Mark Tribe
Since 2004
Works in New York, New York United States of America

Mark Tribe is an artist whose work explores the intersection of media technology and politics. His photographs, installations, videos, and performances are exhibited widely, including recent solo projects at Momenta Art in New York, the San Diego Museum of Art, G-MK in Zagreb, and Los Angeles Contemporary Exhibitions. Tribe is the author of two books, The Port Huron Project: Reenactments of New Left Protest Speeches (Charta, 2010) and New Media Art (Taschen, 2006), and numerous articles. He is Chair of the MFA Fine Arts Department at School of Visual Arts in New York City. In 1996, Tribe founded Rhizome, an organization that supports the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.
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Call for Graduate Applications: Computing Culture Group @ MIT Media Lab

Thu Nov 17, 2005 15:09

Call for Graduate Applications

Computing Culture Group
MIT Media Lab

The Computing Culture Group at the MIT Media Lab is an Art and Technology research group focused on embedding poetic and political considerations in the development of new technologies. Research projects have ranged from technologies to confront a changing U.S. Government (OpenGIA, txtMob) and right wing anti-immigrant fascist groups (Freedom Flies), to complications of gender and control in domestic appliances (Blendie), and techniques for creating electronic instruments in a post-oil apocalypse (Synth From Nothin'). Our mission is to refigure what engineering means, how it happens, and what it produces. Drawing on fields from the humanities, like Science and Technology Studies, we create new technologies that function as instances of material power, but also as exemplars of what future goals engineering should pursue. Our page may be found at [].

We are currently accepting applications to the Master’s in Media Arts and Sciences graduate program. The MAS is a two-year program, during which a student spends half their time on course work and the other half on their directed art research. Tuition is fully funded, and students receive a significant stipend to live on. The program and funding are open to students of any nationality.

Students may be trained in either art or science and/or engineering, but should show crossover. For instance, an art student should be an accomplished programmer, have machining skills, or be able to design and fabricate electronics. An engineering students should have done several art projects, worked with a professional artist, or shown their ability to author radical or unexpected technologies. More information on the MAS program may be found at [].

Information about the process is available at [] and application forms may be obtained from the MIT Graduate Admissions office []. Applicants must indicate on the application form (question #2) the department of Media Arts and Sciences -- we are a separate program and not part of another department at MIT. "Area of research interest" should indicate Chris Csikszentmihalyi (Computing Culture) as well as two other research groups. Application or admissions questions may be directed to Media Arts & Sciences (e-mail:, tel: (+1 617 253-5114).

Completed applications must be submitted by December 15th for the following Fall semester. The principal components of an application are: academic transcript(s), the applicant's statement of objectives, a portfolio, and three letters of recommendation. GREs are not required. International applicants are required to submit an official copy of their TOEFL scores to MIT. The MIT institution code for TOEFL scores is 3514. The Media Lab does not have its own department number. Scores should be sent to MIT Graduate Admissions, department code 99. The Program in Media, Arts & Sciences requires a minimum TOEFL score of 600 (paper-based) or 250 (computer-based).

Computing Culture also requires the submission of a portfolio of relevant work. Portfolios should be web-based, but DVD, CD, and other formats are accepted. Any additional materials should be sent to the MAS program, not directly to Chris Csikszentmihalyi.


*Anyone Can Edit*: Understanding the Produser, a lecture by Axel Bruns

Wed Oct 12, 2005 00:00 - Fri Oct 07, 2005

Please Fwd/Post:

*Anyone Can Edit*: Understanding the Produser

Dr. Axel Bruns
Creative Industries Faculty, Queensland University of Technology

Wednesday, Oct. 12th, 5-7pm

135 Thayer Street, Room 102
Brown University
Providence, Rhode Island

Recent decades have seen the dual trend of growing digitization of content, and of increasing availability of sophisticated tools for creating, manipulating, publishing, and disseminating that content. Advertising campaigns openly encourage users to ’Rip. Mix. Burn.’ and to share the fruits of their individual or collaborative efforts with the rest of the world. The Internet has smashed the distribution bottleneck of older media, and the dominance of the traditional producer > publisher > distributor value chain has weakened. Marshall McLuhan’s dictum ’everyone’s a publisher’ is on the verge of becoming a reality * and more to the point, as the Wikipedia proudly proclaims, ’anyone can edit.’

The effect of these changes is not simply more (and more informed) consumption, however * we are not turning into Alvin Toffler’s ’prosumers’: consumers with an almost professional level of knowledge about what they consume, but consumers nonetheless. Instead, the networked and hyper-mediated persona that emerges is a very different beast: users are becoming active producers of content in a variety of open and collaborative envi-ronments. Whether it is as members of the distributed development and testing community for open source software projects, as authors, editors, and fact-checkers for one of the multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open news publications ranging from South Korean citizen news site OhmyNews to tech-nerd haven Slashdot, or as global explorers and annotators for Google Earth, they are no longer producers or consumers, publishers or audiences, but both at the same time. They are not prosumers, but user-producers: produsers.

While born perhaps out of a collaborative, open source ideology, produsing is now increasingly recognized as both a challenge and an opportunity by business and governments alike. So who are these produsers and how will they fare in the light of increasing business and government involvement? As economic interests begin to explore ways to generate revenue from produsage, will they undermine its collaborative foundations, and will they reintroduce a regime of stricter intellectual property licensing? Or can the grassroots movement of produsers effect lasting change in our engagement with content, establishing a solid foothold for creative commons and other alternative IP licensing systems, and developing an equitable approach to relationships between the produser community and commercial partners?

Presented by the Department of Modern Culture and Media, Brown University.

For more information, please contact Mark Tribe


vuk's email

I'm trying to get in touch with Vuk Cosic. Does anyone know his current email address? The one on his web site <> is bouncing.


Conference on Neuroaesthetics at Goldsmiths

Fri May 20, 2005 00:00 - Tue Apr 19, 2005

For Immediate Release:


Organized by Warren Neidich, ACE-AHRB Fellow, Goldsmiths College with assistance from Charlie Gere, Institute for Cultural Research, Lancaster University.


Art is increasingly bound up with knowledge production and information distribution. As of this trend, artists have begun to investigate the brain and Neuroaesthetics is a means by which they are accomplishing it.
Neuroaesthetics is a dynamic process through which the questions of neuroscience are made “ready-mades”. Concepts such as sensation, perception, memory and recently networks, plasticity and sampling operate within philosophical, cultural, sociological, psychological,historical and economic milieus and are concurrently inciting artistic experimentation.
Neuroaesthetics describes new conditions for the production of a new population of objects, object relations and non-objects which in the end can be differentially sampled by the plastic brain providing a means by which culture may play a role in sculpting neural networks. As such the importance of art in the larger bio-political contexts should not be over looked.

Goldsmiths College and the Arts Council of England have assembled a distinguished group of artists, curators, scientists and philosophers to explore the following topics: 1. How curators explore notions of the Neuro-Sensorial-Cognitive. 2. How new optical technologies create altered subjectivity. 3. The meaning of the term “The Cultured Brain”. 4. The brain as the new site of bio-political interactions. 5. How drugs and altered states of consciousness influenced Minimalism and Post-Minimalism.
6. How notions of Brain influence Architectural forms and processes 7. Art praxis and artist Interventions in the late twentieth Century.

Speakers will include: John Armleder, artist, Geneva; Armen Avansien, Researcher, Freie University Berlin; Paul Bach-y-Rita M.D, Professor, University of Wisconsin, Madison; Lionel Bovier, Publisher, JRP Ringier, Zurich; Jules Davidoff, Professor, Goldsmiths College; Diedrich Diederichsen, Contributor, Texte zur Kunst; Olafur Eliasson, Artist, Berlin; Kodwo Eshun, Lecturer, Goldsmiths College London; Margarita Gluzberg artist, London; John Gruzelier, Professor, School of Medicine, Imperial College London; Deborah Hauptmann, Associate Professor, Technical University Delft, Holland; Joseph Kosuth, Artist, New York/Rome; Scott Lash, Director, Centre for Cultural Studies, Goldsmiths College; Bo Lotto, Lecturer, University College London; Brian Massumi, Professor, University de Montreal Montreal; Johannes Menzel, Senior Publishing Editor Neuroscience, Elsevier Press; Paul Miller a.k.a. D.J. Spooky, Artist, New York City; Isabelle Moffat, Independent Critic, London; Marcos Novak, Professor, University of California, Santa Barbara; John Onians, Director of the World Art, University of East Anglia; Andrew Patrizio, Professor, Edinburgh College of Art Edinburgh; Philippe Rahm, Architect, Principal Decosterd & Rahm Associates, Lauzanne; Andreas Roepstorff, Professor, University of Aarhus, Denmark; Israel Rosenfeld, Professor, City University of New York, New York City; Barbara Maria Stafford, Professor, University of Chicago, Chicago; Lucy Steeds, Centre for Cultural Studies, Goldsmiths College; Chloe Vaitsou, Independent Curator, Low Fi Collective London; Martina Wicklein, Research Fellow, Institute of Ophthalmology at University College London; Charles Wolfe, Boston University and Co-editor Multitudes, Paris.

To register please contact Theresa Mikuria, conference administrator at Information can also be found at or Registration fee:25 .


Lecture/demonstration by Cory Arcangel

Thu Dec 16, 2004 00:00 - Fri Dec 10, 2004


Please join me for a lecture/demonstration by Cory Arcangel at 6:00 PM on Thursday, December 2, in the LeRoy Neiman Gallery in Dodge Hall on Columbia University's Morningside Campus at 116th and Broadway (see map at

Cory Arcangel is a computer artist whose work has been exhibited in the Whitney Biennial, the American Museum of the Moving Image, Eyebeam, Foxy Productions, Tate Britain, and Team Gallery. He is a founding member of BEIGE, a group of computer programmers and enthusiasts who recycle obsolete computers and video game systems to make art and music, and a member of RSG (Radical Software Group). You can find Cory's work online at

In this presentation, "Page Scraping, Disassembly, and Other Assorted Techniques for Making Art from Other People's Code," Cory will demonstrate his work and discuss its relationship to technology and media culture.

Cory writes: "My work is inspired by and functions as a means to understand my own media saturated existence. Since the present and future is filtered through the past, my work with digital media technology is directly informed by my time spent with television, music, video games and early Macintosh computers. This interest focused and crystallized during my time spent as a classical guitar major and TAMARA student at Oberlin Conservatory of Music and College. I used the knowledge, discipline and dedication acquired in my studies of classical music and applied them to the similarly structured environment of working with computer code. This lecture will focus on my tendency as an artist to work fluidly between sampled images, music, and code."

This is the fifth lecture in a series on Open Source Culture. For more information about the series, and streaming video of previous lectures, please visit

The Art & Technology Lectures are organized by the Digital Media Center and sponsored by the Computer Music Center. Streaming video of the lectures is produced in partnership with the Columbia Center for New Media Teaching and Learning.

Sincerely yours,

Mark Tribe
Director of Art & Technology
Columbia University School of the Arts