RHIZOME DIGEST: 11.01.02

discussion

Posted Oct. 31 2002 19:00

RHIZOME DIGEST: 11.01.02

RHIZOME DIGEST: November 1, 2002 Content: +opportunity+ 1. Jo-Anne Green: Commissions and Turbulence Artists' Studios +announcement+ 2. Sandra Fauconnier: Master classes Interfacing Realities 3. Christina McPhee: November on -empyre- 4. Annette Gallo: EYEBEAM ANNUAL ONLINE FORUM The (Re) Structured Screen +feature+ 5. A. Cinque Hicks: Representin'- Digital Artists Confront Race + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 10.31.02 From: Jo-Anne Green (j.o.green@verizon.net) Subject: Commissions and Turbulence Artists' Studios Turbulence Commissions: New Radio and Performing Arts, Inc. (NRPA) has commissioned over 60 new works for its Turbulence web site since 1996. Up to 12 commissions are awarded annually in the range of $2,500 to $5,000. The majority of our commissions are restricted (by our funders) to New York artists, but we occasionally commission nationally and internationally. Applications are accepted year round. Application guidelines are available at <a rel="nofollow" href="http://turbulence.org/guidelines.html">http://turbulence.org/guidelines.html</a> Turbulence Artists? Studios: Artists' Studios is an ongoing opportunity for artists to show a body of work. Artists may submit two to three net art works to NRPA for consideration. Artists selected for Artists? Studios will be exhibited on the Turbulence web site, and will have the opportunity to add new works over time. Biographies and available reviews and interviews will be included. For more information write turbulence.org@verizon.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Metamute continues with its specially commissioned series of articles. The latest are Stewart Home on Martin Amis, Benedict Seymour on Border Crossing, and Nat Muller in conversation with Palestinian filmmaker Azza El Hassan. <a rel="nofollow" href="http://www.metamute.com">http://www.metamute.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 10.31.02 From: Sandra Fauconnier (fokky@v2.nl) Subject: Master classes Interfacing Realities Interfacing Realities is a Culture 2000 project initiated by V2_ and realised in collaboration with EncArt. EncArt (European Network for Cyber Arts) is a longterm collaboration between the ZKM in Karlsruhe, Ars Electronica in Linz, C3 in Budapest and V2_ in Rotterdam that started in 1997. Interfacing Realities covers a series of four masterclasses that focus on new concepts for information management in general, and the usage and creation of databases and archives in contemporary art practices in particular. <a rel="nofollow" href="http://www.v2.nl/Projects/interfacing_realities">http://www.v2.nl/Projects/interfacing_realities</a> ===================== Master class with Lev Manovich C3, Budapest, 22 November - 26 November 2002 METADATING THE IMAGE ===================== MASTER CLASS with Joel Ryan ZKM Karlsruhe, 27 November - 1 December 2002 MAPPING YOUR CREATIVE TERRITORY ===================== more info about these two master classes below MASTER CLASS with Lev Manovich C3, Budapest, 22 November - 26 November 2002 METADATING THE IMAGE Human cultures have developed rich and precise systems to describe oral and written communication: phonetics, syntax, semantics, pragmatics, narrative theory, rhetoric, and so on. Dictionaries and thesauruses help us to create new texts while the search engines and the ever present "find…" command on our desktops help us to locate the particular texts already created, or their parts. Paradoxically, while the role of visual communication has dramatically increased over the last two centuries, no similar descriptive systems were developed for images u at least not on the same scale. So while the number of different types of images we routinely create today is extremely large, if not infinite (and it has become ever larger after computer tools made possible to more easily combine photographs, graphics and text, and to apply operations previously reserved for each of this separate medium to all the other media u blurring text, etc.), the systems we have to describe these images are very poor. For instance, stock photography collections divide millions of images into a couple of dozen categories, at best, with names such as "joy" "business," and" achievement"; professional designers typically use even more limited range of categories to describe their projects ( "clean," "futuristic," "corporate," "conservative," etc.) As computerization dramatically increases the amount of media data that can be stored, accessed and manipulated, we are gradually shifting towards more structured ways to organize and describe this data. For example, we are moving from HTML to XML (and next to Semantic Web); from MPEG-2 to MPEG-7; from "flat" lens-based images to "layered" image composites and discrete 3D computer generated spaces. In all these cases the shift is from a "low-level" metadata (the fonts on the Web page, the resolution and compression settings of a moving image) to a "high-level" metadata that describes the structure of a media composition or even its semantics. What about images? Computerization creates a promise (which maybe only an illusion) that images that traditionally resisted the human attempts to describe them with precision u will be finally conquered. After all, we now easily find out that a particular digital image contains so many pixels and so many colors; we can also easily store all kinds of metadata along with the image; and we can tease out some indications of image structure and semantics (for instance, we can find all edges in a bit-mapped image.) Yet visual search engines that can deal with the queries such as "find all images which have a picture of " or "find all images similar in composition to this one" are still in their infancy. Similarly, the metadata provided by a image database software I use to organize my digital photos tells me all kinds of technical details such as what aperture my digital camera used to snap this or that image u but nothing about the image content. In short, while computerization made the image acquisition, storage, manipulation, and transmission much more efficient than before, it did not help us so far to deal with one of its side effects u how to more efficiently describe and access the vast quantities of digital image being generated by digital cameras and scanners, by the endless "digital archives" and "digital libraries" projects around the world, by the sensors and the museums… The theoretical part of the Master class will develop in more detail the paradigm sketched here. We will discuss the key modern attempts (in cinema, graphic design, art history, psychology, and other fields) to make images into a language – i.e., to develop formal techniques to describe images and to predict their effects on the viewer. Against this background, we will look at the history, the present research and the emerging trends in computer research which pursue the similar project: visual search engines, the new hybrid forms of cinema which combine cinematography with a more structured way to represent space borrowed from 3D computer graphics, the state of the art in computer vision applications, and so on. We will also look at the works of a few new media artists that engage with the politics and poetics of image metadata (Joachim Sauter, George Legrady, and others). Finally, we will also engage with some larger questions about the functioning of images in a global information society. For example, is it true that we live in a predominantly visual culture, or does computerization in fact downplays the role of an image in favor of other representations such as text and 3D space? Will our visual culture be still dominated by photographic-like images in the twenty first century, or will other kinds of images eventually take their place? While computers allow us to manipulate old media in new ways, creating new hybrids and new forms, do they also enable any completely new and unprecedented types of visual representations? The practical projects developed during the Master class can pursue one of two directions. A project can present an analysis of some existing (and socially important) system for cataloging and describing images and their contents – for instance, the categories used by stock media collections, the categories used to classify facial expressions of human emotions in computer research, the categories used by graphic designers to talk about the styles of Web design. If possible, these projects should address the following two questions: (1) are there any conceptual shifts which can be observed in the logic of image description systems as they become implemented in a computer, thus turning into software? (2) What are the relationships between image description systems and the descriptions used by software for other type of media? Alternatively, a participant can develop a conceptual proposal for a software interface to record, describe, access, or manipulate images in a new way. While new media artists have extensively critiqued existing software interfaces in general and developed many particular alternatives, surprisingly little energy has been spend so far thinking on how we interface to images. And yet the computerization of visual culture opens all kinds of interesting possibilities waiting to be explored. For instance, if it already possible to record and store practically unlimited number of still and moving images of one's existence, what kind of interface can we use to organize and navigate these images? Or, given that we now can use database software to classify, link, and retrieve images and image sequences along with other media, how can a database structure be used to represent the life of a modern city, the history of a place, etc. In other words, behind the difficult problem of visual metadata that has become more pressing in computer age than ever before, there is also an exiting promise – the promise to represent reality and human experience in new ways. The projects created during the class will be featured on a Master class Web site and will be published in a new book by V2 (Rotterdam). Therefore, regardless of whether a participant chooses to pursue analytical or practical project, the final files should be ready to be put on the Web and to be published in the book. Therefore the project should be presented as a single panel (similar in style to architectural proposals), available in Web-ready and print-ready versions (for instance, an HTML file and an Illustrator file). date: 22 - 26 November 2002 location: C3, Budapest, Hungary participants: 10 (a maximum of 6 students) costs: 200 euro, students 100 euro (traveling and lodging must also be payed by the participants) Subscribe as soon as possible by using the webpages: <a rel="nofollow" href="http://www.v2.nl/Projects/interfacing_realities">http://www.v2.nl/Projects/interfacing_realities</a> ===================== MASTER CLASS with Joel Ryan ZKM Karlsruhe, 27 November - 1 December 2002 MAPPING YOUR CREATIVE TERRITORY The application of new tools for scientific visualization to music with Joel Ryan for composers, media artists, mathematicians, and computer scientists Navigating detail in musical real time Modern music attempts to manage an unprecedented plethora of detail. The massive data problem is as much the nature of contemporary culture as it is the gift of our new computer based tools. This quest is not unique to music and mathematical tools have recently emerged to deal with understanding complex heterogeneous systems of data. The workshop,s goal is to find ways to coordinate the recognition and recovery of states of complex real time instruments. A target example could be called the "Preset Mapping Problem". The workshop focusses on music, but the solutions might be directly applicable to the control of any real time system. The focus will not be on the musical time line or score problem. The workshop is prospecting for new tools for composition and music performance suggested by innovations in the visualization and navigation of scientific data. Methods are emerging in fields as diverse as immunology, protein synthesis, chaotic dynamics and data mining of texts, all fields which have come to life since computational based techniques have brought their complexity with in grasp. The sheer immensity of the problems attempted has stimulated the search for intermediate tools for sifting multidimensional avalanches of detail. Perhaps our faculty of visual analysis can add to what our ears tell us. Participants The workshop is addressed to participants: + who have expertise in practical music platforms like SuperCollider or + Max and musician/composers who need this solution + who have experienc in one of the sciences which already have practical solutions for large data space problems + who can act as mathematical references The workshop is limited to 10 participants. The language is English. Joel Ryan is a composer, inventor and scientist. He is a pioneer in the design of musical instruments based on real time digital signal processing. He currently works at STEIM in Amsterdam, tours with the Frankfurt Ballet and is Docent at the Institute of Sonology in The Hague. Application The fee for the 5-days workshop is 200 Euro (for students 100 Euro). The deadline for the application is 13 November 2002. Please, fill in the application form: + Name, Address, E-Mail, Telephone: + Student: yes/no + Profession: / Subject of Study: + Curriculum Vitae: + Motivation (short text why you want to participate): To be sent to: ZKM - Institute for Visual Media Postfach 6909 D-76049 Karlsruhe E-Mail: image@zkm.de Fax: 0049-(0)721-8100 1509 Tel: 0049-(0)721-8100 1500 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ ARTMEDIA VIII CO-SPONSORED BY LEONARDO/OLATS in PARIS http:://www.olats.org From "Aesthetics of Communication" to Net Art November 29th - December 2nd 2002 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.28.02 From: Christina McPhee (christina112@earthlink.net) Subject: November on -empyre- -empyre- takes pleasure in introducing our next guests and theme– November 2002 - Virtual Construction Please join us for a wide ranging discussion on the possibilities of virtual construction as viral and pandemic with Joseph Nechvatal, electronic media animator/painter/philosopher; and, later in the month, as identity and network with Gregory Little, an electronic media artist whose art engages issues of avatar and immersion. Transmedia artist and philospher Joseph Nechvatal engages "viractuality" (occasions where the virtual and the actual merge), and tests the grounds for a technological and erotic aesthetic of virtuality. Electronic media artist, writer and editor Gregory Little explores constructions of identity in networked virtual environments as an artistic medium, while focusing on issues related to consensual identity, avatars (avatara), being inside-out, abjection, hierarchies and the "Body w/o Organs", and the post-human. Viractualism with Joseph Nechvatal November 1-15 & Avatar Manifesos with Gregory Little November 15 -30 join us at –empyre forum– <a rel="nofollow" href="http://www.subtle.net/empyre">http://www.subtle.net/empyre</a> **************************************************************************** —> Dr. Joseph Nechvatal has worked with ubiquitous electronic visual information and computer-robotics since 1986. Dr. Nechvatal earned his Ph.D. in the philosophy of art and new technology with The Centre for Advanced Inquiry in the Interactive Arts (CAiiA) . He served as Parisian editor for rhizome between 1996-2001 and now writes regularly for The THING , NY ARTS and Zing. He presently teaches Theories of Virtual Reality at the School of Visual Arts in New York City. His computer-robotic assisted paintings and computer animations are shown regularly in galleries and museums throughout the world. From 1991-3 he worked as artist-in-resident at the Louis Pasteur Atelier and the Saline Royale / Ledoux Foundation's computer lab in Arbois, France on 'The Computer Virus Project': an experiment with computer viruses as a creative stratagem. Dr. Nechvatal has exhibited his work widely in Europe and the United States, both in private and public venues. He is collected by the Los Angeles County Museum, the Moderna Musset in Stockholm, Sweden and the Israel Museum in Jerusalem. Dr. Nechvatal's work was included in Documenta 8. He is a founder of the Tellus Audio Art Project (<a rel="nofollow" href="http://www.harvestworks.org/tellus/tellus.html">http://www.harvestworks.org/tellus/tellus.html</a>) and served as conference coordinator for the 1st International CAiiA Research Conference entitled "CONSCIOUSNESS REFRAMED: Art and Consciousness in the Post-Biological Era" (5 & 6 July 1997); an international conference which looked at new developments in art, science, technology and consciousness which was held at the Centre for Advanced Inquiry in the Interactive Arts, University of Wales College, Newport, UK. (<a rel="nofollow" href="http://www.caiia-star.net/">http://www.caiia-star.net/</a>) <a rel="nofollow" href="http://www.nechvatal.net">http://www.nechvatal.net</a> <a rel="nofollow" href="http://www.eyewithwings.net/nechvatal/algorithic.html">http://www.eyewithwings.net/nechvatal/algorithic.html</a> <a rel="nofollow" href="http://www.eyewithwings.net/nechvatal/ideals.htm">http://www.eyewithwings.net/nechvatal/ideals.htm</a> **************************************************************************** —> Gregory Little is an electronic media artist working with philosophical and theoretical issues related to the technologies of immersive virtual reality, netart, and avatars; specifically with respect to issues of identity, embodiment, and human sentience. He is currently Visiting Assistant Professor of Digital Art at Bowling Green State University, USA; and an associate editor for Intelligent Agent. –watch for more on Greg Little at mid-November—- Avatar Manifesto: <a rel="nofollow" href="http://art.bgsu.edu/~glittle/ava_text_1.html">http://art.bgsu.edu/~glittle/ava_text_1.html</a> Projects: <a rel="nofollow" href="http://art.bgsu.edu/~glittle/menu_1.html">http://art.bgsu.edu/~glittle/menu_1.html</a> Presence and the AE: <a rel="nofollow" href="http://art.bgsu.edu/~glittle/presence/index.html">http://art.bgsu.edu/~glittle/presence/index.html</a> – Christina McPhee (<a rel="nofollow" href="http://www.christinamcphee.net">http://www.christinamcphee.net</a>) (www.naxsmash.net) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 10.31.02 From: Annette Gallo (annette@bluemedium.com) Subject: EYEBEAM ANNUAL ONLINE FORUM The (Re) Structured Screen EYEBEAM ANNUAL ONLINE FORUM The (Re) Structured Screen: Conversations on the New Moving Image November 11 December 13, 2002 Eyebeam, the not-for-profit organization dedicated to art and technology, will host its fifth annual online forum entitled The (Re) Structured Screen: Conversations On The New Moving Image. The forum, online at www.eyebeam.org/restructuredscreen, launches on November 11 and runs until December 13, 2002. The (Re) Structured Screen is a critical dialogue organized by Eyebeam's Moving Image Division, in conjunction with its academic partner, The Integrated Media Program at Cal Arts. To launch this year's online forum, Eyebeam will feature a program of live symposia, screenings, dj/vj performance and reception on Monday, November 11 from 7:30 10:00pm. The symposium will include Lev Manovich, Assoc. Prof. of New Media at UC San Diego; Steven Feiner, Professor of Computer Science at Columbia University; Isaac Julien, artist; Julia Loktev, artist; Gary Winick, Director of Tadpole and founder of InDigEnt; and Rick Rowley from the Big Noise Tactical Media Project. DJ/VJ performance courtesy of Fakeshop and Haeyong Kim. The live symposium will take place at Eyebeam located at 540 West 21st Street. The Integrated Media Program at Cal Arts will also host a series of public talks. Visit <a rel="nofollow" href="http://im.calarts.edu/eyebeam/restructuredscreen/">http://im.calarts.edu/eyebeam/restructuredscreen/</a> for times and dates. This forum will explore changes in culture and the new moving images that reflect this in the post digital age. Each week participants will discuss different topics concerning new moving image theory; screen-based environments; changes in narrative structure; and, media activism. The (Re) Structured Screen will bring together a wide range of internationally renowned participants including artists, critics, academics, technologists, media activists, curators, film producers, editors, animators, and directors. Participants include: Ann Barlow, curator, New Museum John Pilson, artist Jeremy Blake, artist Jem Cohen, filmmaker Pat O'Neill, filmmaker Chrissie Iles, curator, Whitney Steve Hamilton, editor Peter Lunefeld, Pasadena Center. for Art & Design Matthew Ritchie, artist Brian Drolet, Free Speech TV Lori Zippay, director, Electronic Arts Intermix Kyle Cooper, Imaginary Forces Web site A web site designed for the forum will be used to encourage the public to participate and interact with the panelists. In addition to the forum, this web site will include interviews with Eija-Liisa Ahtila, artist and filmmaker; Scott Ross, Chairman/CEO of Digital Domain; Tom Tykwer, Director of Run Lola Run; and, filmmaker, Harun Farocki. The site will also include essays by Manovich; Marc Lafia, artist / filmmaker and founder of ArtandCulture.com; Norman Klein, critical theorist; and, Geert Lovink, writer and media activist. Artist "Interventions" Eyebeam and Cal Arts have commissioned four artistic interventions to be created in tandem with the online forum. These artistic gestures utilize the web as their medium and will illustrate the various topics discussed in the forum. The works of artists Fakeshop, Yucef Merhi, Marina Zurkow, Carole Kim and Jesse Gilbert, and ENTROPY8zuper! will be featured weekly on the site. About Eyebeam¹s annual online critical forums Eyebeam¹s annual online critical forums, conferences, and subsequent book publications offer historical, theoretical, and critical analyses of art and technology and the digital arts. These programs are intended to address pertinent issues concerning media art and technology through critical and scholarly discourse that begins online, continues in a conference, and is published as a book. Eyebeam's first publication, "Interaction", based on the 1998 forum, was published in May 2001 and "RE:PLAY", based on the 1999 forum, will be published January 2003. About Eyebeam Eyebeam is a not-for-profit media arts organization, which enables and engages cultural dialogue practiced at the intersection of the arts and sciences. Founded in 1996 by independent filmmaker John S. Johnson, Eyebeam is dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre. The Moving Image Division supports the creation of new art forms arising from contemporary advancements in time-based media, in an educational setting where artists of varying skill and experience levels act as resources for one another. For more information on Eyebeam and the online forum, please contact Eyebeam at Tel. 212-252-5193, or by email to perry@eyebeam.org. Additional information is available online at www.eyebeam.org. About The Integrated Media (IM) Program at CalArts The Integrated Media (IM) Program at CalArts is geared for students whose creative work with technology, in particular digital media, extends beyond their original disciplines. Graduate students at CalArts enroll in this program in order to integrate multiple media and disciplines into new forms of expression. Configured as an interdisciplinary arts laboratory, IM combines art, science and technology with a view toward developing fresh creative strategies. The program supports a wide range of projects involving performative and environmental installations, video, sound, music, robotics, gaming, programming, interactivity, computer graphics, and the Internet. Media Sponsor The Annual Eyebeam Online Forum and symposium is made possible with support from media sponsors Artkrush and Artnet. As the primary online art resource company since 1998, Artnet is the place to buy, sell and research fine and decorative arts online. Artnet is comprised of 1,300 gallery sites, over 36,000 art works, 2.4 million auction results, and daily updated magazine content. To visit Artnet, please log onto www.artnet.com. For more information on Artnet, please contact Min Lee at 212-497-9700 ext. 272 or by email at mlee@artnet.com. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 10.28.02 From: A. Cinque Hicks (cinque@cinquehicks.com) Subject: Representin': Digital Artists Confront Race Representin': Digital Artists Confront Race If October's Race in Digital Space 2.0 conference (RDS2.0) tried to accomplish one thing, it was to demonstrate that cyberspace may not be as white, as American or as patriarchal as most people think it is. The conference discussions could never ultimately settle how much cyberspace is still in need of greater diversity versus how much an already diverse cyberspace simply needs better PR. Most likely, it needs both, but it is clear that the problems of race stand at a pivotal juncture in relation to digital space: on the one hand it stands to replicate the history of television-corporate and narrow-on the other, digital space may prove to be something more liberating, more expansive. Held in media-saturated Los Angeles, the conference brought together a couple hundred artists, activists, academics and others with a stake in how cyberspace is used. As an attempt at a theoretical foundation, Jerry Kang, UCLA professor of law, proposed four possible strategies for dealing with race in the brave new world of media convergence, roughly: 1. abolition (ignoring race, a cyberpolicy of "don't ask, don't tell.") 2. integration (the one-big-happy-family model, think multi-racial wine discussion newsgroups) 3. transmutation (passing, or: if I claim to be a North African Bedouin, who are you to say I'm not?) 4. zoning (mixing and matching different strategies in different places) The rest of the conference was of course an exercise in demonstrating that option 4 is already happening. Erik Loyer's online, episodic, interactive narrative "Chroma" (kind of like a wordy, philosophical video game) plays out the complexities of race in a digital world as characters wrestle with the problems of incarnating themselves as digital avatars in a variety of races. How much of race is essence? How much is a secondary byproduct of our physical bodies? At the other end of the spectrum, "Tropical America" starts with a solid grounding in race and history-in this case those of Latin America-and explores the use of gaming as a strategy for telling "alternative" cultural histories. "Tropical America" was conceived and designed by a handful of East LA high school students under the guidance of Onramp Arts and is an object lesson in using comparatively low-tech, even nostalgic technologies as an oppositional strategy of creating content-rich, contextualized narratives. But if the future holds the potential of ever-increasing fluidity and access across race, gender and class boundaries, it also holds the threatening potential for increased repression and violence. In the wake of terrorism in the very seats of global power, the new face of technology is our own: on surveillance videos, in retinal scans, in police super-databases. If this is technological "progress," how does the artist react to this? How does the artist make of digital art, in the words of Ithaca College professor Patty Zimmerman, "a prosthetic of hope and a shockwave for peace?" Is such a thing possible? The digital artist stands in a predicament: how to be conscious of race, nation and history in a medium that so easily slips between the cracks of all three? Artists at the conference's Digital Salons presented a number of possible responses: Pamela Z's haunting soundscapes look at Japanese culture as seen from the outside by a black, American woman. Miranda Zuniga's Vagamundo recasts the beat-'em-up video game genre as exercise in cultural empathy. DJ Spooky's irresistible, beat-laden turntablism complements a philosophy of historical encounters and self-definition as always a performance of the "remix," that is to say, pieces of ourselves can be fluidly reinterpreted, recycled and recontextualized as needed. RDS 2.0 consciously rejected the question of the "digital divide" as too simple a conundrum, too unsophisticated an analysis. Instead, it asks this question to digital artists of conscience: once we get access to technology, how do we use it? Whom do we serve? –Cinque Hicks + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks and money orders may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Contributions are tax-deductible to the extent allowed by law and are gratefully acknowledged at <a rel="nofollow" href="http://rhizome.org/info/10.php">http://rhizome.org/info/10.php</a>. Our financial statement is available upon request. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Rachel Greene (rachel@rhizome.org). ISSN: 1525-9110. Volume 7, number 44. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +