor Michael Bloomberg, had signed up for weekly interactive programming lessons on a site called Code Year. The website promises to put its users “on the path to building great websites, games, and apps.” But as New Yorker web editor Blake Eskin writes, “The Code Year campaign also taps into deeper feelings of inadequacy... If you can code, the implicit promise is that you will not be wiped out by the enormous waves of digital change sweeping through our economy and society.” 

If the entrepreneurs behind Code Year (and the masses of users they’ve signed up for lessons) are all hoping to ride the wave of digital change, Wendy Hui Kyong Chun, a professor of Modern Culture and Media at Brown University, is the academic trying to pause for a moment to take stock of the present situation and see where software is actually headed. All the frenzy about apps and “the cloud,” Chun argues, is just another turn in the “cycles of obsolescence and renewal” that define new media. The real change, which Chun lays out in her book Programmed Visions: Software and Memory, is that “programmability,” the logic of computers, has come to reach beyond screens into both the systems of government and economics and the metaphors we use to make sense of the world ...


Artist Profile: Huong Ngo


 Huong Ngo is part of Fantastic Futures, a 2011 Rhizome Commissions winner for their proposal, Fantastic Futures

Acting the Words is Enacting the World, 2011 more at Enacting the Words Photo: Dwayne Dixon

Your Rhizome commission is a continuation of the Fantastic Futures project (which already includes recordings of birds in Baghdad and someone making tea in Brooklyn). It seems to be another in a continuing series of projects exploring contemporary education practices and ways of learning like Secret School and "How To Do Things With Words." How do you see this project fitting into your larger educational practice? What sort of transformations do you hope to see in education that could result from a project like Fantastic Futures?

Yes, it’s continuing a collaboration with a group of students in the US (in particular at Parsons The New School for Design) and at the University of Baghdad, that began with And Longing is No Longer Sleeps (the project that we did for the exhibit “How to Do Things With Words”), and further develops some of the collaborative processes from Secret School (a curatorial and discursive project about pedagogy), Acting the Words is Enacting the World, a project with artist Hong-An Truong and a group of young folks completed this past summer, and generally the strategies and techniques that I use in my classes.

Our goals for Fantastic Futures are fairly modest: we aim towards facilitating a diversity of exchanges (experiential, social, political, etc), advocating for a free and open cultural commons, leaving a gesture that serves as a collective protest against past and future violence. Nevertheless, I always secretly hope that something from our collective process is transformative for all involved.

In an interview for the Walker Art Center, you talk about preferring to keeping these education oriented ...


Karen Archey on a Panel with Hans Ulrich Obrist at DLD12


Rhizome editor-at-large Karen Archey is speaking at DLD (Digital-Life-Design) in Munich Jan 22-24. Moderated by Hans Ulrich Obrist, she will be part of the Saturday panel "Ways Beyond the Internet." Artists Oliver Laric, Cory Arcangel, and Rafaël Rozendaal are also presenting in addition to a number of innovators in art and technology like Yoko Ono, Sheryl Sandberg, David Karp, and Chris Poole.


Terence Gower’s New Utopias


Still from The Mothership Connection, 1974.

Terence Gower’s New Utopias is, as Bomb magazine describes, a lecture "filmed in the style of a 1950s Walt Disney documentary. Among the utopias under analysis are Parliament/Funkadelic’s 1974Mothership Connection tour in which George Clinton proposes to improve the world by bringing us The Funk from outer space; The Rocky Horror Picture Show, where a society promotes uninhibited sexual behavior; and the world of Jacques Demy’s Les Demoiselles de Rochefort, an aesthetic utopia of beautiful artists who are perpetually falling in love." Pedro Reyes interviews him for the magazine, which also includes a clip from the film.

Pedro Reyes I got so excited when I saw New Utopias because it’s not stuck in nostalgia; it’s a prognosis, a promise, an invitation to reimagine the world. The key line in the video is the last sentence: “I’m curious to see what new visions of utopia will replace these.” I’d like to ask you how the three utopias in the video—the funk, the meta-sexual, and the cheerful musical utopia—tap into the viewers’ desires. Desire is a driving force for change, as Augusto Boal wrote. Without desire, you focus on the problem; with desire, on the solution. You have to desire the change you want to see. That’s the intoxication of utopia.

Terence Gower Exactly. New Utopias is about the attraction of ideals, the desire to move toward them. The three utopias I feature are about pleasure. Desire serves two purposes here, to trigger progress and change (by enacting a utopian response) and to entertain (as a catalyst for the viewer to enter the work)—hence music, sex, and architecture. I wanted to feature the most diverse and unlikely examples of ideal societies, partly ...


Rhizome Joins Jan 18 Internet Blackout to Raise Awareness of PIPA/SOPA


Rhizome is joining sites like Reddit, Internet Archive, Wikipedia, and others tomorrow in blacking out our site for 24 hours to protest and raise awareness of PIPA and SOPA. We believe in an open internet and recommend other organizations consider participating in this important action.

For more information, please check out EFF's coverage of this and other "blacklist" creating legislation. Updates from the blog Tech Dirt are also essential reading. Further information and templates to join in the internet blackout are located on the site American Censorship.


Artist Profile: Jason Eppink


Astoria Scum River Bridge, 2010.

You define yourself as a "dude who is just trying to make things a little better." Each one of your works tries to improve the world, one funny step at a time. But they also include observations into the way in which society—and especially media and advertising—affect the way we see things. How do your works try to tamper with those viewpoints or comment on them? And can you talk a little about some key terms like subversiveness, pranks, humor, and dialogue in relation to this?

I'm interested in creating provocations that disrupt systems for good and/or fun. In particular, I'm hyper aware of the consumption narratives that shape our daily lives. Advertising literally works by telling you that you're not good enough, and all of media is shaped—directly or indirectly—around selling you stories framed by this intentionally soul-crushing lie so you'll consume more.

So a lot of what I do is prototype critical "solutions" for systems like these, exploring new answers outside of the usual channels. I've rarely seen real, important change come from inside a system; the system exists, first and foremost, to perpetuate itself. And many of the best solutions threaten the status quo of the system, so they're never realized because they will change how the system itself works.

I have the luxury of being outside those systems, so I can propose crazy, radical, preposterous, silly ideas. And not just propose them, but execute them and see what happens. Of course sometimes these interventions will be interpreted as threats, but that's how you move a conversation forward.

And, well, solutions are better when they're funny or clever or playful. Most people like jokes, in my experience.

You reflect ...