RHIZOME DIGEST: 11.07.03

discussion

Posted Nov. 6 2003 19:00

RHIZOME DIGEST: 11.07.03

RHIZOME DIGEST: November 7, 2003 Content: +announcement+ 1. Marc Garrett: DMZ Media Arts Festival 2. Andrea Blum: Women, Art, and Technology published by MIT Press and Leonardo +opportunity+ 3. Dean Terry: Faculty Positions at The University of Texas at Dallas 4. Mark Tribe: Computing Culture Group @ MIT Media Lab now accepting application 5. Rachel Greene: Moderator - Eyebeam Distributed Creativity Forum +work+ 6. Nilo Casares: [info] barcelona meeting point +feature+ 7. Abe, Jim Andrews, Curt Cloninger, M. River: net.art education and its contents + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 11.03.03 From: Marc Garrett (marc.garrett@furtherfield.org) Subject: DMZ Media Arts Festival DMZ Media Arts Festival @ Limehouse Town Hall on 14th and 15th November 2003 (see www.dmzlondon.net) You are invited to join the firewall-free mapping of media arts in London. DMZ is a two-day open festival celebrating the diversity of screen based and network based cultural practice in London with an exhibition, screenings, talks, installations, wireless networks, net art, live performances, workshops, stalls and a tea lounge as chill out zone. 'DMZ' - the demilitarised zone - articulates the space where communication, exchange and experiment are seeded, grown and harvested in public. The progress of inspirational ideologies, diverse influences and convergant energies map themselves to the city terrain, reshaping the environment, rejuvenating hope and breeding optimism.' James Stevens, ORG. DMZ participants: ambientTV.net, a.b.a.k.e, Bureau of Inverse Technology, Amy Cunningham, Corby and Bailey, Digital Guild, Furtherfield, Simon Faithful, Pete Gomes, Hi8us, Mervin Jarman, The London Particular, Low-Fi, The Light Surgeons, MAP, Mute Magazine, onedotzero, Pirate TV, Proboscis, SPC, Talkaoke, Thomson and Craighead and many more DMZ information: 14. / 15. November, from 11 am to 6pm Limehouse Townhall 646 Commercial Road London E14 7HA Nearest Tube: Limehouse DLR Bus Routes: 15, 115, D6, D3 Parking: Pay and display area behind town hall. Access: Please email to make special arrangements. There is no ramp or lift at Limehouse Town Hall; Email Sandra Ross or Simon Gould on dmz@spc.org DMZ Media Arts festival is supported by Arts Council England and Film London. For updates and more detailed program, go to www.dmzlondon.net. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 11.05.03 From: Andrea Blum (isast@well.com) Subject: Women, Art, and Technology published by MIT Press and Leonardo *apologies for cross posting* MIT Press and Leonardo/ISAST announce publication of Women, Art, and Technology Edited by Judy Malloy Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice. The book features overviews of the history and foundations of the field by critic/curator Patric Prince; critic Margaret Morse; artist/educator Sheila Pinkel; artist/networker Anna Couey; and Kathy Brew, artist and former director of the new media initiative ThunderGulch. The foreword was written by Patricia Bentson, managing editor of the Leonardo Music Journal. Artist contributors include computer graphics artists Rebecca Allen, Donna Cox, and Diane Fenster; video artists Dara Birnbaum, Joan Jonas, Valerie Soe, and Steina Vasulka; composers Cécile Le Prado, Pauline Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth Hazen, Agnes Hegedüs, Lynn Hershman, Nancy Paterson, and Sonya Rapoport; virtual reality artists Char Davies and Brenda Laurel; net artists Monika Fleischmann and Wolfgang Strauss, and Sandy Stone; and choreographer Dawn Stoppiello. Critics include Jaishree Odin, Simone Osthoff, and Zoë Sofia. Editor Judy Malloy is an electronic fiction and Internet pioneer and editor of the electronic publication NYFA Current (formerly Arts Wire Current). Follow this link to order Women, Art, and Technology from Amazon: <a rel="nofollow" href="http://www.amazon.com/exec/obidos/ASIN/0262134241/leonardoonlin-20">http://www.amazon.com/exec/obidos/ASIN/0262134241/leonardoonlin-20</a>. The complete table of contents, articles not included in the book and links to new works in the field are available on the book¹s website at <a rel="nofollow" href="http://www.judymalloy.net/newmedia">http://www.judymalloy.net/newmedia</a>. Leonardo/The International Society for the Arts, Sciences, and Technology (ISAST) serves the international arts community by promoting and documenting work at the intersection of the arts, sciences, and technology, and by encouraging and stimulating collaboration between artists, scientists, and technologists. For further information, go to www.leonardo.info . + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.31.03 From: Dean Terry (dean@deanterry.com) Subject: Faculty Positions at The University of Texas at Dallas The University of Texas at Dallas Tenure-track, Open Rank Faculty Positions in Arts and Technology The School of Arts and Humanities at The University of Texas at Dallas invites applications for three tenure-track positions (rank open) in a new interdisciplinary program in Arts & Technology that focuses on the productive interaction of technology and the creative arts and the humanities. Currently offering the B.A., M.A., and M.F.A. (with plans to add a Ph.D.), the program focuses on the creation, application, and cultural implications of interactive digital content. Successful candidates will have an appropriate terminal degree, evidence of scholarly and/or artistic excellence, commitment to interdisciplinary education, and willingness to help build an innovative academic program that complements the current degrees (B.A., M.A., Ph.D.) of an interdisciplinary school built on three interrelated areas: Literary Studies, Historical Studies, and Aesthetic Studies. Appointment effective September 1, 2004. Applications in the following areas are sought: Media Studies (Search 1019): Expertise in the history, esthetics, ethical implications, and/or philosophy of technological innovation in general and specifically of the new media that have emerged from the convergence of computing and media technologies. Game Studies and Interactive Narrative (Search 1018): Expertise in research and production in digital games, interactive narrative or drama, interactive television, virtual or augmented reality, time-based interactive installations, and/or media theory. Preference to candidates who have created original work in interactive genres and who are prepared to teach core digital courses at both undergraduate and graduate levels. Computer Animation (Search 1017): Expertise in computer animation research as well as experience in the design and development of animations for various applications, including games and entertainment, training, immersive research, special effects and/or interactive publications. Experience with MAYA and other professional animation software is required. Send letter of application, curriculum vitae, three letters of recommendation, and a sample of work (pointer to an online portfolio preferred) to: Academic Search # (see above), The University of Texas at Dallas, P.O. Box 830688, MS AD 23, Richardson, TX 75083-0688. Review of applications will begin December 15, 2003. Indication of sex and ethnicity for affirmation action statistical purposes is requested but not required. The University is an EO/AA employer and strongly encourages applications from candidates who would enhance the diversity of its faculty. For information about UTD, see <a rel="nofollow" href="http://www.utdallas.edu">http://www.utdallas.edu</a> About A&H, see <a rel="nofollow" href="http://www.utdallas.edu/dept/ah">http://www.utdallas.edu/dept/ah</a> About Arts & Technology, see <a rel="nofollow" href="http://iiae.utdallas.edu">http://iiae.utdallas.edu</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 11.02.03 From: Mark Tribe (mt@rhizome.org) Subject: Computing Culture Group @ MIT Media Lab now accepting application From: Christopher P. Csikszentmihályi (csik AT media.mit.edu) The Computing Culture research Group is now accepting applications for admission in the Fall of 2004. CCG is an art/technology/activism research group within the MIT Media Lab. Recent projects have included the DJ I Robot Sound System, Government Information Awareness, Critical Cartographies, Doom Monitor, Haptic Opposition, and the Afghan Explorer. Researchers in the group have shown and presented work from Soho to Singapore. The group is accepting several students for the two-year, funded Master of Science program. Applicants from any nation may apply. Computing Culture is based on the premise that artists can and should invent technologies. We are less interested in using existing technologies for expression than in authoring new ones, ones that might be overlooked by the market or the interests of science and engineering practice. Our research results in specific works of art, but also helps further an understanding of the relationships between art, technology, and cultural production. Some of the strategies that we practice include interventions in contemporary consumer electronics, creating special events for public situations, and applying technical development to cultural agendas that wouldn't normally receive it. Our emphasis is on physically and spatially embodied (rather than screen-based) projects, and work that engenders technology with significant social agency. Prospective applicants may be trained in either art, humanities, science, or engineering, but should show crossover. For instance, an art or humanities student should ideally be an accomplished programmer, have machining skills, and be able to design and fabricate electronics. An engineering student should have done several art projects, worked with a professional artist, or shown their ability to author radical or unexpected technologies. Those without a combination of technical and critical skills need not apply. Applications are due December 15th. A portfolio of previous works is required. Information on how to apply may be found at <a rel="nofollow" href="http://www.media.mit.edu/mas/apply.html">http://www.media.mit.edu/mas/apply.html</a>. More information about the group may be found at our somewhat pathetic web site, <a rel="nofollow" href="http://compcult.media.mit.edu/">http://compcult.media.mit.edu/</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 11.05.03 From: Rachel Greene (rachel@rhizome.org) Subject: Moderator - Eyebeam Distributed Creativity Forum Hi – Some of you may recall that Eyebeam invited Rhizomers to participate in an online forum on Distributed Creativity (see below for more information). There is a week duration in late November/early December in which the Distributed Creativity discussions will take place on Rhizome Raw (along side regular Raw happenings). According to Eyebeam, the moderator's responsibilities are to: * stir the conversation for that week * point people to look at art works for examples on Eyebeam's forum website * ask questions, engage participants * perhaps do one post a day during the seven day tenure I am looking for Moderators for the Rhizome Raw week – November 28- December 4. There is a stipend ($200) for moderators so if you're interested in this project please email me with DC Moderator in the Subject Line and let me know why you would be willing to take on this responsibility. If you want to detail moderation experience that is welcome also. There is additional information on Distributed Creativity here: <a rel="nofollow" href="http://www.eyebeam.org/distributedcreativity">http://www.eyebeam.org/distributedcreativity</a> Best, Rachel Begin forwarded message: ) From: "Beth R." (bethr@eyebeam.org) ) Date: Tue Nov 4, 2003 3:25:04 PM US/Eastern ) To: Rachel Greene (rachel@rhizome.org) ) ) ) d i s t r i b u t e d c r e a t i v i t y ) An Online Forum ) Presented by Eyebeam and Still Water @ the University of Maine ) Nov 12-Dec 19, 2003 ) www.eyebeam.org/distributedcreativity ) ) Artists are organizing impromptu street actions by mobile phone, ) musicians ) are repurposing peer-to-peer applications for artistic ends, and ) programmers ) are distributing electronic toolkits to help artists leap from code to ) creation. ) ) Distributed Creativity, Eyebeam's sixth annual online forum, ) investigates ) new paradigms for artmaking that take advantage of mobile and ) distributed ) technologies such as WiFi, Weblogs, Wikis rich Internet applications, ) voice ) over IP and social software. ) ) Forum co-hosts, panelists and public participants from around the ) world, ) including Creative Commons, DATA, Fibreculture and Rhizome will ) discuss the ) artistic, legal, technical and social dynamics of creative networks ) small ) and large. ) ) All topics focussed on this question: What kinds of innovations are ) required ) to sustain or support Distributed Creativity? ) ) Topic 1 Nov 12-19 ) Copyleft, Right & Center: Innovations in Law w/ Creative Commons ) ) Topic 2 Nov 20-27 ) Mobile Creativity: Innovations in Technology w/ DATA ) ) Topic 3 Nov 28-Dec 4 ) Digital Karma: Innovations in Ethics w/ Rhizome ) ) Topic 4 Dec 5-11 ) Whose Version?: Innovations in Authorship w/ Fibreculture ) ) Topic 5 Dec 12-17 ) Mod the Market: Innovations in Commerce ) ) Wrap Up Dec. 17-19 ) ) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 11.03.03 From: Nilo Casares (nilo.casares@uv.es) Subject: Nilo Casares: [info] barcelona meeting point //////////////english bellow////////// asunto: _barcelona meeting point_ [en el contexto de _fotonoviembre 2003_ (<a rel="nofollow" href="http://www.ctv.es/user/sss/fotonoviembre/home.html">http://www.ctv.es/user/sss/fotonoviembre/home.html</a>)] presenta jodi.org (<a rel="nofollow" href="http://wrongbrowser.jodi.org/">http://wrongbrowser.jodi.org/</a>) retroyou.org (<a rel="nofollow" href="http://www.retroyou.org/">http://www.retroyou.org/</a>) 0100101110101101.org (<a rel="nofollow" href="http://www.0100101110101101.org/home/hybrids/00009/index.html">http://www.0100101110101101.org/home/hybrids/00009/index.html</a>) tres net.artistas de distinta procedencia coinciden en la misma ciudad, y en un parecido interés por despiezar el medio. comisario: nilo casares inauguración: 20h30m/07.11.03 fechas: 08.11.03-10.12.03 en: círculo de bellas artes de santa cruz de tenerife calle castillo, 45. t: +34 922246496 horario: lunes a viernes, de 11h00m a 13h00m y de 18h00m a 21h00m sábados, de 11h00m a 13h00m y de 18h00m a 20h00m cuerpo: primero aparece el dúo flamenco (belga-holandés) jodi.org reconocidos en el net.art por unas composiciones que lo confunden todo al dejar el código tiritando después de darle unas buenas hostias y a ti como un papanatas que mira por primera vez una pantalla tan llena de cosas que sólo te queda el recurso a la navegación ciega. son tan conocidos en la escena del net.art que muchos artistas componen a la jodi, moviéndose entre el ruido del spam y el software de autor para aplicaciones inútiles. con posterioridad, retroyou.org, éste sí catalán, sin dejar sus responsabilidades en ovni (observatorio de vídeo no identificado), llega al net.art para desarmar los videojuegos (como niño que rompe sus juguetes) en un intento por debelar lo que oculta la programación y transformar el original en algo muy distinto, después de hacerlo añicos y enfrentarnos a toda la maraña de rutinas que constituye la arquitectura interna de los sueños y que no es otra que una ristra lingüística interminable de la que nos falta la clave. más tarde aparca en la ciudad el dúo italiano 0100101110101101.org, representando el plagiarismo, el copyleft, el hacktivismo, el anonimato transparente, la filiación nominal múltiple (del luther blissett project), las atribuciones erróneas y otras bromas con las que contribuyen a mostrarnos cómo la inet es el lugar menos adecuado para el anonimato, una transparencia en la que insisten al abrirnos su ordenador personal para que no entremos por las malas o mostrarnos el rastro que van dejando por el gps y demostrar que estamos conectados, vaya localizados. estos tres artistas (para la ocasión tanto jodi.org como 0100101110101101.org deben ser considerados como sujetos) coinciden en barcelona y, desde esta ciudad desarrollan unas obras corrosivas que se alejan del net.art de guante blanco o de un web.art que, fascinado con los éxitos de interfaz, olvida que nos tienen cogidos por el código. /////////arriba español////////// subject: _barcelona meeting point_ [as a part of _fotonoviembre 2003_ (<a rel="nofollow" href="http://www.ctv.es/user/sss/fotonoviembre/home.html">http://www.ctv.es/user/sss/fotonoviembre/home.html</a>)] presents jodi.org (<a rel="nofollow" href="http://wrongbrowser.jodi.org/">http://wrongbrowser.jodi.org/</a>) retroyou.org (<a rel="nofollow" href="http://www.retroyou.org/">http://www.retroyou.org/</a>) 0100101110101101.org (<a rel="nofollow" href="http://www.0100101110101101.org/home/hybrids/00009/index.html">http://www.0100101110101101.org/home/hybrids/00009/index.html</a>) three net.artists of varying origin meet up in the same city, each sharing a similar interest in slicing up fear. curator: nilo casares opening: 20h30m/07.Nov.03 dates: 08.Nov.03-10.Dec.03 in: círculo de bellas artes de santa cruz de tenerife calle castillo, 45. t: +34 922246496 open: monday through friday, from 11h00m to 13h00m and 18h00m to 21h00m saturdays, from 11h00m to 13h00m and from 18h00m to 20h00m body: first on the scene is the flemish (belgian-dutch) duo jodi.org, known in net.art for a series of compositions that turn everything upside down and set the code in a spin, giving it such a bollocking that it leaves you standing like a half-wit staring for the first time ever at a screen so packed full of stuff that the only thing left to do is to carry on blindly surfing. they are so well known on the net.art scene that many artists create á la jodi, moving somewhere between the commotion provoked by spam and author software designed for a whole range of useless applications. some time later, retroyou.org, who this time really are of catalonian origin, despite remaining true to their responsibilities to uvo (the unidentified video observatory), come to net.art determined to pull the plug on video games (like the child intent on pulling his toys to pieces), in an attempt to smash apart all that is concealed under a layer of programming and transform the original into something different, once it has been smashed into smithereens and we have dealt with the entangled routines involved in the architecture of dreams, really nothing more than an endless linguistic chain with the vital link missing. later on the italian duo 0100101110101101.org would arrive in the city, representing plagiarism, copyleft, hacktivism, transparent anonymity, multiple nominal affiliation (from the luther blissett project), erroneous attributions and other jokes they use to show us that the inet is a most unsuitable site for those desperate for anonymity, as they insist on using its see-through quality to open up their pc, effectively stopping us from logging in on the sly or showing us the trail they leave behind on the gps, proving that we are indeed connected, or to put it another way, well and truly taped. these three artists (and on this occasion both jodi.org and 0100101110101101.org must be seen as subjects) have come together in barcelona, a city from which they are creating a series of corrosive works that are gradually distancing themselves from kid glove net.art or web.art that is so mesmerised by the success of the interface that it has forgotten that they have us well and truly by the binary code. – copyleft (todos os direitos ao reves) by nilo casares beijos em espiral:: besos en espiral:: besades en espiral:: baisers en spirale:: baci a spirale:: spiral kisses :: spiral kyssar:: spiraalzoenen:: pocalunki spiralowe /////////////////////////// olho=atencao \\\\\\\\\\\\\ para mensagens com adjuntos >1mb nilo.casares @ ono.com (sem espacos) aviso previo do envio ao nilo @ uv.es (sem espacos) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 10.21.03-11.06.03 From: Abe (abelinkoln@hotmail.com), Jim Andrews (jim@vispo.com), Curt Cloninger (curt@lab404.com), M. River (mriver102@yahoo.com) Subject: net.art education and its contents Abe (abelinkoln@hotmail.com) posted: <a rel="nofollow" href="http://lab404.com/373/">http://lab404.com/373/</a> <a rel="nofollow" href="http://supermodem.org/infopol/">http://supermodem.org/infopol/</a> <a rel="nofollow" href="http://www.altx.com/nd/syllabus.html">http://www.altx.com/nd/syllabus.html</a> <a rel="nofollow" href="http://nothing.org/netart_101/syllabus.htm">http://nothing.org/netart_101/syllabus.htm</a> <a rel="nofollow" href="http://www.calarts.edu/~bookchin/net.art_syllabus.html">http://www.calarts.edu/~bookchin/net.art_syllabus.html</a> <a rel="nofollow" href="http://www.manovich.net/VIS159_winter03_syllabus.html">http://www.manovich.net/VIS159_winter03_syllabus.html</a> <a rel="nofollow" href="http://www.arts.ucsb.edu/faculty/jevbratt/classes/arts22/">http://www.arts.ucsb.edu/faculty/jevbratt/classes/arts22/</a> <a rel="nofollow" href="http://homepages.nyu.edu/~ag111/syllabus-Impacts-fall03.doc">http://homepages.nyu.edu/~ag111/syllabus-Impacts-fall03.doc</a> <a rel="nofollow" href="http://www.maryflanagan.com/courses/2003/webpro1/index.htm">http://www.maryflanagan.com/courses/2003/webpro1/index.htm</a> <a rel="nofollow" href="http://ocw.mit.edu/OcwWeb/Media-Arts-and-Sciences/">http://ocw.mit.edu/OcwWeb/Media-Arts-and-Sciences/</a> MAS-961Designing-Sociable-MediaSpring2001/CourseHome/index.htm + + + Jim Andrews (jim@vispo.com) replied: a different set of courses: <a rel="nofollow" href="http://www.infocom.cqu.edu.au/Courses/2003/T2/MMST12005/Course_Site/">http://www.infocom.cqu.edu.au/Courses/2003/T2/MMST12005/Course_Site/</a> study_guide.shtml <a rel="nofollow" href="http://mason.gmu.edu/%7Edtaciuch/343.html">http://mason.gmu.edu/%7Edtaciuch/343.html</a> <a rel="nofollow" href="http://www.glue.umd.edu/%7Eflores/syllabus.html">http://www.glue.umd.edu/%7Eflores/syllabus.html</a> <a rel="nofollow" href="http://www.waikato.ac.nz/film/2003papers/205B/205Blinks.html">http://www.waikato.ac.nz/film/2003papers/205B/205Blinks.html</a> <a rel="nofollow" href="http://english.ucsb.edu/courses/dept_schedule.asp?CourseID=113">http://english.ucsb.edu/courses/dept_schedule.asp?CourseID=113</a> <a rel="nofollow" href="http://wings.buffalo.edu/epc/authors/glazier/syllabi/584/">http://wings.buffalo.edu/epc/authors/glazier/syllabi/584/</a> 584-readings.htm <a rel="nofollow" href="http://twist.lib.uiowa.edu/stein/newmediasyl.html">http://twist.lib.uiowa.edu/stein/newmediasyl.html</a> <a rel="nofollow" href="http://mason.gmu.edu/%7Erweber2/index.html">http://mason.gmu.edu/%7Erweber2/index.html</a> and in france they would be different, in germany, all over the world they'd be different, Abe. just around the corner they'd be different. down the hall. no centre. ja + + + Curt Cloninger (curt@lab404.com) added: two more showed up in my referrer logs today: one at bard: <a rel="nofollow" href="http://film362.bard.edu/">http://film362.bard.edu/</a> one taught by olia lialina: <a rel="nofollow" href="http://www.merz-akademie.de/projekte/net/wisdom/diw.html">http://www.merz-akademie.de/projekte/net/wisdom/diw.html</a> + + + M. River (mriver102@yahoo.com) added: <a rel="nofollow" href="http://tinjail.com/concept/index.html">http://tinjail.com/concept/index.html</a> + + + Curt Cloninger replied: the linkrotted rant that used to be in the top frame of: <a rel="nofollow" href="http://tinjail.com/concept/adefine.html">http://tinjail.com/concept/adefine.html</a> still resides here: <a rel="nofollow" href="http://www.spark-online.com/issue24/cloninger.html">http://www.spark-online.com/issue24/cloninger.html</a> + + + M. River replied: Thanks Curt, I was wondering what had happened to that link. Which brings me to the age old net art question: To update or not to update? BTW: Good to see that MTAA is still in your class notes. ; ) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. 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 Feisal Ahmad (feisal@rhizome.org). ISSN: 1525-9110. Volume 8, number 45. 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>. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +