Rhizome Inclusive: News, Blog, and Digest

FAVICONTEST: 24 HOURS LEFT!

John Michael Boling — 2010-03-09T21:01:00+01:00

So, The Rhizome Team is getting together for our weekly staff meeting around 3ish tomorrow. (Our staff meetings are catered by the fine folks at Le Cirque and sometimes start fifteen minutes late to allow the wine to breathe and the caviar to chill)* One of the things on the agenda tomorrow is to decide which of the fabulous favicons that you have created to pick as the winner of the FAVICONTEST. This means you have around 24 hours left to contribute your own design for our new favicon. Even if you don't have the urge to submit your own creation you should definitely take a look at what folks have been able to come up with so far. Thanks again to everyone that has submitted, and keep em coming!

*PSYCHE, we are lucky to have 3 banana flavored laffy taffys to split

Required Reading : Post Internet (2010) by Gene McHugh

Ceci Moss — 2010-03-09T19:30:00+01:00

Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'–when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'–a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.

the infinite sculpture garden without the boundaries torn and ripped into the vacuum of emptiness (2010) - Petra Cortright

Ceci Moss — 2010-03-09T18:30:00+01:00

Via Computers Club

Super Multiverse Online (2010) - Tabor Robak

Ceci Moss — 2010-03-09T16:00:00+01:00

Night Scene (1975) - Lillian Schwartz

Ceci Moss — 2010-03-08T21:00:00+01:00

computer generated etching
Via the compArt Database of Early Computer Art

Group Theory Grid (1969) - Tony Longson

Ceci Moss — 2010-03-08T20:00:00+01:00

computer assisted painting
Via the compArt Database of Early Computer Art

Untitled drawing (1978) - Stephen Bell

Ceci Moss — 2010-03-08T19:30:00+01:00

Data generated using Ranstak program and "helix" shapes
Plotted on newsprint with cyan, magenta, and yellow edding 1380 brush-pens. 9" x 9".
Via the compArt Database of Early Computer Art

untitled (sine curve 2) (1969) - Charles Csuri

Ceci Moss — 2010-03-08T19:00:00+01:00

black and white plotter drawing
Via the compArt Database of Early Computer Art

Compart Nr. 11 (1970) - Peter Kreis

Ceci Moss — 2010-03-08T18:00:00+01:00

Colored plotter drawing
Via the compArt Database of Early Computer Art

A sea star (1965) - Petar Milojević

Ceci Moss — 2010-03-08T17:00:00+01:00

Black and white plotter drawing created on an IBM 360/75, printed on a CalComp Plotter 565
Via the compArt Database of Early Computer Art

Computer Graphics (1960) - Kurd Alsleben and Cord Passow

Ceci Moss — 2010-03-08T16:00:00+01:00

Germany’s first computer graphics were jointly produced in 1960 by the artist Kurd Alsleben and the physicist Cord Passow. They worked on an analog computer which was linked to an automatic drafting unit and transformed parameters of a differential equation into deviations and disturbances.

Via the compArt Database of Early Computer Art

Introducing: dump.fm

Ryder Ripps — 2010-03-05T19:30:00+01:00

Editor's Note: Ryder Ripps, of Internet Archaeology, along with Tim Baker (Delicious) and Scott Van Damme (MIT Exhibit), recently launched a beta version of dump.fm, a chat room where participants communicate solely through images. The site combines the creative back and forth of surf clubs, tumblr’s loose and rapid-fire network of image transmission, and the real time spontaneity of an old school chat room. Right now dump.fm is strictly invite-only, but Ryder was generous enough to offer a special invite code to Rhizome readers - “RHIZOME” - so they can play around with the site. Ryder drafted a statement about his concept and aspirations for dump.fm, below.

I remember going into AOL chat rooms, and experiencing instantaneous glee. The hyper-everything world; where experiences come and go at the pace of your typing. Instantaneous collaboration and connection. These are the feelings I wanted to recreate in conceptualizing dump.fm. Dump.fm is a place where you can share images from anywhere on the web, your hard drive or right from your webcam, in real time with other people. Today content moves so fast, making a blog post from a week ago irrelevant. Dump.fm is a place where content is hyper-transient and used to facilitate connections and induce creativity. I think in the future people will produce and consume content much faster and because of this we must reconsider the value of content. For the surf club Spirit Surfers, content is a way to document and make public the most powerful content in the hypnotic surf, “Most of the really enlightening surfs I've had did not end with a post to a surf club -- surfing is so private, it rarely ends in a public act.”, as club creator Kevin Bewersdorf states. Where surfing was a private act from computer to computer, friend to friend, and node to node; dump.fm makes it a public, real time and collaborative act. The surf becomes discovery and the discovery becomes collective.

uninspired minimalist graphics and harmonica (2010) - Jacob Broms Engblom

Ceci Moss — 2010-03-05T18:00:00+01:00

Picture 35 (2010)- Anders Clausen

Ceci Moss — 2010-03-05T16:00:00+01:00

Photo via Contemporary Art Daily

1 Question Interview with Hanne Mugaas

Ceci Moss — 2010-03-04T18:30:00+01:00

Takeshi Murata's Melter 2 at Gosen Skole from "Keep On Moving, Don't Stop"

I tracked down curator Hanne Mugaas, one of the organizers behind New York's Art Since the Summer of '69, for a 1 question interview, à la Rafaël Rozendaal's One Question Interview blog. Mugaas is the first to curate a new public video art initiative in Stavanger, Norway called Public Screens. In the spirit of Boston's Lumen Eclipse or Creative Time's At 44 1/2, Public Screens presents video art around the city on large public screens. Mugaas's exhibition for this new project "Keep On Moving, Don’t Stop" brings together animations by a young generation of artists who grew up under the specter of the internet, television and video games. Artists include Michael Bell-Smith, Vidya Gastaldon, Ezra Johnson, Yui Kugimiya, Takeshi Murata, Adam Shecter, and Espen Friberg. (More shots of the exhibit after the jump.) Given the topic of the show, I thought it would be fitting to ask Hanne about her childhood exposure to animation.

What was your favorite animated television show as a child and why?

My favorite animation as a kid was Flåklypa Grand Prix (Pinchcliffe Grand Prix) from 1975. It was made by the legendary Norwegian animator Ivo Caprino. It's about the inventor Reodor Felgen who's living with his animal friends Ludvig, a nervous, pessimistic and melancholic hedgehog, and Solan, a cheerful and optimistic magpie. One day, the trio discover that one of Reodor's former assistants, Rudolf Blodstrupmoen, has stolen his design for a race car engine and has become a world champion Formula One driver. Solan secures funding from an Arab oil sheik who happens to be vacationing in Flåklypa, and to enter the race, the trio builds a gigantic racing car: Il Tempo Gigante—a fabulous construction with two extremely big engines.

My dad used to show me this and another film by Caprino, Karius and Baktus (Caries and Bacterium), about two little trolls living in and destroying your teeth, on a film projector and projection screen in our living room.

Here is a clip of Flåklypa Grand Prix (Pinchcliffe Grand Prix):

And a clip of Karius and Baktus:

Adam Shecter's Hydra at Vitenfabrikken
Michael Bell-Smith's Smoke Screen at Clarion Hotel Stavanger