<br />RHIZOME DIGEST: September 30, 2005<br /><br />Content:<br /><br />+note+<br />1. Francis Hwang: Rhizome seeks Design and Production Intern<br /><br />+opportunity+<br />2. Jess Loseby: disturb.the.peace "angry women" - open call<br /><br />+announcement+<br />3. stoffel@argosarts.org: argosfestival 2005<br />4. Trebor: *Anyone Can Edit*: Understanding the Produser<br />5. jillian mcdonald: Jody Zellen at Pace Digital Gallery<br />6. Marjan van Mourik: CULTURETV<br />7. marc garrett: Low-fi gets physical at Stills<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions allow<br />participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: Francis Hwang <francis@rhizome.org><br />Date: Sep 27, 2005 10:58 AM<br />Subject: Rhizome seeks Design and Production Intern<br /><br />Rhizome is looking for a Design and Production Intern for the Fall 2005<br />session. The intern will assist the Director of Technology with tasks such<br />as editing HTML pages, graphics production, and implementation of major<br />design projects. In addition, there will also be opportunities to do<br />self-directed work in fields such as website design, information<br />architecture, and usability.<br /><br />We are looking for a responsible individual with a strong interest in new<br />media and new media art, and an eagerness to learn about cutting-edge<br />technologies and ideas by putting them into practice. The internship will<br />involve a number of specific web-technologies, including: standards-based<br />HTML, CSS, Javascript and AJAX, FTP, and Photoshop. The ideal candidate<br />will have experience with some or all of these technologies.<br /><br />To apply, email your detailed cover letter and resume to Francis Hwang at<br />francis@rhizome.org.<br /><br />Hours: 10 hours per week, scheduling flexible<br />Dates: October 10 - December 16, 2005 (flexible)<br />Notes: On-site, unpaid<br />Francis Hwang<br />Director of Technology<br />Rhizome.org<br />phone: 212-219-1288x202<br />AIM: francisrhizome<br />+ + +<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Jess Loseby <jess@rssgallery.com><br />Date: Sep 26, 2005 8:06 AM<br />Subject: disturb.the.peace "angry women" - open call<br /><br />disturb.the.peace "angry women" - open call<br /><br />"Whoa! Why does this word carry so much weight, and why do these women<br />want to distance themselves so far from this word?" Once I had received a<br />similar response from three other women, as though anger was un-cool, or<br />un-sexy, I started thinking of the "Angry Young Men" of the fifties and<br />sixties-the amorphous James Dean types whose anger was sexy, because anger<br />is one of the sanctioned responses that men have, and women don't. No man<br />would protest being featured in a book called Angry Young Men, do you<br />think?<br /><br />[Interview with Andrea Juno, Ed of "angry women" (Juno Books, 1992)]<br /><br />Disturb.the.Peace [angry woman] will be aimed at creating a collaborative<br />net-based installation with the core concept of the visual portrait of<br />feminine anger. The net offers a canvas for self-portraiture and<br />self-documentary, which both men and woman users and artists have used to<br />explore the many eclectic thematics that make up contemporary net.art.<br />However, anger - that non P.C, emotional serpent - still remains visually<br />elusive. Emails are full of bile, blogs map outpourings of rage and<br />disgust, newsgroups simmer over with adversary and cutting one-liners but<br />not, apparently, visual artworks…? Can anger be beautiful? Can rage be<br />aesthetic? In popular culture there are a range of angry babes to pick:<br />from girl-power to the Powerpuff girls but<br /><br />"…their popularity may not reflect a dramatic shift in our society's<br />view of gender roles, but rather our inability to stomach female anger<br />unless it's sugar-coated in cuteness and scored with a pervasively chirpy,<br />non-threatening tone."<br /><br />[Powerpuff Girls to the Rescue: Heather Havrilesky, Salon. Posted July 5,<br />2002]<br /><br />———[Gender]<br /><br />D/tP is a call to women artists to visually explore the face of [their]<br />anger. It will make no apologies for being a call predominantly for female<br />work. Male submissions will not be excluded from open submissions but must<br />demonstrate that they are either a) in collaboration with a female or b)<br />make significant comment or exploration on a visual expression of female<br />anger beyond (what Jess Loseby) judges to be a stereotypical portrayal. It<br />will be possible to submit work anonymously or through androgynous<br />pseudonyms. Beyond gender, all work submitted must meet the basic<br />requirements of thematic response and net usability to be included.<br /><br />———[Collaboration]<br /><br />D/TP is a collaborative artwork. It is curated by Jess Loseby as lead<br />artist only through organisation and realisation of the concept in the<br />provistion of webspace. Artists are invited to add pages and use the<br />site/space as much or as little as they desire. Work will be open for free<br />submission. There will almost no curatorial control but preference is to<br />show work that not only visually explores anger but how that anger is<br />amplified and augmented by the Internet and net technology/software; Can<br />anger be interactive? Can anger be translocal? It is hoped that work that<br />will go beyond static imagery.<br /><br />——— [tech]<br /><br />html, flash, streaming video - cross browser compatible - collaborating<br />artists choice<br /><br />———[Submission]<br /><br />Please send work as a email attachment (under 3MB) or work URL with name,<br />location,<br />url, email address and bio (150wds or under) to jess@d-t-p.tv or<br />jess@rssgallery.com. FTP details may be provided on request. All work will<br />be shown as "windows" within the overall site design unless specified. If<br />work is hosted on a url external to d-t-p.tv please provide a "close<br />window" button.<br /><br />——- [end] ||<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome ArtBase Exhibitions<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a><br /><br />Visit the fourth ArtBase Exhibition "City/Observer," curated by<br />Yukie Kamiya of the New Museum of Contemporary Art in New York and designed<br />by T.Whid of MTAA.<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: stoffel@argosarts.org <stoffel@argosarts.org><br />Date: Sep 23, 2005 9:47 AM<br />Subject: argosfestival 2005<br /><br />argosfestival<br />13.10.2005 - 22.10.2005<br />BRUSSELS<br /><br />www.argosarts.org<br /><br />As in previous years the fifth edition of the argosfestival provides a<br />free port for a wide range of audiovisual art forms. It?s a wide work area<br />that is in constant evolution, subject to societal and technological<br />developments. The festival programme reflects this variability, going<br />beyond the traditional delineations between disciplines and media, and<br />offering a valuable perspective on numerous in-between spaces ? in cinema,<br />television, media art and visual art. Film, video, audio, installation and<br />means of performance nestle together in a wide variety of both Belgian and<br />international work.<br /><br />The products of several generations, historical and new work, all<br />complement each other, creating breathing space for a multitude of<br />trajectories. Beyond the origin, language and context in which they were<br />realized, clear connections can be made in regards to formand content. The<br />search for new narrative environments and relations between (the<br />experience of) space and time; a resistance to conventional audiovisual<br />forms and (mass)media and the immaterial stream of images that overrun us<br />on both television and industrial cinema; a craving for adventure in<br />expression and perception, learning how to see and hear (all over again):<br />these are just some of the lines of flight which the programme traverses.<br /><br />CURATED PROGRAMS<br />Four themed programmes form the backbone of the festival. In the<br />exhibition Multipistes Jean-Christophe Royoux focuses on a generation of<br />young French artists who propose post-cinematographic forms,<br />deconstructions or alterations of the familiar notions of projection and<br />identification. The works in the programme Black & White-outs also<br />question the basic conditions of cinema, by making radical choices for<br />monochrome images and exploring the physiological relationship between<br />hearing and seeing. Challenging and destabilizing the dominant position of<br />the image constitutes a directional guideline in the film and video<br />programme of Tanya Leighton, In the Poem About Love You Don?t Write the<br />Word Love, as well as in Inner & Outer Worlds curated by Herman<br />Asselberghs, which offers a selection of Belgian audiovisual essays.<br /><br />ARTISTS IN FOCUS<br />A contrary and wayward attitude also applies to the work of two ?artists<br />in focus?. The digital preservation of the work of the Belgian audiovisual<br />artist Joëlle Tuerlinckx indirectly led to an appraisal which, spread out<br />over a myriad of spaces and programmes, will be presented throughout the<br />festival in various forms for your eyes and ears. A number of recent<br />landscape portraits by the American filmmaker James Benning are shown, in<br />which he goes on the lookout for the effects of duration on the perception<br />of space.<br /><br />EVENTS<br />The adhesion of sound and image, hearing and seeing, is also explored in<br />real-time. Mikko Hynninen will make use of the inherent sound image of the<br />Kaaitheaterstudio?s as a resource for an in-situ performance, in which the<br />environment itself is considered as a virtual instrument. During the<br />closing night of this festival edition the collective of MIMEO and video<br />maker Kjell Bjørgeengen are on the lookout for colourful dialogue, amongst<br />musicians, between image and sound, analogue and digital, control and<br />coincidence. Furthermore, an international symposium on presenting media<br />art and the role of the curator in respect to that , co-organised by the<br />?Digital Platform? (IAK/IBK, support centres for the Visual and<br />audiovisual arts), will take place during the festival.<br /><br />BELGIAN FOCUS<br />This wealth of approaches and use of media is also reflected in the<br />Belgian Focus segment, traditionally offering a selective outline of<br />recent domestic audiovisual artistic production. These are the<br />cross-pollinations and connections that are the elementary particles of<br />the argosfestival: stimulating a circulation of experiences and ideas,<br />creating a virtual network of ex- and impressions, physically unfolding as<br />well, over several locations in Brussels.<br />For further information please visit<br />www.argosarts.org<br /><br />or contact<br />stoffel@argosarts.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via panel-awarded<br />commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: Trebor <trebor@buffalo.edu><br />Date: Sep 23, 2005 2:17 PM<br />Subject: *Anyone Can Edit*: Understanding the Produser<br /><br />The Cultural Studies Concentration of Eugene Lang College<br />& the Institute for Distributed Creativity present:<br /><br />*Anyone Can Edit*: Understanding the Produser<br />Dr Axel Bruns<br />Creative Industries Faculty<br />Queensland University of Technology<br /><br />10.00AM-11.40AM Tuesday 11th October<br />room 215 in the Graduate Faculty Buiding<br />65 5th Avenue (between 14th and 13th sts)<br />New York, NY<br /><br />Recent decades have seen the dual trend of growing digitization of<br />content, and of increasing availability of sophisticated tools for<br />creating, manipulating, publishing, and disseminating that content.<br />Advertising campaigns openly encourage users to ?Rip. Mix. Burn.? and to<br />share the fruits of their individual or collaborative efforts with the<br />rest of the world. The Internet has smashed the distribution bottleneck of<br />older media, and the dominance of the traditional producer > publisher ><br />distributor value chain has weakened. Marshall McLuhan?s dictum<br />?everyone?s a publisher? is on the verge of becoming a reality * and more<br />to the point, as the Wikipedia proudly proclaims, ?anyone can edit.?<br /><br />The effect of these changes is not simply more (and more informed)<br />consumption, however * we are not turning into Alvin Toffler?s<br />?prosumers?: consumers with an almost professional level of knowledge<br />about what they consume, but consumers nonetheless. Instead, the networked<br />and hypermediated persona that emerges is a very different beast: users<br />are becoming active producers of content in a variety of open and<br />collaborative environments. Whether it is as members of the distributed<br />development and testing community for open source software projects, as<br />authors, editors, and fact-checkers for one of the multi-lingual Wikipedia<br />sites, as reporters, commentators, and pundits in open news publications<br />ranging from South Korean citizen news site OhmyNews to tech-nerd haven<br />Slashdot, or as global explorers and annotators for Google Earth, they are<br />no longer producers or consumers, publishers or audiences, but both at the<br />same time. They are not prosumers, but user-producers: produsers.<br /><br />While born perhaps out of a collaborative, open source ideology, produsing<br />is now increasingly recognized as both a challenge and an opportunity by<br />business and governments alike. For example, the Sims range of games<br />relies overwhelmingly on its users as content produsers * 90% of content<br />in The Sims itself is contributed by user-produsers. Similarly,<br />Brisbane-based games company Auran has established a community of<br />produsers around its popular train simulator Trainz, with some 200,000<br />?assets? (locomotives, carriages, scenery and other elements) prodused so<br />far. BBC News Online and other agencies now regularly call for their users<br />to send in camera phone footage of unfolding events. And Trendwatching.com<br />even sees a whole ?Generation C? of produsers emerging before our very<br />eyes.<br /><br />More broadly, the Chinese government is in the process of initiating a<br />shift in its economic focus from ?made in China? to ?created in China?,<br />aiming to turn the country from the world?s factory to the world?s ideas<br />generator. This shift, with its strong links to the recognition by<br />European and Australian governments of the creative industries as a key<br />economic driver, also builds on the move from users to produsers * it<br />seeks to harness collaborative, grassroots creativity as a means of<br />generating new ideas and new content (while at the same time attempting to<br />maintain state control of the process).<br /><br />So who are these produsers * and how will they fare in the light of<br />increasing business and government involvement? As economic interests<br />begin to explore ways to generate revenue from produsage, will they<br />undermine its collaborative foundations, and will they reintroduce a<br />regime of stricter intellectual property licensing? Or can the grassroots<br />movement of produsers effect lasting change in our engagement with<br />content, establishing a solid foothold for creative commons and other<br />alternative IP licensing systems, and developing an equitable approach to<br />relationships between the produser community and commercial partners?<br /><br />Bio:<br /><br />Dr Axel Bruns<br />Creative Industries Faculty<br />Queensland University of Technology<br />Brisbane, Australia<br />a.bruns@qut.edu.au<br /><a rel="nofollow" href="http://snurb.info/">http://snurb.info/</a><br /><br />Axel is currently researcher-in-residence at the Institute for Distributed<br />Creativity. He teaches and conducts research about online publishing,<br />electronic creative writing, online communities and popular music in the<br />Creative Industries Faculty at Queensland University of Technology in<br />Brisbane, Australia. He is the author of Gatewatching: Collaborative<br />Online News Production (New York: Peter Lang, 2005), and a founding editor<br />of the online academic publications M/C * Media and Culture<br /><<a rel="nofollow" href="http://www.media-culture.org.au/">http://www.media-culture.org.au/</a>> and dotlit: The Online Journal of<br />Creative Writing <<a rel="nofollow" href="http://www.dotlit.qut.edu.au/">http://www.dotlit.qut.edu.au/</a>>.<br /><br />He is currently preparing Uses of Blogs (with Joanne Jacobs), an edited<br />collection of scholarly work examining the range of current approaches to<br />blogging (forthcoming from Peter Lang in 2006). More information about<br />this book and other research projects and publications can be found in his<br />blog at <a rel="nofollow" href="http://snurb.info/">http://snurb.info/</a>.<br /><br />Eugene Lang College The New School for Liberal Arts<br /><a rel="nofollow" href="http://www.lang.newschool.edu/">http://www.lang.newschool.edu/</a><br /><br />The Institute for Distributed Creativity<br /><a rel="nofollow" href="http://distributedcreativity.org/">http://distributedcreativity.org/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal<br />well-being, so think about about the new Bundle pack, or any other plan,<br />today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting a<br />thorough review of the web hosting industry, we selected BroadSpire as our<br />partner because they offer the right combination of affordable plans (prices<br />start at $14.95 per month), dependable customer support, and a full range of<br />services. We have been working with BroadSpire since June 2002, and have<br />been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: jillian mcdonald <jmcdonald@jillianmcdonald.net><br />Date: Sep 26, 2005 3:27 PM<br />Subject: Jody Zellen at Pace Digital Gallery<br /><br />Pace Digital Gallery is pleased to present:<br />Jody Zellen, "Trigger", a site-specific installation.<br />October 18 - November 8, 2005<br />163 William Street, between Beekman and Ann<br />New York, NY<br />Please join us at the opening reception Tuesday, October 18th, 6 - 8pm.<br /><br />details, including map and directions: <a rel="nofollow" href="http://www.pace.edu/digitalgallery">http://www.pace.edu/digitalgallery</a><br /><br />for info contact directors Jillian Mcdonald and Francis T Marchese<br />digitalgallery@pace.edu<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: Marjan van Mourik <webmaster@targetfound.nl><br />Date: Sep 27, 2005 10:07 AM<br />Subject: CULTURETV<br /><br /> - We resdesigned the newsletter and our website!. We took your comments<br />seriously, so it is now much easier to navigate. No new browser window<br />opens if you look for any information. It will all enter next to the<br />videoscreen.<br /><br />- Fourteen New Global Anchors Enhance OOH! TV's Robust Entertainment<br />Catalogue; Mobile Distribution of a Diverse Group of Content Providers<br />Creates New Entertainment Options for the Mobile Market. And one of these<br />Content providers will be CULTURETV. Looking beyond traditional access via<br />the web, OOH! TV has secured agreements to broadcast these channels over<br />digital signage and Wi-Fi networks that represent nearly 1500 locations,<br />such as airports, cafes, hotels, universities, malls, and other high<br />traffic public venues in the US. The online television network will launch<br />the beta version in October 2005 .<br /><br />- 'Russian POP ART part II, Moscow, Information / Transformation<br />-EXTRACity (Antwerp) (B) and MONOPOLIS-Antwerp Witte de With, Rotterdam<br />(NL) , are the exhibitions which we have for you on video.<br /><br />- About the new videart. This week we present a short intro of the<br />documentary '7 Sons' by Florian Thalofer and Mahmoud Hamdy. ?Sheik Suellim<br />has seven sons? Maher says proudly. ?Seven Sons, and not one daughter?? I<br />wonder. ?Seven sons,? Maher replies, ?and further more six daugthers.?<br />Florian Thalhofer from Berlin and Mahmoud Hamdy from Cairo met the<br />Bedouins in the Sinai, close to the territories occupied by Israel. Berlin<br />meets Cairo meets the Beguines - inclusive a sharia-court-case. [7sons]<br />was made in summer 2003 with the support of the Goethe-Institute, Cairo.<br /><br />'Space Invaders' by Marina Zurkow.<br />?THE SPACE INVADERS? is a composite of live action footage and 2D<br />character animation, redolent of vaudeville sketches, early cartoon<br />pranks, and Grand Guignol?s shock theater.<br /><br />Enjoy our program and don't forget to subscribe to enter the Video on<br />demand page, there you can even watch more videos on the time it suits<br />YOU.<br /><br /><a rel="nofollow" href="http://www.culturetv.tv">http://www.culturetv.tv</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Members can purchase the new monograph on Thomson & Craighead,<br />Minigraph 7, for a discounted rate: £10.80 which is 10% off £12.00 regular<br />price plus free p+p for single orders in UK and Europe.<br /><br />thomson & craighead<br />Minigraph 7<br />Essays by Michael Archer and Julian Stallabrass<br />Jon Thomson and Alison Craighead ¹s extraordinarily varied, almost<br />unclassifiable artworks combine conceptual flair with sophisticated<br />technical innovation. Encompassing works for the web alongside a host of<br />other new media interventions, this book ? the first monographic survey of<br />the artists¹ work ? highlights a number of impressive installation and<br />internet-based pieces which use digital technology to echo the<br />art-historical tradition of the ready-made.<br /><br />Part-supported by CARTE, University of Westminster.<br /><br />Published by Film and Video Umbrella<br />52 Bermondsey Street London SE1 3UD<br />Tel: 020 7407 7755<br />Fax:020 7407 7766<br /><a rel="nofollow" href="http://www.fvumbrella.com">http://www.fvumbrella.com</a><br /><br />To order, Rhizome Members should write Lindsay Evans at Film/ Video Umbrella<br />directly and use the reference ³Rhizome T + C² in the subject line.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: marc garrett <marc.garrett@furtherfield.org><br />Date: Sep 28, 2005 1:01 PM<br />Subject: Low-fi gets physical at Stills<br /><br />*Low-fi gets physical at Stills*<br /><br />Article written about the Low-fi exhibition can viewed at Mazine<br />-www.mazine.ws<br />Written by Marc Garrett and Ruth Catlow (from www.Furtherfield.org)<br /><br />low-fi exhibiton at Stills, Edinburgh, UK.<br />Mauricio Arango, Cavan Convery, James Coupe, UK Museum of Ordure,<br />radarboy, Kate Rich<br />6th August - 1st October<br /><br />Low-fi:<br /><a rel="nofollow" href="http://www.low-fi.org.uk/">http://www.low-fi.org.uk/</a><br />The Stills Gallery:<br /><a rel="nofollow" href="http://www.stills.org/">http://www.stills.org/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of<br />the New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation,  The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 10, number 39. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />
