Rhizome Discuss RSS

The Ultimate 19th Century multimedia experience: The moving panorama

Gloria Sutton — Fri, 24 May 2013 16:11:45 -0500

Erkki Huhtamo just published Illusions in Motion (MIT Press, 2013), a well-designed and captivating history of
the moving panorama. Erkki's been researching this topic for the past ten years and the resulting volume is packed with
incredible details and connections between the Victorian era stereoscope craze, 19th century "Panoramania" and more contemporary forms of media spectacle culture.

http://mitpress.mit.edu/books/illusions-motion

Erkki recently posted a short Q&A in which he talks about the start of this project -- how his initial skepticism about 1990s virtual reality hoopla led him to think about these earlier phenomena.

http://mitpress.mit.edu/blog/qa-erkki-huhtamo

Glitch As Symbolic Form

marc garrett — Thu, 23 May 2013 11:04:12 -0500

Glitch As Symbolic Form

Image by David Szauder (http://pixelnoizz.wordpress.com)

Rob Myers takes us on a short historical journey of Glitch as an aesthetic signifier of technological presence that dates back at least to the 1980s. Referencing the Vaught-Kampf machine in Blade Runner (1982), the titular character in Max Headroom (1985). And how the use of Glitch as an artistic aesthetic in itself has accelerated with the democratisation of new technologies.

http://www.furtherfield.org/features/articles/glitch-symbolic-form

Jack Goldstein, GIF Artist?

ed halter — Wed, 22 May 2013 12:50:03 -0500

one of my fave shows I've ever worked on :)

Call for Art - Theme “CityScapes” Online Art Competition

John R Math — Tue, 21 May 2013 11:40:07 -0500

Light Space & Time Online Art Gallery announces an art call for the gallery’s 3rd Annual “CityScapes” Juried Art Competition for the month of June 2013. The gallery invites all 2D artists (including photography) from around the world to make online submissions for inclusion in to the Gallery’s July 2013 online group art exhibition.

Light Space & Time encourages entries from artists regardless of where they reside and regardless of their experience or education in the art field to send us your best interpretation of the theme “CityScapes" by submitting your best interpretation of the theme “CityScapes". Cityscape subjects would be considered to be any 2D art depicting cities, towns, urban scenes and any related metropolitan subjects for this art competition. The deadline to apply to this art competition is June 26, 2013.

Winners of the "CityScapes" Art Exhibition will receive extensive worldwide publicity in the form of email marketing, 70+ press release announcements, 75+ event announcement posts, extensive social media marketing and distribution, in order to make the art world aware of the art exhibition and in particular, the artist’s accomplishments. There will also be links back to the artist’s website included as part of this award package.

Interested artists should provide to us with your best cityscape art now or before the deadline. Apply Online Here: http://www.lightspacetime.com

Jack Goldstein, GIF Artist?

Michael Connor — Mon, 20 May 2013 14:10:41 -0500

Sounds like a great event..

Jack Goldstein, GIF Artist?

MTAA — Mon, 20 May 2013 13:59:51 -0500

FWIW, Ed Halter presented Goldstein's loops at "The Wheel of The Devil (aka the loop lecture)" at MTAA's Over The Opening back in 2009. Announced exactly 4 years ago today :-)

http://www.tinjail.com/over_the_opening/shows/the-wheel-of-the-devil-aka-the-loop-lecture

~and~

http://www.tinjail.com/over_the_opening/photos/photos-from-the-loop-lecture

The Challenge of the Falls

Michelle Sujai — Sun, 19 May 2013 22:28:18 -0500

Tumblr Interactive Viewers Guide ask questions & allows witnesses to become a part of the video experience. Will U vote for us so we can give it a Tumblr?

The Impulse of the Geocities Archive: One Terabyte Of Kilobyte Age.

marc garrett — Fri, 17 May 2013 10:37:48 -0500

The Impulse of the Geocities Archive: One Terabyte Of Kilobyte Age.

Daniel Rourke visits the Photographers' Gallery in central London and reviews their latest exhibit One Terabyte of Kilobyte Age by artists Olia Lialina and Dragan Espenschied, on THE WALL. Over an eight week period (18 April - 17 June 2013) they feature a non-stop stream of video captures of what they term as the lost city and its archival ruins. A documentation of a past visual culture of the web and the creativity of its users with new pages changing every 5 minutes. The project provides a glimpse into web publishing when users were in charge of design and narration in contrast to the automated templates of Facebook, YouTube and Flickr.

http://www.furtherfield.org/features/impulse-geocities-archive-one-terabyte-kilobyte-age

Moscow-born artist Olia Lialina has, for the past decade, produced many influential works of network-based art: My Boyfriend Came Back from the War (1996), Agatha Appears (1997), First Real Net Art Gallery (1998), and Last Real Net Art Museum (2000). Currently she is a professor at Merz Akademie in Germany. Lialina writes on digital culture, net art and web vernacular. http://art.teleportacia.org/

Dragan Espenschied, born in Germany. His music and online art has received international acclaim. He co-founded the home computer band Bodenständig 2000 that toured and released records throughout Europe and the USA. He has also won the Webby Awards People's Voice NET ART (2004), and the ZKM International Media Art Award (2001). http://1x-upon.com/~despens/

Daniel Rourke is undertaking a PhD in Art (and writing) Practice at Goldsmiths, University of London. My research project explores digital autonomy, (post)human error and glitches in Things. As well as writing for Furtherfield, he recently started writing for Rhizome.org. He is also a visiting lecturer in Writing Contexts for the History of Art, Design and Film (BA) at Kingston University, London. http://machinemachine.net/

McKenzie Wark presents his latest book The Spectacle of Disintegration

marc garrett — Thu, 16 May 2013 12:03:16 -0500

McKenzie Wark presents his latest book The Spectacle of Disintegration

Reason #732 to Learn How to Speak French: The Guy Debord Cineaste streams

BOOK A PLACE for May 25th
This event has limited availability, to book a place please contact: ale@furtherfield.org

http://www.furtherfield.org/programmes/event/authors-talk-spectacle-disintegration

McKenzie Wark, author of The Beach Beneath the Street, will give a talk at Furtherfield Gallery (London) about his latest book The Spectacle of Disintegration - Situationist Passages Out of the 20th Century.

Writer and academic Dr Richard Barbrook will give a short introduction to Wark's work and to Situationism and its relevance to contemporary culture.

Following his acclaimed history of the SI, The Beach Beneath the Street, McKenzie Wark continues the story after the failures of May 1968. Charting its post-sixties legacy and putting the late work of the Situationists in a broader, deeper context, Wark locates their contemporary relevance, as digital culture opens up new possibilities of experience and new terrains of struggle.

The Spectacle of Disintegration takes the reader through Guy Debord’s late films and his surprising work as a game designer, the political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Viénet’s earthy situationist cinema, Gianfranco Sanguinetti’s pranking of the Italian ruling class, and Alice Becker-Ho’s account of the anonymous language of the Romany.

A442Hz

Sameh Al Tawil — Thu, 16 May 2013 05:23:52 -0500

Songs of the revolution" article by Rania Gaafar 2013

WANDER WEB TV - New Videos

Tamara LAI — Wed, 15 May 2013 02:28:54 -0500

2 new videos :

Andrej Tisma (SERBIA)
- Taking Away Privacy

Brayant Saxam, Mexico City (MEX)
- ZAPPING2

WANDER WEB TV presents video art & experimental, reports on the theme of wandering: voyages, trips, strolls ... various crossings and meetings ...

WITH :
Annie Abrahams & Jan de Weille (FR), Franck Ancel (FR), Codrut Alexoaia (RO), Atomic Elroy (CAL, USA), Mac Dunlop (UK), Jean-Pierre Giovanelli (FR), Pol Guezennec (FR), Gruppo Sinestetico (IT), Henry Gwiazda (USA), Prosper Hillairet et Michel Drouin (FR), Silvio De Gracia (ARG), Maria Korporal (IT), Tamara Lai (BE), Marco Mendeni (DE), Jean-Michel Rolland (FR), Laurent Saïet (FR), Brayant Saxam (MEX), Anthony Stephenson (NJ, USA), Thierry Théolier (FR), Anderj Tisma (SERB), Tina Willgren (SWE), Muriel Zanardi (BE)

...in progress

...if you wish to participate, please contact me (no deadline)...

LINK:
http://tamaralai01.wix.com/wander

A Life in AdWords, Algorithms & Data Exhaust.

marc garrett — Tue, 14 May 2013 11:58:30 -0500

A Life in AdWords, Algorithms & Data Exhaust.

An interview with Erica Scourti.

By Marc Garrett.

http://www.furtherfield.org/features/interviews/life-adwords-algorithms-data-exhaust-interview-erica-scourti

Millions are blissfully unaware of the technological forces at work behind the scenes when we use social network platforms, mobile phones and search engines. What lies behind the content of the systems we use everyday are algorithms, designed to mine and sort through all the influx of diverse data. The byproduct of this mass online activity is described by marketing companies as data exhaust and seen as a deluge of passively produced data.

Felix Stalder and Konrad Becker, editors of Deep Search: The Politics of Search Beyond Google,[1] ask whether our autonomies are at risk as we constantly adapt and tailor our interactions to the demands of surveillance and manipulation through social sorting. We consciously and unconsciously collide with the algorithm as it affects every field of human endeavour. Deep Search illuminates the politics and power play that surround the development and use of search engines.

But, what can we learn from other explorers and their own real-life adventures in a world where a battle of consciousness between human and machine is fought out daily?

Artist Erica Scourti spent months of her life in this hazy twilight zone. I was intrigued to know more about her strange adventure and the chronicling of a life within the ad-triggering keywords of the “free” Internet marketing economy.

About Erica Scourti

Erica Scourti’s work addresses the mediation of personal and collective experience through language and technology in the net-worked regime of contemporary culture. Using autobiographical source material, as well as found text collected from the internet displaced into social space, her work explores communication, and particularly the mediated intimacy engendered by a digital paradigm. The variable status and job of the artist is humorously fore-grounded in her work, assuming alternating between the role activist, ‘always-on’ freelancer, healer of social bonds and a self-obsessed documenter of quotidian experience. http://www.ericascourti.com/art_pages/biography.html

[1] Deep Search. The Politics of Search Beyond Google. Editor's Konrad Becker & Felix Stalder. Publisher: Studien Verlag (Dec 2009).

Movie Viewers Interactive Guide

Michelle Sujai — Sat, 11 May 2013 17:20:37 -0500

We want to create an interactive Viewers Guide that asks questions that can be answered on Trumblr. Questions allow multiple choice answers & longer personal responses. What do U think? Would U give it a Trumblr?

The Challenge of the Falls

Michelle Sujai — Sat, 11 May 2013 17:14:41 -0500

stopshop

Michael Szpakowski — Fri, 10 May 2013 06:45:36 -0500

http://vimeo.com/65854980

part of this conversation

http://vimeo.com/groups/190297

other voices welcome

cheers
michael

Notes on ASMR, Massumi and the Joy of Digital Painting

chriscotimms — Thu, 09 May 2013 10:36:58 -0500

ASMR Cube by CantCopeWontCope: http://www.youtube.com/watch?v=HTF1N3s7v_8

double articulation CD release

Archive Registrar — Wed, 08 May 2013 22:57:30 -0500

http://www.deepyoung.org/radio/

Deep/Young Ethereal Radio Broadcast #151:
Memorials, Articulations, Rhizomes, and Folds

Artists remixing each other in reverse chronological order, where the remix precedes the mix. Me remixing this post, talking to myself, calling over time.

As You Wish,
Archive Registrar

Notes on ASMR, Massumi and the Joy of Digital Painting

Daniel Leyva — Wed, 08 May 2013 16:52:00 -0500

http://www.youtube.com/watch?v=Vg-g8K_IWXU

Notes on ASMR, Massumi and the Joy of Digital Painting

Daniel Leyva — Wed, 08 May 2013 16:51:33 -0500

ASMR is my fave community on FB and other networks ... esp user WhisperMister1 ... caters 2 me.

Glitch Art 0P3NR3P0.NET Open Call

marc garrett — Wed, 08 May 2013 06:18:58 -0500

Glitch Art 0P3NR3P0.NET Open Call at Furtherfield

The Furtherfield Gallery will be hosting an IRL exhibition of glitch worx submitted to the 0P3NR3P0 as part of the Glitch Moment/ums exhibition from June 8th - July 28th, 2013.

All works will be accessible on the net & also shown in real-time at the space during the show.

To include your work in the 0P3NR3P0 component of Glitch Moment/ums visit 0p3nr3p0.net and submit a link to any visually wwweb based file (html, jpg, gif, youtube, vimeo, etc.) your piece will automatically be included in the line-up (one work per artist).

submit && show on 0P3NR3P0.NET - http://0p3nr3p0.net/

a Glitch Art repository conceived by Nick Briz, Rosa Menkman and Jon Satrom.

More about the exhibition
http://www.furtherfield.org/programmes/exhibition/glitch-momentums

A Cavalier History of Situationism: An Interview with McKenzie Wark

marc garrett — Tue, 07 May 2013 12:22:18 -0500

At last, an interview on here relating to social stuff!

Much thanks for this...

marc

Culturehall Spring 2013 New Artists Feature Application Call

Michael Szpakowski — Mon, 06 May 2013 18:02:52 -0500

well said, Michael.
m.

Culturehall Spring 2013 New Artists Feature Application Call

Michael Connor — Mon, 06 May 2013 17:45:02 -0500

So for $35, artists get...what exactly?

'En Plein Air' a solo exhibition from Rick Silva

Michael Szpakowski — Mon, 06 May 2013 13:27:05 -0500

This looks great. I'd lost touch a bit with what Rick Silva was doing - we used to post his work regularly on DVblog and I always found it fascinating, especially the videos he made four or five years ago, which were clearly the first feelings of the way towards this. I love the cool,stripped -down orderliness of these, which at the same time are ravishingly beautiful. It's the austerity behind which gorgeousness hides that is so very winning. Nice to see gifs eschewing their down and dirtyness for something altogether more elegant. And how pleasant to both have to think and be moved at the same time, and don't even get me started on how wonderful that they are made then and there..

Commissions Deadline Extended to May 15

Zoë Salditch — Mon, 06 May 2013 11:30:03 -0500

Hi Monty,

You can access your proposal by going to your account page and clicking on 'Commissions Voting' (I know that's a odd label, we're working on fixing that..). From there you'll see 'Your Proposals' and when you click on it you'll see a link to edit.

Feel free to email me zoe [dot] salditch [at] rhizome if you have any other troubles!

Breaking the Ice

curt cloninger — Sun, 05 May 2013 18:39:48 -0500

The funny thing is, Daniel and Rob are both right smart, and a similar kind of smart, and both live on the same island. It makes me think about arguing on RAW with Michael Sarff in 2001, and then him curating a weekend of performances I did in 2008. And it makes me think of this quote: "Because now, thanks to technology, and everybody being huge pussies about everything..." from this amusing skit: http://youtu.be/gSjLiQxEZlM . Don't hate me because I'm beautiful.

Breaking the Ice

randomgenerator — Fri, 03 May 2013 11:08:12 -0500

I'm not an artist, an art blogger, a regular commenter, or an old-school Rhizome-er, and it appears I'm also late to the thread. So I've got that going for me. Nevertheless I care about culture and what exists as an alternative to its (seeming) absence these days. As a young-ish person approaching the internet and then new media art, I find there to be a significant disconnect between early practitioners and the younger generation of today. I think it's great that (as many here have highlighted) new media art is finally becoming recognized within the Art World, but it seems it is thusly being sucked up into Art World's sphere of influence like the annihilating energy ball at the end of Akira (insert .gif, or actually, don't).

Patrick addressed the risk aversion of Western culture and I feel this constant outlining of future risk in decision-making too. Since when did the internet become so colonized by commercial influence? I see ideas about and the implementation of technologies today all too quickly codified, adopted into widespread use, and regarded as universal truths. I see artists of my generation engaging technology only through the truths they have somehow been obliged to accept invoking the concept of 'new media.' With Rhizome I wonder, 'Where's the cultural history?' (I know it's there) and 'Where's the innovation (aside from digital preservation)?'.

It would be refreshing if Rhizome conducted itself with less regard to that constant tracing of future risk, and more with (even a fraction of) the pioneering, political, radical attitude of earlier generations. I think many on this thread are apologists for Rhizome's growth into becoming accepted by the art establishment, but if we accept a highly politicized art world's absolute authority over new media art practice, then Rhizome is playing into the hand of an a priori power structure which may or may not give two shits about the inherent concerns of new media and let's face it, 'technology' today in general. I think we are rushing to legitimize new media art whilst ignoring some huge cognitive dissonances in its practice.

Has new media become fashion? The tech scene is always looking forward and reaching beyond itself, invoking the constant bathwater-refreshing of social hack (as in hackneyed) updates and blogrolls as its grand enabler. In the same breath fashion continually objectifies and Orientalizes the past in the name of novelty and not without various shades of mockery, and through appropriation enforces its own authority over past modes. As I see it new media art today is claiming the same functional space. I rarely see affecting communication between those who made new media a scene when it emerged and those approximating a scene today. I also see that in many of the new media organizations involved in the art world, these foundational members are notably absent (with the exception of comment threads like this one where they come out of the proverbial woodwork to offer some sharp, clairvoyant criticism and then go back to Mars or CRUMB or where-have-you).

For a scene with a storied history and culture surrounding it, there was no ritual handing off, no learning from what the original Rhizome-ers uncovered. Perhaps this is not how contemporaneous culture works. Perhaps all scenes must die quickly for later rebranding.

Commissions Deadline Extended to May 15

Monty Cantsin — Fri, 03 May 2013 09:48:01 -0500

How do I access my proposal to edit it after it has been published? (--I forgot to copy the URL of my 'preview' page before clearing my browser's history!)

The Strange Rituals of TEDxSummerisle

Jennifer Chan — Fri, 03 May 2013 06:03:43 -0500

I have no idea how many people were involved with perpetuating this fiction, either in planning or in performance, either with explicit knowledge of what was planned, or following along as it happened."

really begs the question of "pix or it dint happen"-but what if too many pix or pix posted at the wrong time? twitter is pretty fickle for viewership, it doesn't matter if you have X number of followers but depends which of them are looking at the stream when you're tweeting or who RTs your tweet atm.

I also wonder if the first website ever were restored to it's original URL and no one blogged about it, would anyone know?

This is a fantastic project by the way :)

Seven on Seven 2013: Recap

tarabrown — Thu, 02 May 2013 19:34:56 -0500

Hi Michael,

Thank you for this summary of the event. I had a fantastic time getting to know the participants and appreciated Rhizome's hospitality.

One thing I would like to note here is regarding the signal to noise ratio. We had 75 tweets in the span of 10 minutes, all with very helpful comments for Diego, which was pleasantly surprising to me. We didn't do a good job of managing the help coming in over Twitter and I'm not sure if it was related to the time we had along with having both Twitter and a live audience. Time pressure plus a lot of feedback coming in is hard.

I do think Twitter is an interesting way to archive the help that came in so if Diego were to review the help later on, he would have the comments as a reference.

Thanks!
Tara

SeaScapes Art Exhibition Now Online Ready to View

John R Math — Thu, 02 May 2013 16:13:55 -0500

Light Space & Time Online Art Gallery is pleased to announce that its May 2013 art exhibition “SeaScapes” is now posted on their website and is ready to view online. The theme for this art exhibition is “SeaScapes” and artists were asked to submit their best seascape art for the gallery’s April art competition.

The gallery received submissions from 22 different countries from around the world and they also received entries from 38 different states. Overall, there were 629 entries were judged for this art competition.

Congratulations to the artists who have been designated as this month’s category winners, along with the winning Special Media and Special Recognition artists. To proceed to the gallery’s “SeaScapes” online art exhibition follow this link: http://www.lightspacetime.com/seascapes-art-exhibition-may-2013/

Commissions Deadline Extended to May 15

Michael Connor — Thu, 02 May 2013 14:18:26 -0500

Hi Vic, It's definitely not required to have a partner confirmed - although your proposal would be that much stronger if you did.

One clarification: there WILL be commissions given to non-New York projects as well!

Commissions Deadline Extended to May 15

Vic McEwan — Thu, 02 May 2013 09:51:41 -0500

Hello, I am wondering if, in our application, we must have the final location for any installation confirmed. For example, if we were submitting a work for a public space, or a work for a gallery, must we have the final location confirmed before lodging the application. I ask this as I from overseas and wondering about space and the likelihood of being able to apply from here.

Thanks

Vic

Exhibition - Glitch Moment/ums

marc garrett — Thu, 02 May 2013 09:28:03 -0500

Glitch Moment/ums

Spinning Desktop by Antonio Roberts

Saturday 08 June 2013, 2-5pm
Exhibition & Events Opening Event
Saturday 08 June 2013, 2-5pm
with glitch performance by Antonio Roberts at 3pm

Exhibition Opening times
Sunday 09 June - Sunday 28 July 2013
Open Friday to Sunday 11-5pm

Curated by Rosa Menkman & Furtherfield.

Featuring: Alma Alloro, Melissa Baron, Nick Briz, Benjamin Gaulon, José Irion Neto, Antonio Roberts and Ant Scott

“The glitch makes the computer itself suddenly appear unconventionally deep, in contrast to the more banal, predictable surface-level behaviours of ‘normal’ machines and systems. In this way, glitches announce a crazy and dangerous kind of moment(um) instantiated and dictated by the machine itself.” Rosa Menkman, 2011.

Glitches are commonly understood as malfunctions, bugs or sudden disruptions to the normal running of machine hardware and computer networks. Artists have been tweaking these technologies to deliberately produce glitches that generate new meanings and forms. The high-speed networks of creation and distribution across the Internet have provided the perfect compost to feed this international craze. This exhibition shows various approaches by artists hacking familiar hardware and their devices which include mobile phones, and kindles. They disrupt both the softwares and the digital artefacts produced by these softwares whether it be in the form of video, sound, drawing or woven glitch textiles.

More information about the exhibition
http://www.furtherfield.org/programmes/exhibition/glitch-momentums

Jennifer Chan Interview: Interpassivity & Internet Pop Culture.

marc garrett — Thu, 02 May 2013 05:01:16 -0500

Jennifer Chan Interview: Interpassivity & Internet Pop Culture.

Interviewed by Marc Garrett.

Some have proposed Jennifer Chan to be part of what has been termed as the post-internet era. But, this is an inadequate representation of the spirit, criticality and adventure at play in her work. Chan's awareness and use of the Internet reflects a way of life, that situates its networks as a primary resource. Chan lives amongst various worlds and engages in different shades of being; a self-described ‘amateur cultural critic', a net artist, a media artist, and academic. Her work exists both online and in physical realms, it is always present and contemporary. This is because her work lives in a world where the scripting of official art definitions loses its power. People have exploited technology to facilitate new behaviors where the artist or art amateur redefine what art is on their own terms. We are now in a post-art context. It reflects a very real, societal shift. Mainstream art culture no longer owns the consciousness of art, Chan and others like her are pulling it apart.

http://www.furtherfield.org/features/interviews/jennifer-chan-interview-interpassivity-internet-pop-culture

Commissions Deadline Extended to May 15

Michael Connor — Wed, 01 May 2013 14:45:28 -0500

Yes! One person needs to be main point of contact but you can have multiple collaborators.

Commissions Deadline Extended to May 15

Teshia Treuhaft — Wed, 01 May 2013 14:14:00 -0500

Can groups of 2+ enter with a single proposal?

Emoticon, Emoji, Text II: Just ASCII

jasoneppink — Wed, 01 May 2013 08:59:33 -0500

Spying at the wall" was likely inspired by the WWII-era Kilroy was here graffiti doodle/meme.

Emoticon, Emoji, Text II: Just ASCII

Daniel Temkin — Tue, 30 Apr 2013 17:37:28 -0500

Awesome thread and thanks for the list of writing on the subject to check out, Philip

Emoticon, Emoji, Text II: Just ASCII

a bill miller — Tue, 30 Apr 2013 16:14:30 -0500

philip - i'd love to talk more! i agree, there are connections to dada, concrete poetry/visual poetry for sure. i also think there are connections to algorithmic writing like oulipo. i've done some research to try to pull these things together a bit. i can share the paper i wrote with GOTO80 last year if you're interested.

also, was having a conversation last week about some of this and found on Vuk Cosic's site: http://www.ljudmila.org/~vuk/ascii/vuk_eng.htm
which i think also draws some similar conclusions.

[_] [_] [_] [_]

Emoticon, Emoji, Text II: Just ASCII

philip.meersman — Tue, 30 Apr 2013 14:27:02 -0500

Indeed interesting, but I'm missing De Stijl, Dada,... in the historical context...
Not only Dick Higgins' book Pattern Poetry, but also the following books could be of interest to go more into the historical context and the DNA of these poetic forms (the ones with a star* are essentials):

Willard BOHN, Modern Visual Poetry, Newark-Londen, 2001
*Willard BOHN, Reading Visual Poetry, Lanham-Plymouth, 2010
*Dmitry BULATOV (ed.), A Point of View: Visual Poetry, The 90s. An Anthology, Kaliningrad-Koningsberg, 1998, 592p
*Klaus Peter DENCKER, Optische Poesie. Von den prähistorischen Schriftzeichen bis zu den digitalen Experimenten der Gegenwart, 2011
*Johanna DRUCKER, “Experimental, Visual and Concrete Poetry: A Note on Historical Context and Basic Concepts.”, Avant-garde: critical studies, 10, 1996, p. 39-64.
Marcel DUCHAMP, The Writings of Marcel Duchamp. edited by Michel Sanouillet and Elmer Peterson, New York, 1973, p196
Eugène GOMRINGER, “Concrete Poetry”, translated by I. MONTJOYE SINOR & M. ELLEN SOLT, in: Ubuweb Papers, (online), http://www.ubu.com/papers/, 2.3.2005, http://www.ubu.com/papers/gomringer02.html, last consulted on 26.4.2012
Jamie HILDER, Designed Words for a Designed World: the International Concrete Poetry Movement, 1955-1971, Vancouver, 2010, 237p
Karl KEMPTON, VISUAL POETRY: A Brief History of Ancestral Roots and Modern Traditions, 2005, Oceano, (online) http://glia.ca/conu/digitalPoetics/, last consulted on 8.5.2012
Jerrold LEVINSON, “The Irreducible Historicality of the Concept of Art”, British Journal of Aesthetics, 42/4, 2002 , p. 367- 379
Philip MEERSMAN, “Visuele poëzie”: een semiosfeer met eigen logica en eigen onderzoeksveld., unpublished, Brussel, 2012
Tatiana NAZARENKO, “Re-Thinking the Value of the Linguistic and Non-Linguistic Sign: Russian Visual Poetry without Verbal Components”, SEEJ, 47/3 (2003), p. 393-422.
Humphrey OTTENHOFF, De letter te lijf. Beeldvorming van concrete en visuele poëzie in Nederland en Vlaanderen, Groningen, 2005, 329p.
Claudio PARMIGGIANI (ed.), Alfabeto in sogno. Dal carme figurato alla poesia concreta, Milaan, 2002, 466p.
Anna Christina RIBEIRO, “Intending to Repeat: A Definition of Poetry”, The Journal of Aesthetics and Art Criticism 65/2 (2007), p. 189-201.
Karel TEN HAAF, Zieteratuur. Concrete en visuele poëzie uit Nederland en Vlaanderen., Groningen, 2010, 136p.
Susanne VAN DEN HEUVEL, Van klank naar beeld en vice versa, over grafische muzieknotatie en ‘muzikale’ typografie, Breda 2009
Nico VASSILAKIS & Crag HILL (eds.), The Last Vispo Anthology: Visual Poetry 1998-2008, Seattle, 2012, p.336
Helen WHITE, Visual Poetry in De Tafelronde, 1965-1979, unpublished, Ghent, 2004
...
I did my bachelorpaper and am writing a master paper on visual poetry... so if you need more info... let me know

Breaking the Ice

Michael Connor — Tue, 30 Apr 2013 12:27:28 -0500

Here is what Daniel's original comment - the one that Rob quoted prior to his IQ comment - made me think: "That's interesting; maybe archiving discussions is one of the things that is increasing the potential reputation cost of posting for many people." There are very interesting examples (such as 4Chan) where the lack of archiving encourages certain kinds of participation.

I can tell you from our brief collaboration so far that Daniel O'Rourke is a very perceptive individual, and he is definitely someone I would like to have as an active participant here. I don't really agree that Rob's reply was a passionate defense of a specific idea nor a step towards greater clarity. It did slightly come off as hazing. In fact, this is an example of the difficulties with the claim that listserves are inherently democratic - in fact, as with any social gathering, they have certain hierarchies and power dynamics that are carefully negotiated, and regulated through acts like firing a few warning shots across the bow of a newcomer.

(Sorry, Rob, now you're caught in the crossfire... I know we're blowing your comment out of all proportion now.)

Emoticon, Emoji, Text II: Just ASCII

a bill miller — Tue, 30 Apr 2013 12:16:53 -0500

In general, a really interesting overview - thanks for posting about ASCII art. It might be nice to consider Dick Higgins' book Pattern Poetry for some more deep historical references.

Breaking the Ice

Michael Szpakowski — Tue, 30 Apr 2013 08:15:17 -0500

I'm intrigued by this response after having given it a good deal of thought. Do you think that your role, Michael, is to "foster a tone" ?
Rob Myers is a fluffy bunny who wouldn't hurt a fly but he also has very highly developed bullshit detection installed. His reply (which appropriates lines from "Alien") was extremely rude but funny and to the point. If people write drivel they must expect to be called on it.
It also seems from their reply that the victim of Rob's ire is perfectly capable of taking care of themselves.
I don't want to pull too much of an "in the old days" but, quite honestly, those of us who remember the bracingly toxic environment the RAW could at times be (Kandinsky/Death anyone?) really would not even be moved to raise half a lazy eyebrow at this.
Discussion is not a mutual appreciation society -it is a struggle for understanding and for meaning and against obfuscation and the kind of dumbing down that comes with money, ambition and the kind of neo-liberalised art market we have today. Ideas things *matter*, they have *consequences* so people get passionate and sometimes even reply sharply. Good thing, not bad thing.
In a kind of circle with my first post on this I want to repeat: the whole point about RAW, about unmoderated e mail lists is that they are democratic in an as yet unparalleled way. No one individual"fosters a tone" on them and a good thing too.
cheers
michael

Oliver Laric's Response to BiennaleOnline

Joshua Decter — Sun, 28 Apr 2013 17:10:40 -0500

Check this out:
http://rhizome.org/discuss/view/28603/

This is Rhizome's May 22, 1999 post on "Transmute," an online and bricks-and-mortar exhibition that I guest-curated at the Museum of Contemporary Art in Chicago in 1999. The MCA does not maintain the URL for the online interactive component of the exhibition, which included "virtual artist" and "virtual curator" interfaces designed in collaboration with an interactive designer, and involved participation from museum visitors, online users, etc.

Textual and image information regarding this online exhibition will be included in my forthcoming JRP|Ringier book, "Art is a Problem" (distributed by D.A.P.).
Thanks. Best, Joshua Decter

Oliver Laric's Response to BiennaleOnline

olia lialina — Sat, 27 Apr 2013 09:03:16 -0500

afair, hell.com became an art platform later, probably 1997--98. Auriea Harvey and Michael Samyn can remember better.

1998 art.teleportacia.org "the first real net art gallery" was launched with miniatures of heroic period exhibition. was an important event: 5 net artists offered their web projects for sale online. 5 net art critics wrote about each work in this context.
http://art.teleportacia.org/exhibition/miniatures/

Breaking the Ice

Michael Connor — Fri, 26 Apr 2013 23:51:25 -0500

We won't really do that. It would be a terrible idea.

The Readers Survey does reflect the fact that Rhizome has a blog on its front page, and that website content is less horizontal than it once was.

Plenty of food for thought.

Breaking the Ice

Michael Connor — Fri, 26 Apr 2013 22:44:48 -0500

I think a members survey or community survey is a very different thing from a readers survey. We could also run a commissioned artists' survey, but this would not mean that we see everyone who uses the site as a commissioned artist. Next time we'll call it a lurkers survey.

Breaking the Ice

Michael Mandiberg — Fri, 26 Apr 2013 12:52:32 -0500

No worries on the grammar...! Here's some more bad grammar:

I totally understand that they bring support, but isn't it telling that from an economic/structural POV their support brings language that squashes the horizontality of the (small r) rhizome?

And yes, the work that Ben Fino Radin et al are doing is really really important and really ahead of the game. It is taking the work that Jon Ippolito and Christiane Paul were conceptualizing a decade ago, and implementing it on projects that are now artifacts.

Breaking the Ice

Michael Connor — Thu, 25 Apr 2013 19:30:39 -0500

Thanks for the great ideas!