RHIZOME DIGEST: 9.27.02

discussion

Posted Sept. 26 2002 20:00

RHIZOME DIGEST: 9.27.02

RHIZOME DIGEST: September 27, 2002 Content: +opportunity+ 1. Alena Williams: ArtBase Intern +announcement+ 2. Joseph Nechvatal: media_city seoul 2002 3. d-i-n-a: Barcelona *digital-is-not-analog @CCCB* +excerpt+ 4. ricardo dominguez: Blasting War on THING Review +review+ 5. ryan griffis: review, "Day Jobs" +scene report+ 6. Jonah Brucker-Cohen: Report from Ars Electronica + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 9.20.02 From: Alena Williams (alena@rhizome.org) Subject: ArtBase Intern Rhizome is seeking an intern for the Rhizome ArtBase, our online preservation archive of new media art. Intern will assist the ArtBase Coordinator in the processing of art projects in the archive, including the indexing of accepted projects with keywords and other metadata, and maintaining correspondence with artists as needed via email. We are looking for someone who is detail-oriented, uses language with great precision, and has a strong interest in the emerging field of new media preservation. Our ideal candidate has had some prior experience in archiving artworks in a museum or library setting and working with databases, as well as a basic understanding and knowledge of new media art, metadata standards and practices, and Internet technologies. To apply, please email a detailed cover letter and resume to Alena Williams, ArtBase Coordinator at alena@rhizome.org. Hours: 5-10 hours per week, scheduling flexible Notes: Off-site, unpaid + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE NO. 24 OUT NOW** 'Knocking Holes in Fortress Europe', Florian Schneider on no-border activism in the EU; Brian Holmes on resistance to networked individualism; Alvaro de los Angeles on e-Valencia.org and Andrew Goffey on the politics of immunology. More @ <a rel="nofollow" href="http://www.metamute.com/">http://www.metamute.com/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 9.25.02 From: Joseph Nechvatal (joseph_nechvatal@hotmail.com) Subject: media_city seoul 2002 Concept: media_city seoul 2002 Exhibition Overview 1. Title: media_city seoul 2002 2. Period: September 26, 2002 ~ November 24, 2002 (60 days) 3. Place: Seoul Museum of Art 4. Main Theme: Luna¹s Flow 5. Organizer: media_city Team within Seoul Museum of Art 6. Sponsor: Ministry of Culture and Tourism 7. Artists: 80 media artists (about 35 domestic artists and 45 international artists) 8. Contents: Digital Sublime, Cyber Mind, Luna¹s Children, Luna Nova 9. Events: Opening Reception, International Symposium, Seminars, Weekly Events?etc. 10. Artistic Director: Wonil Rhee List of Participating Artists 1. Takashi Kokubo (Japan) 2. Atsuhiro Itoh (Japan) 3. Yasuhiro Suzuki (Japan) 4. Atsuko Uda (Japan) 5. Cao Fei (China) 6. Wang Guofeng (China) 7. Dai Guangyu (China) 8. Yuang Goang-Ming (Taiwan) 9. Tsunamii.net (Singapore) 10. Craig Walsh (Australia) 11. John Tonkin (Australia) 12. Sean Kerr (New Zealand) 13. Peter Robinson (New Zealand) 14. Jennifer Steinkamp (USA) 15. Joseph Nechvatal (USA) 16. Claude Wampler (USA) 17. Eduardo Kac (USA) 18. Ken Feingold (USA) 19. Michael Naimark (USA) 20. Paul Johnson (USA) 21. Robert Lazzarini (USA) 22. Melik Ohanian (France) 23. Jean-Francois Moriceau & Petra Mrzyk (France) 24. Knowbotic Research (Switzerland) 25. Andrew Olssen (England) 26. Sabino D¹Argenio (Italy) 27. Eva Sternram (Sweden) 28. Thomas Stricker (Germany) 29. Wolfgang Herbolt (Germany) 30. Haluk Akakce (Turkey) 31. MVRDV (The Netherlands) 32. Miltos Manetas (Greece) 33. Francois Curlet (Belgium) 34. ANTENNA (Sweden/Japan) 35. Nelson Henricks (Canada) 36. Katarzyna Kozyra (Poland) The main concept of media-city seoul 2002 is "Luna¹s Flow". The Media is compared to the Moon to view the Media and new Technology not as the means of "Conquest" but as a tool to "rebuild" our lost romance. The Media¹s emotional aura with aesthetic imagination is to be suggested in a paradoxical and Neo-Renaissant point of view, through which the loss of the Moon will be cured and the dream of Neo-Transcendentalism will be redeemed on the glaring magic box of the Electro-Regime. For all mankind, the moon had played its role as Utopia offering ceaseless inspirations for myths and legends. Strictly speaking, however, this owes to the light reflected on the moon rather than the moon itself. Although what is actually seen is only a reflection of another source of light, we never bore any doubt about its existence. It means that we have been projecting our hopes and wishes towards the illusion. In a broad sense, this is the procedure of a huge simulation where a Simulacrum of groundless image exceeds the reality as Baudlliard describes. The process of communication between the human being and the moon is like the narcissistic loop explained by MacLuhan, that occurs in TVs and Close Circuits of screens. Illusions produced in the procedure are maximized due to such narcissistic characteristic of the loop and finally surpass the reality. Also, this process of communication carries the quality of the Cybernetic Feedback Loop that occurs through the Computer¹s Mechanism of Control. This reminds us of the Child¹s Captivation in the Image in the Mirror Stage illustrated by Lacan, i.e. the communication process is similar to the phenomenon of Feedback Loop which can be found in a child who is captivated by its own reflection in a mirror. However, actual presence is absent in it and this is one of the characteristics of the simulation of Baudlliard. As the moon has always been a resource of Utopian fantasies filled with myths and legends for the humankind, the exhibition space of media_city seoul 2002 aspires to provide a dream of Terre Nova: the whole new world which hasn¹t been yet reached, still imbued with the mystery of the moon. It will be the beginning point of intellectual explorations to discover the fragments of transcendental experiences in the mysterious settings of the "Techno" not in the traditional space of Euclide. media_city seoul 2002 sets its aesthetic direction towards the "Cyber Sublime". This is to bring up the idea of Neo-Transcendental Utopia as a main discourse in the Cyber Space that is compared to the Moon. The Sublime in the Cyber Space as an inscrutable realm of mystery has a different axis from that of the Modernist concept suggested by Lyotard. The new experience of the Cyber Space bears some similarity with Neil Armstrong¹s experience of the transcendental Sublime on the moon that is beyond words. Although the fantasy of the Lunar Utopia that had been long cherished by the humankind was shattered down with Neil Armstrong¹s first step to the moon (the object of simulacra as a groundless image, as Baudlliard puts), i.e. even after the reality was revealed, he still felt some inexplicable Sublime of transcendence in the cosmic space. In this context, as William Gibson describes the world of virtual reality through the "Neuromancer", we dream of a new Sublime where Neo-Transcendental grounds exceed the Basic Reality by comparing the Cyber Sublime to the transcendental Sublime of the moon. Therefore, this exhibition towards the Cyber Space with dreams of the Transcendence will be the journey to discover and explore the new grandeur Sublime beyond the Lunar Utopia by examining phenomena and potentiality of Neo-Transcendental sensibility. Wonil Rhee Artistic Director media_city Seoul 2002 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Cover the realm of art, science and technology by subscribing to Leonardo Electronic Almanac (LEA). Published by LEONARDO, LEA is the leading monthly on-line peer-reviewed journal and web archive in its field. Subscribe now for $35 per year at <a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/LEA/INFORMATION/subscribe.html">http://mitpress2.mit.edu/e-journals/LEA/INFORMATION/subscribe.html</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 9.26.02 From: d-i-n-a (dina@d-i-n-a.net) Subject: Barcelona *digital-is-not-analog @CCCB* *digital-is-not-analog @CCCB* art, surveillance, hacktivism, culture jamming, construction of the present // 4 meetings October 4-5, November 9-10 2002 Centro de Cultura Contemporanea Barcelona (CCCB) calle Montalegre 5 - Barcelona, Spain <a rel="nofollow" href="http://d-i-n-a.net/dina/cccb02.html">http://d-i-n-a.net/dina/cccb02.html</a> + + + + + Digital-is-not-analog @CCCB: a series of 4 meetings organized in conjunction by d-i-n-a collective (<a rel="nofollow" href="http://d-i-n-a.net">http://d-i-n-a.net</a>) and the CCCB (<a rel="nofollow" href="http://www.cccb.org">http://www.cccb.org</a>). The focus of the meetings is on 4 projects started in the last few years, that standed out for their unexpected and provocative infiltration within contemporary communication technologies and styles. The four invited guests are Surveillance Camera Players (New York), Ubermorgen (Wien/Sofia), Casseurs de Pub (Lyon) and Electronic Disturbance Theater (New York). Since the mid 90s, the wide diffusion of basic digital communication tools and their exploitation made new forms of creation possible within the aesthetical and social innovation processes. While different cultures such as social activism, visual and performance arts, radical and utopic research on electronical media always shared a largely common (but often unacknowledged) background, in the 90s they experimented new connections on a technological basis. The result today are projects that may be classified by different labels (hacktivism, tactical media, culture jamming between others), but that perform a similar way of acting as viral entities in the contemporary mediascape. Digital-is-not-analog @CCCB is meant to give the opportunity of meeting some of the protagonists of that scene (some them are presenting their work for the first time in Barcelona), but it also aims to be a contribution in the very identification of that emerging scene. The 4 meetings are part of the local events program in preparation of the Next5Minutes 4 festival, Amsterdam, May 2003 (<a rel="nofollow" href="http://www.n5m.org">http://www.n5m.org</a>). + + + + + Programme Friday Oct 4th, 22h Centro de Cultura Contemporanea - Sala Mirador Bill Brown from SURVEILLANCE CAMERA PLAYERS NY <a rel="nofollow" href="http://www.notbored.org/the-scp.html">http://www.notbored.org/the-scp.html</a> Saturday Oct 5th, 22h Centro de Cultura Contemporanea - Sala Mirador Hans_extrem from UBERMORGEN <a rel="nofollow" href="http://www.ubermorgen.com">http://www.ubermorgen.com</a> Saturday Nov 9th, 22h Centro de Cultura Contemporanea - Aula 1 Benjamin Brugère from CASSEURS DE PUB <a rel="nofollow" href="http://www.antipub.net">http://www.antipub.net</a> Sunday Nov 10th, 22h Centro de Cultura Contemporanea - Aula 1 Ricardo Dominguez of ELECTRONIC DISTURBANCE THEATER <a rel="nofollow" href="http://www.thing.net/~rdom">http://www.thing.net/~rdom</a> The 4 nights will be opened by ARCHIVO BABILONIA, a video documentation project about everyday media visionaries, freaks and (mis)users, collected and edited by OVNI Archives, Barcelona (<a rel="nofollow" href="http://www.desorg.org">http://www.desorg.org</a>). + + + + + <a rel="nofollow" href="http://d-i-n-a.net/dina/cccb02.html">http://d-i-n-a.net/dina/cccb02.html</a> <a rel="nofollow" href="mailto:dina@d-i-n-a.net">mailto:dina@d-i-n-a.net</a> Local infos: CCCB (+34)933064100 // <a rel="nofollow" href="http://www.cccb.org">http://www.cccb.org</a> Press Office: Monica Muñoz <a rel="nofollow" href="mailto:mmunoz@cccb.org">mailto:mmunoz@cccb.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 9.24.02 From: ricardo dominguez (rdom@THING.net) Subject: Blasting War on THING Review Blasting War Text of a Paper Delivered at Digital Terror: An International Workshop of Artists and Scholars Sponsored by Ctheory Multimedia and the Rose Goldsen Lecture Series Cornell University September 21, 2002 by Patricia R. Zimmermann - 09/26/2002 THING.Reviews [columns] <a rel="nofollow" href="http://bbs.thing.net">http://bbs.thing.net</a> I want to thank Professor Tim Murray for inviting all of us to this Digital Terror Workshop. It is an honor to be among artists and scholars who are, together, working to interrupt the networks, codes, and representations of war and terror to imagine that in some unknowable future, our work may not be necessary. It is also wonderfully reassuring in these isolating, churning times to undertake this session with my friend and comrade Professor Rebecca Schneider. Thank you, Tim and the late Rose Goldsen, a tireless media dissident, for convening us. Mohsen Mahkmalbaf, one of the important lyrical film directors of the Iranian new wave, published a powerful essay in Monthly Review last year called The Limbs of No Body. He described the destruction of Afghanistan over the last twenty years. The body of the world amputated Afghanistan. In this time of digital terror, various email snooping and commercial digital data mining technologies have been justified and mobilized by the USA Patriot Act. The digital in this paranoid, authoritarian era is being used to disembody and to disempower. Today, I want to turn this around to reembody and reempower our politics, our analysis, our digitality, our critical art. Therefore, we must resist any and all architectures of disembodiment which remove labor from manufacturing in the global economy, war from geography, privacy from security, gender from race, dissent from justice. These ideas, and all of us gathered here today, are limbs of one body, the phrase over the portal to the United Nations. Our point of reference in this chaotic, endlessly morphing swirl of phantasmatic nationalist discourse is quite simple: we are dead, or we are alive. We must issue a call to humanity, not as some universalized abstraction, but as a specific dialogic action across and with difference. We must look to our humanity in and with others across the globe, and find them human. And we must look to the dead, everywhere, not just here, and forge connection. The people dead from AIDS in sub-Saharan Africa each day equal the dead of two September 11ths. We need to see, to really see, and then to see more, through a digital viewing of all of the complicated, messy, invisible politics that evades us. We can choose: we are limbs of no body. Or we are limbs of one body. More *Blasting War* on <a rel="nofollow" href="http://bbs.thing.net">http://bbs.thing.net</a> Don't Forget to Also Check Out: "The Pinochet Case" Directed and written by Patricio Guzmán First Run Icarus Films 110 min, 2001 Showing at Film Forum September 11th - 24th, 2002 John Menick - 09/17 [media] The Pleasure of Language Text and art in the Netherlands Media Art Institute/Montevideo/Time Based Arts Keizersgracht 264, Amsterdam August 24 - September 28, 2002 A review Josephine Bosma - 09/05 [art] <a rel="nofollow" href="http://bbs.thing.net">http://bbs.thing.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 9.25.02 From: ryan griffis (grifray@yahoo.com) Subject: review, "Day Jobs" Review ³Day Jobs² New Langton Arts, San Francisco, CA <a rel="nofollow" href="http://www.newlangtonarts.com">http://www.newlangtonarts.com</a> ³? we live in a society that is increasingly shaped by events in cyberspace, and yet cyberspace remains, for all practical purposes, invisible? the most dynamic and innovative region of the modern world reveals itself to us only through the anonymous middlemen of interface design.² Steven Johnson (Interface Culture) ³… if network_art_activism begins to establish stronger ties with the previous generations of artists who have faced the dismantling of the political in art both in the North and the South so that this very immature form which is net.art can gain a sense of history about institutional critique, in order to develop both a deeper aesthetic and historical knowledge about what other artists have done before history was erased by the digital hype.² Ricardo Dominguez (interview with Coco Fusco, Mute Magazine) ³Day Jobs,² the new show of networked art at San Fran¹s New Langton Arts, represents the work of four web-based artists in an attempt to contextualize current net.art production. This is accomplished (arguably) by contrasting and comparing these artists¹ works performed as employment against that done with artistic intentions. The stated goal is to define net.art as a definitive genre, one closely related to (dependent on?) the more overtly commercial applications of the Web. In ³Day Jobs,² the works are to be represented in a novel manner (sans the usual art historical lineage model)- in order ³to shed light on the influences and conditions in which digital media art in created.² The connections established between the two different aspects of new media production (art and industry), however, seem dependent on the same traditional personality-based readings familiar to art history. So, what we end up with is a strangely decontextualized reading of both the ³commercial² and ³artistic² products in question. The works of Maya Kalogera and Jody Zellen seem to fit the curator¹s model most aptly, as their work has some of the traditional notions of separation between day and night jobs. Here, we¹re presented with the familiar story of the artist-craftsperson dichotomy, where the worker utilizes similar skills in the pursuit of different objectives. In this instance, the web designer adapts images, code, and style from one endeavor to assist in the creativity of the other. The artists¹ roles as both artist and craftsperson is narrated by ³Day Jobs² with a biographical tone ( <a rel="nofollow" href="http://www.coyoteyip.com/bio.html">http://www.coyoteyip.com/bio.html</a> ), speaking of the positive influence each part of their professional lives benefits from the other. I can¹t help but see the resemblance between this construction of new media workers (paint monkeys and programmers) and the older vision of the creative individual amongst the otherwise anonymous workforce. Bringing capitalism¹s (and the art world¹s) fetish for individualism and creativity as productive byproducts of competition into the digital age. The other two artists in the show present a more problematic instance of net.workers for the exhibit, but still become consumed by the drive for normalization, and in some ways assist it. Valery Grancher is represented on the one hand by a project completed for UC Berkeley¹s Art Museum with student participation, and on the other by a project to archive lectures by Roland Barthes. Interestingly, much emphasis is placed on a contract developed by Grancher to sell the Berkeley project to the school. The person archiving some of Barthes work, the author of Death of the Author, is credited with developing a means for net.artists to be recognized as authors. Whatever the specifics are for Grancher¹s contract and its relationship to ³community², this brings net.art closer to previous forms of art that is, more like a tradable commodity with all the trappings ( <a rel="nofollow" href="http://www.archimuse.com/mw99/papers/rinehart/rinehart.html">http://www.archimuse.com/mw99/papers/rinehart/rinehart.html</a> ). Mark Tribe, the originator of Rhizome.org, is represented by that project as both instances in the artist¹s professional life. Referencing Joseph Beuys¹ practice of ³social sculpture,² Tribe makes the separation between work, play, and politics the subject of discussion. The ³work² is both the concept and execution of Rhizome as artwork and as a functioning non-profit, with stakes being real for both. Not unlike other versions of social sculpture, Mierle Ukeles and the Christos comes to mind, the work is as much in the social network as in the tangible things produced. But there are some conceptual problems here, not just with Tribe¹s work, but with the concept and practice of social sculpture in general, at least the dominant versions of it. The notion that an artist can perform the same work done by many, while claiming notoriety and novelty seems a bit patriarchal the artist becomes self-conscious CEO. In the least, it seems to overlook the status required for such a transformation of labor into something with both symbolic and exchange value. This is not to say that the practice can¹t be useful, only that it raises new problems in its attempt to deal with others, and is often cloaked in neo-utopian rhetoric. The major question I have regarding ³Day Jobs² is: ³Why make the distinction between artwork and employment at all?² How new of an approach can it be to separate the work done by artists based on whether or not it¹s employment. How do commissions fit in, especially since more and more net.artists (at least the big names) produce in such a manner. And what about the growing shift in programming labor from the North/West to the recolonized South/East and the art reverberating in between that reality. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 9.24.02 From: Jonah Brucker-Cohen (jonah@coin-operated.com) Subject: Report from Ars Electronica Report from Ars Electronica Linz, Austria September 7 - 12, 2002 If you walked barefoot into the lounge at the O.K. center in Linz this week, you might think you reached the beach of the future. Instead of sand, millions of tiny plastic beads lined the floor of this blacklight neon room with low cushions and a fleet of laptops displaying net art projects. This year's Ars Electronica took the theme "Unplugged: Art as the Scene of Global Conflicts" a metaphor for the state of post 9/11 artistic practice amid an international climate of political tension surrounding globalization, terrorism, and threats of war. As it was my first visit to Ars, I tried to inhale as much stimuli as possible without suffering my own blue screen of death. The festival consisted of 8 venues scattered throughout the smog-infested, small town of Linz. The museum built specifically for electronic art, the Ars Electronica Center (AEC), is a fairly antiseptic space, and this year hosted the "Hidden Worlds" exhibit featuring Golan Levin's "Hidden Worlds of Noise and Voice." An augmented reality simulation that pinpoints the location of audible sounds and through display goggles renders 3D worm-like colors emanating from the source of the sounds. The project gave everything from high-pitch squeals to bass thumping burps a virtual counterpart. Also at AEC was Motoshio Chikamori and Kyoko Kunoh's "Tools Life" an interactive installation consisting of various tools (e.g., hammers, cheese graters) that launch animations in the object's shadow when touched. The focus of the work was to illuminate and display invisible data layers moving within physical space. The more spacious O.K. Center hosted the honorable mentions and winners in the CyberArts category, which focused on themes of simulation and representation. Golden Nica winner, David Rokeby's "n-cha(n)t" asked what it would sound like if a network of computers chanted in unison - computers hanging from the ceiling use speech recognition technology to transform visitor's vocal input into lyrics. Taking telepresence to sonic heights, was Atau Tanaka and Kasper Toeplitz's "Global String," a long steel cable stretching from floor to ceiling connected to another cable's resonant sound frequencies over the Internet. Also inspired by physical movement through spatial mapping, "Body Brush" developed by a group from Hong Kong, generated a colorful 3D landscape through "Digital Action Painting" where visitors could dance on the floor while their movements and gestures are tracked in space. The crowd pleaser was Volker Morawe and Tilmann Reiff's "PainStation", a rendition of Pong in an armored cabinet where users have to place their hands on elements that quickly heat up or be whipped by motorized strings if they miss the ball with their paddle. In effect, the threat of physical harm provided a compelling incentive to engage strangers in the game. The festival's defining strength seemed to be embedded in the energy and rawness of the performances. Japan's 66b/cell group upstaged most of the events with its epic show at the Peter Behrens Haus featuring alien-like costume design, embedded LED clothing, perfect projection synchronization with dance moves, techno beats, and a dancer painted in gold with long spikes emanating from the tips of his fingers. Similarly, "Vivisector" by Klaus Obermaier and Chris Haring featured dancers moving within video projections and shifting their bodies to distort and shape incoming light movements. Rounding out the live events was the "Gameboyzz Orchestra Project", a collection of six on-stage practitioners creating 8-bit console sounds through customized sequencers connected to drum machines. The symposium's focus on global conflict and media representation post 9/11 turned into a backlash against the political motivations of the exhibited art. Was the art political? Did it have a social message? If so, does this quality make it more or less valuable? Of the winners, Rafael-Lozanner Hemmer's full scale "Body Movies" installation addresses the relational structures between urban landscapes and the people inhabiting them. His project raised the questions: "What is a city today? When does it begin an when does it end?" The answer seems to be based more on psychology than physical boundaries since everyone who answered seemed to have a different opinion. In Net Vision, RSG's Carnivore project looked at the political junction of art and government surveillance and how public networks can be manifested through artistic output with real-world input. Also looking at public space was It's Alive's mobile phone, location-based, pervasive game "Bot-Fighters," which tracks the relative position of people through a city, and engages them in a combat simulation as a robot avatar. Basing game play on fears of surveillance and tracking, the project transforms public space into a recreational arena similar to earlier, localized games like Laser-Tag. Ars Electronica, billed as the decisive festival for digital creativity, remains an important milestone for artists working in this realm. Despite its ambition to be a global leader in the recognition of digital arts, Ars seems still receptive to having artists develop its identity. Whether it's sifting through packets of people's email in the Brucknerhaus with Carnivore or relaying spliced audio and data clips throughout the city with the Radiotopia project, there's a major attempt to use the existing infrastructure of the city and its inhabitants for creative realization. In the digital domain, the aesthetic pressures of the professional art world are present but less obtrusive. There's still no Michelangelo of digital art and that's a good thing. It might be because the promise of artistic perfection is only upstaged by the realization that failure is more interesting. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Jonah Brucker-Cohen | Sugar House Lane Research Fellow | Bellevue Media Lab Europe | Dublin 8, Ireland ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ (w) +353 1 4742853 (m) +353 1 087 7990004 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ <a rel="nofollow" href="http://www.coin-operated.com">http://www.coin-operated.com</a> <a rel="nofollow" href="http://www.coin-operated.com/projects">http://www.coin-operated.com/projects</a> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 39. 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>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +