RHIZOME DIGEST: 11.14.03

discussion

Posted Nov. 13 2003 19:00

RHIZOME DIGEST: 11.14.03

RHIZOME DIGEST: November 14, 2003 Content: +important+ 1. Rachel Greene: Rhizome needs your support +announcement+ 2. Johannes Gees: The Helloworld Project +opportunity+ 3. Brian Goldfarb: faculty job openings at UCSD 4. Shawn Brixey: Research Fellow-Lecturer positions at DXARTS, UW-Seattle +thread+ 5. Jemima Rellie, Michael Szpakowski, Curt Cloninger, Tamara Lai: Shilpa Gupta at www.tate.org.uk/netart +feature+ 6. Dyske Suematsu: Motomichi Nakamura Interview + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 11.14.03 From: Rachel Greene (rachel@rhizome.org) Subject: Rhizome needs your support Hi Rhizomers: When we made the transition from free membership to requiring membership contributions last January, there was a lot of debate on Rhizome.org and elsewhere. It was a difficult decision for us, but in the end it was the decisive factor in keeping Rhizome.org alive. If you are getting this message, then you are one of about 4,400 Rhizomers who decided to support Rhizome.org with a contribution. I¹m writing to you now to let you know that we need your support once again. Although our affiliation with the New Museum of Contemporary Art helps us reduce our overhead significantly, we are still a small, independent nonprofit and we must raise own funds to survive. It will cost about $210,000 to operate Rhizome.org this fiscal year (this is about two-thirds of what our was budget last year). Though they offer other forms of support, the New Museum does not support us financially. Many economies around the world have started to recover, but the funding environment for American nonprofits remains very challenging. Our goal this year is to raise $37,000 by the 1st of February. So far we have raised about $5,000. Please renew your membership now at <a rel="nofollow" href="http://www.rhizome.org/support/?list">http://www.rhizome.org/support/?list</a>, and consider increasing your level of support. Your support will be put to good use. In the next few months, we will initiate a new cycle of commissions in which we will award more than $12,000 to Rhizome artists, revamp our search engine, develop a new ArtBase curatorial program and launch Rhizome Memberships for Organizations, a new program that will provide access to Rhizome.org through schools, libraries and arts organizations from Chiang Mai to Chile. And we will continue to offer our core programs, including the Rhizome.org web site and email lists, with a focus on further improving the quality and relevance of our content. Starting now, Rhizome members who donate more than $15 will receive a 10-20% discount on all items purchased at the New Museum's Online Store (the discount range depends on the producer – books or editions published by the New Museum are discounted 20%). The New Museum Online Store, which you can peruse at <a rel="nofollow" href="http://www.newmuseum.org/comersus/store/comersus_dynamicIndex.asp">http://www.newmuseum.org/comersus/store/comersus_dynamicIndex.asp</a>, has wonderful books and gifts. Their book inventory is wide-ranging across the fields of art, theory, and media. Titles include Uncanny Networks by Geert Lovink, Snap to Grid by former Rhizome Regional Editor Peter Lunenfeld, and the New Museum Press' Art After Modernism: Rethinking Representation edited by Brian Wallis. These are just three terrific books you could buy at a significant discount! They would each make a nice holiday gift. The Online Store also sells artists editions, CD-ROMS, clothes, gifts, and children's merchandise. If you contribute $50 or more, we will also will thank you with a "SOYLOVE" T-SHIRT designed by Rhizome artist Cary Peppermint. Cary¹s wearable art is a resounding hit among art and media crowds internationally! Please renew soon by making a donation here <a rel="nofollow" href="http://www.rhizome.org/support/?list">http://www.rhizome.org/support/?list</a> I hope you will enjoy the New Museum Online Store discount or Cary Peppermint's conceptual art t-shirt. I also hope you'll let me know what you think about Rhizome.org's direction. Sincerely, Rachel Greene Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 11.11.03 From: Johannes Gees (contact@johannesgees.com) Subject: The Helloworld Project The Helloworld Project / Johannes Gees An invitation to take control of public space with the power of words. December 9-12, 2003, Mumbai - Geneva - Rio de Janeiro - New York <a rel="nofollow" href="http://www.helloworldproject.com">http://www.helloworldproject.com</a> The Helloworld Project is a global interactive text installation combining language, landscapes and communication technology to create a visual dialogue. From December 9-12, 2003, you will be invited to send in messages, either by sending an SMS to a dedicated number or by going to www.helloworldproject.com. These messages will be projected onto mountains and buildings in Geneva, Mumbai, Rio de Janeiro and New York . Video images of the projections will be broadcast live on the project website and at the World Summit on the Information Society in Geneva. The Helloworld Project is a collaborative happening, an invitation to take control of public space with the power of words. How to participate in "The Helloworld Project"? As an online news journal or gateway: - Feature The Helloworld Project on your website and invite your readers to participate in this global collaborative experience between December 9 - 12, 2003 - Feature The Helloworld Project as a link on your website )) Contact anisha@johannesgees.com for details As a public art space / media lab / institution: - Create public access to "The Helloworld Project" by putting the projects webpage on your public screens, thus providing your visitors access to the project. )) Contact anisha@johannesgees.com for more details. As an individual: - Visit www.hellworldproject.com between December 9 and 12, 2003, and enter your message! - Subscribe to our newsletter on <a rel="nofollow" href="http://www.helloworldproject.com">http://www.helloworldproject.com</a>. You will receive a reminder by email when the projectors go online. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 11.09.03 From: Brian Goldfarb (bgoldfarb@ucsd.edu) Subject: faculty job openings at UCSD The University of California, San Diego, Department of Communication (<a rel="nofollow" href="http://communication.ucsd.edu/">http://communication.ucsd.edu/</a>) is seeking to fill several full-time, tenure-track positions at the Assistant Professor level, beginning Fall 2004: Cultural production and media studies. Specific areas of research concentration are open but could include work on: popular culture (digital media, television, film, radio, music, folklore, theater, and fashion); audience reception; changing media markets and new forms of representation; communication media and social identity; cultural memory; or patterns of access to and use of information technology. Individuals with a strong theoretical background and orientation to questions of race and ethnicity are especially encouraged to apply. MFA or Ph.D candidates with experience and/or expertise in the practice and theory of media production will be seriously considered. The political economy/institutional analysis of communication. Specific areas of research concentration are open, but could include historical or contemporary work on: the cultural industries (such as television, film, music, publishing, or advertising) and the way cultural production is affected by the interplay of the old and new economies; the nature of media markets; communication, globalization and post-colonial studies; the intersection between the political economy of communication and race, gender and/or nationalism; or the relationship between communication and social movements. Salaries are in strict accordance with UC pay scales. If non-citizen, state immigration status. UCSD is an equal opportunity/affirmative action employer committed to excellence through diversity. Applicants are invited to preview campus diversity resources and programs at the campus website for Diversity (<a rel="nofollow" href="http://diversity.ucsd.edu/">http://diversity.ucsd.edu/</a>). To assist applicants who may have concerns regarding employment opportunities for spouses/partners, please consider the UCSD website for the Academic Job Opportunities Bulletin (<a rel="nofollow" href="http://academicaffairs.ucsd.edu/offices/aaa/recruitment/">http://academicaffairs.ucsd.edu/offices/aaa/recruitment/</a>), the Staff Employment Opportunity Bulletin (<a rel="nofollow" href="http://joblink.ucsd.edu/">http://joblink.ucsd.edu/</a>) or our links to employment opportunities at other education and research institutions in San Diego (<a rel="nofollow" href="http://www.ucsd.edu/sandiego.html">http://www.ucsd.edu/sandiego.html</a>). Send vita, statement of research and teaching interests, and names, addresses, e-mail addresses, and phone numbers of three references supporting the applicant's teaching qualifications by November 14, 2003, however, we will review applications until the position is filled. Please send materials to: Val Hartouni - Culture Recruitment or Dan Hallin - Social Force Recruitment Department of Communication (0503), Univ. Calif. San Diego 9500 Gilman Drive, La Jolla CA 92093-0503. – =+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+=+-+= Brian Goldfarb Assistant Professor Department of Communication 0503 UC San Diego La Jolla, CA 92093-0503 phone: 858-822-2239 Email: bgoldfarb@ucsd.edu =+/-+=+-+=+-+=/+-+=+-+=+-+=+/-+=+-+=+-+=/+-+=+-+= + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 11.12.03 From: Shawn Brixey (shawnx@u.washington.edu) Subject: Research Fellow-Lecturer positions at DXARTS, UW-Seattle RESEARCH FELLOW/LECTURER POSITIONS AVAILABLE November 2003 University of Washington, Seattle, WA. Center for Digital Arts and Experimental Media (DXARTS) <a rel="nofollow" href="http://www.washington.edu/dxarts">http://www.washington.edu/dxarts</a> University of Washington, Center for Digital Arts and Experimental Media, is seeking to fill one year (with possibility of renewal) Research Fellow/Lecturer Positions in Digital and Experimental Arts. The successful candidates should be prepared to pursue innovative research in their main fields of study and to teach introductory level courses in history, theory and studio practice of digital and experimental art forms. Applicants should be broadly interdisciplinary with strong technical skill and practical experience synthesized from multiple areas of the arts. Examples include; electronic performance, interactive installation, database and interface, net art, digital video, computer music, digital sound, robotics, telematics, etc. Masters degree or equivalent required. Application must include: CV, artist statement, statement on pedagogy, and a portfolio of professional creative work and research.Support materials must include three references with phone numbers, mail and e-mail address. Samples of previous course design and recent student work is encouraged. Portfolio work may be formatted for viewing on any platform and may include video. Please include a SASE for return of materials. Also inform us if you will be attending the CAA conference in Seattle, WA. Application materials should be addressed to: Professors Shawn Brixey and Juan Pampin, co-chairs, Research Fellows Search Committee, DXARTS, Box 353680, University of Washington, Seattle, Washington 98195-3680. Priority will be given to applications received before January 15, 2004. The University of Washington is building a culturally diverse faculty, and strongly encourages applications from female and minority candidates. The University is an Equal Opportunity, Affirmative Action employer. For detailed information about DXARTS visit the Center's web site noted above. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 11.08.03-11.10.03 From: Jemima Rellie (jemima.rellie@tate.org.uk), Michael Szpakowski (szpako@yahoo.com), Curt Cloninger (curt@lab404.com), Tamara Lai (tamara.lai@skynet.be) Subject: Shilpa Gupta at www.tate.org.uk/netart Jemima Rellie (jemima.rellie@tate.org.uk) posted: Shilpa Gupta's new work Blessed Bandwidth invites visitors to log on, choose a religion and get blessed. Set against a world divided by faith, the work explores religion, globalisation and the complex cultural and political dynamics of the internet. Commissioned by Tate Online (<a rel="nofollow" href="http://www.tate.org.uk">http://www.tate.org.uk</a>), it juxtaposes the real and virtual worlds and encourages visitors to consider how these spaces overlap and merge. Two critical texts accompany the piece: God, Prayer and Politics: The Work of Shilpa Gupta, Heidi Reitmaier Blessed-bandwidth.net: it's super authentic, Johan Pijnappel Both texts and the work itself can be found via <a rel="nofollow" href="http://www.tate.org.uk/netart/blessedbandwidth/">http://www.tate.org.uk/netart/blessedbandwidth/</a> + + + Michael Szpakowski (szpako@yahoo.com) replied: (the work explores religion, globalisation and the complex cultural and political dynamics of the internet.) Does it? How does it do this? So often I read these kind of assertions in artist's/curatorial statements. I took a look and it feels pretty ordinary and formulaic to me. Maybe I'm being uncharitable or missing something. Maybe I'm not looking in the right way. I'd be interested to know what others think. michael + + + Curt Cloninger (curt@lab404.com) added: one of my students made this piece in a couple of weeks: <a rel="nofollow" href="http://mmas.unca.edu/~amallen/guardianangel.html">http://mmas.unca.edu/~amallen/guardianangel.html</a> Its copy is more amusing, its concept is more focused, it more thoroughly chews what it bites off, because it presumes to bite off less. In short, the piece critiques fast food religion. At a deeper level, it laments the corrosive aspects of consumer culture on human spiritual aspirations. I could write a couple of papers on it (blah blah blah), but I just rented a Young Ones DVD, and later I mean to take a nap. Its artist statement is in white html at the bottom of the first page. Select all or view source to see it. Even without the artist statement, the critical intention of the piece is self-evident without beating you over the head with self-conscious irony. And if you're tricked into thinking the piece is real (as some people are with blackpeopleloveus.com), then it serves a critcal purpose along those lines as well. I think she got an A- or a B+ for it. ++++++++++++++++++++++++ The tate piece blenderizes half-baked critiques of fast food religion, all religion, ritual, partisanship, globalisation, and war. All it lacks is an autogenerative logo and a psuedonymous etoy-ish art corp creator, and it would have filled in all the requisite net.art blanks. Oh, and surveilance cameras. There must always be something about surveilance cameras! how you gonna keep em down on the farm now that outer space has lost its charm <a rel="nofollow" href="http://www.thedance.net/~roth/SONGS/20th.html">http://www.thedance.net/~roth/SONGS/20th.html</a> + + + Michael Szpakowski replied: Hi Curt (one of my students made this piece in a couple of weeks: <a rel="nofollow" href="http://mmas.unca.edu/~amallen/guardianangel.html">http://mmas.unca.edu/~amallen/guardianangel.html</a> Its copy is more amusing, its concept is more focused, it more thoroughly chews what it bites off, because it presumes to bite off less.) I absolutely agree. I'd go further & say that precisely *because* of its terseness, its concreteness of content and its thoroughness of execution ( except for the misspelling of 'promiscuous') it actually starts to achieve some of the pretensions of the Tate piece. Isn't this often the case with good art that the truth about a small thing, well told, then has many broader and more universal implications? When you have work like this it starts to be meaningful to say that the piece is 'about this' or 'about that', 'does this' or 'does that' (although I'm grateful that the artist herself didn't, or at least not in that horribly portentous way). (I think she got an A- or a B+ for it) You're a hard man- I'd have given her a straight A. best michael + + + Jemima Rellie replied: Hi there Michael and I'd suggest it does for the following reasons: Religion ) - The central subject for the work is world religion, from the perspective on an artist based in Mumbai. Globalisation ) - Shilpa did not travel to the UK at any point in the commissioning process (This was primarily a question of how best to use the limited funds available. We're hoping to get Shilpa over in the Spring to participate in some related educational events). All communication between Tate and the artist and took place via pcs and phones. - What's more, I'd suggest that the work encourages visitors to reflect on the effect of globalisation on religion (and vice versa), and how religion on a state/global scale blurs with politics. Complex cultural and political dynamics of the internet ) - The site homepage is IP specific and varies depending on the geographical point of access. In the UK, the first religion we are offered is Hindu. - Furthermore, the site is hosted in India, not with the majority of Tate Online's content, in Glasgow, which (I reckon) raises interesting questions about the relationship of the museum to such practice. - Shilpa has placed ads on Google to try and attract new, non net art/art museum visitors to engage with the very public work. This is my on the fly response, but I'd also really recommend reading the 2 texts that accompany the piece. : ) Jemima + + + Michael Szpakowski replied: Hi Jemima thanks for the reply. Nothing of what you've said about the piece, however, is immediately apparent from the piece itself, which I still find pretty lacklustre. Plus, I'm just personally uncomfortable with the amount of meta artistic sludge one has to trudge thorugh in order to "get" a piece like this. I can't help feeling that the worthy things you claim the piece does could probably be better accomplished by a terse little pamphlet on religion and globalisation. Did you take a look at the student piece that Curt referenced? I think it does a lot of what you claim for the Tate piece with considerable more economy and force. I will take a look though at the Tate documentation and have a think about it, as you suggest. best michael + + + Tamara Lai (tamara.lai@skynet.be) added: dear Jemima Rellie if you and Shilpa are interested in mixed spiritualities you got to know T-deus To make a portrait of God in 2003 <a rel="nofollow" href="http://www.imal.org/tamara_lai/T-deus/T-deus.htm">http://www.imal.org/tamara_lai/T-deus/T-deus.htm</a> on line since july 2003 regards Tamara Laï Belgium Europe — Tell A Mouse <a rel="nofollow" href="http://www.tellamouse.be.tf">http://www.tellamouse.be.tf</a> BIO : <a rel="nofollow" href="http://users.skynet.be/tamara.lai/bio1.htm">http://users.skynet.be/tamara.lai/bio1.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 11.10.03 From: Dyske Suematsu (dyske@dyske.com) Subject: Motomichi Nakamura Interview Dyske Suematsu: When did you come to the states? Motimichi Nakamura: First time I came here I was 18, and then I went back, and a year or two later came back, and went to upstate New York, to Rockland County. It's like an hour from here. I went to a community college. I thought it would be nice to study my first a few years outside of the city. After that, I transferred to Parson's School of Design. I majored in communication design first, then I changed my major to illustration. DS: Did you use computers in school? MN: The first time I took a computer class was when I was upstate at the community college. They had this MacDraw and MacPaint. When I was at Parsons, I took as many computer classes as I could. That time, everyone wanted to use computers. Computers were such a great tool. But when I was in school there was prejudice against using computers. The mainstream was still draw and paint, stretch a canvas, and stuff like that. I didn't take any Web classes, because, you know, Parsons didn't have any. DS: How long did you live in Ecuador? MN: I lived in Ecuador for about 3 years. I had a company there. After I graduated from school I was working here from 96 to 98. For some strange reason, I decided to go to Ecuador. I started a Web design company in the capital of Ecuador, Quito. I lived there for 3 years. I feel extremely attached to the place. South America is somewhere I always wanted to go to. Ecuador is a great place. I went there twice before I decided to move there. It was a really interesting experience. Life is totally different there. Though, economically they were in the worst condition in 40 years. DS: Was there much demand for Web design in Ecuador? MN: Yes and No. There were many companies who wanted to have website, but economy was so bad, and it got to the point that we decided to leave. Not necessarily because of the economic situation, but politically it got to a very aggressive situation, so I started fearing for my life every day. I saw people getting mugged, cars stolen, a gun pointed at them. I felt that someday it was going to be me. DS: Do you think that experience had an influence on your work? MN: I think violence is everywhere. It's something that I learned, which I'm very thankful for living in place like Ecuador. If you grew up in places like Japan, or even in the states, the majority is middleclass. We don't really have much contact with violence, or with people who live in the ghetto, who have actually seen shooting guns like in Hollywood movies. People have tendency to think that in bad neighborhoods people are twisted, but poverty is something that forces people to do whatever it takes to survive. If you go to under-developed countries, or any countries that have poverty like Ecuador, the same thing. People have to commit violent actions to feed the family. You might not learn that from my work, but I feel that violence should not be taken in a light way, or glorified, like it's been done in the media. It's a problem. No one wants to be violent. No one wants to commit crimes. But there are cases where people are left with no option. DS: It seems that the South American culture had some influence on you. You seem to like using Spanish in your work. MN: I do use Spanish a lot. I like the language. When I use something, just like anyone else, I have rational reasons, but I also use it because I like it. I like the atmosphere of South America in general. Food, music, Latin music. But I don't associate them with violence at all; just the realities that they have to face every day. DS: How long have you been living in the US? MN: I think 9 years total. DS: Do you go back to Japan a lot? MN: I do. I go back once or a twice a year. When I was living in Ecuador, I didn't because the flight was like 20 hours. But now that I live in New York, I do go back a lot. Either that my family visits me here, or I go visit them. I'm still in touch with the Japanese culture. I know some Japanese people here, and I go to JAS mart also [laugh]. (JAS Mart is a chain of Japanese convenient stores.) My wife loves Japanese TV shows even though she doesn't understand it. DS: Have you shown your work in Japan? MN: I would like to, but I haven't. Commercially I've done some stuff, but artistically, the only thing that I can remember is that they showed one of my animations on NHK. Some people talked to me about exhibitions, but I haven't done it yet. DS: Do you still feel you are Japanese? Or do you feel you are in a limbo? MN: I do feel 100 percent Japanese. But I might be losing more traditional aspects of being Japanese. The fact that I'm so conscious of me being Japanese may be the flipside of the fact that I'm now less Japanese. DS: Do you feel comfortable with being called a Japanese artist? MN: I don't mind being called that, but, just like anyone else, I don't like to be so categorized, but at the same time it sounds ridiculous to say "a Japanese guy who lives in New York." DS: Did you always wanted to be an artist? MN: When I was little, I wanted to be a marine biologist. I always had a fish tank and stuff. I was very serious about it. DS: Did you grow up reading a lot of cartoons? MN: Not so much. If you grow up in Japan you live with them. Of course I like cartoons, but I've never been a big fan of comic books. DS: Technically, your style is well suited for Flash. Did Flash inspire your style, or did you always liked that simple vector style? MN: I think I've always been into things that are simple and graphic. The reason why at first I studied graphic design was because I was never a big fan of realism. I always liked things that are mathematical, graphic, and high contrast. I remember before Flash came out, the only animation tool available was Macromedia Director. I used to have a really hard time, because I could never get clean edge. So, when Flash came out, I was really happy. DS: Violence and sex are usually depicted with a lot of details. If you were given a budget to make a film, or high-resolution animations like Akira, would you be interested in doing that? MN: Depicting violence in details isn't a kind of things that I'm interested in. If you depict violence so explicitly, you are then expressing that violence. That is not something that I'm interested in. I'm not particularly interested in the actual act of violence. I'm trying to describe the concept or the nature of violence. Even if I get a big budget, I would still be interested in doing more graphical work, and I would invest more time and effort in music. That would be my ideal. DS: In many of your animations, I feel a sense of social oppression, especially in "Add Boiling Water". I think it's a kind of tension and pressures that is familiar to many Japanese, which sometimes turns into violence. Is that something you intended? MN: That's very interesting, because Japan is very safe. There is almost no social class. Economy is great. But people are still frustrated. That is something that I would like to know what that means. If you live in a society where everything is great, why would you still feel frustrated or feel violent? If you are given everything, education, money, a place to live, why would you feel frustrated? I've never saw it that way but it is true that my work has a tendency to express violence in that way. DS: Are you interested in dealing with any specific cultures in your work? MN: I'm not conscious about any particular culture at all. I have no intention to represent any culture. After I created "Add Boiling Water", I consciously tried to go as far away as possible from anything personal or culture-specific. I tried to make it very simple, like "Punto Zero", so that as many people as possible could actually understand it. DS: Many of your animations are based on music or writings of others. And, you seem to be very careful about working synergystically with them, rather than trying to subordinate them to your own art. Do you always prefer to work that way? MN: I definitely prefer to work with music or sound. When I see visuals with sound, it's so much better and stronger. In reality, I think a lot of things we feel are based on sound. There are no such situations where you see something moving very fast and you don't hear a sound. Sound, smell, or even words always come with it. I want to create something that feels real. DS: You seem to like the format of music video. Do you find something compelling in that particular format? MN: Definitely. I started doing this live performance. This VJ thing. I find it very interesting. This effort of DJ or musicians playing and me mixing the video at the same time, trying to sync, that whole act is very inspiring to me. DS: Amputated body parts seem to be a common theme in your work, especially chopped heads. MN: When I started working with this theme, violence, one of the things that I was also interested in was the idea of human sacrifice. It's something that has been done in primitive societies. I've made many animations with that theme, and that's the time I started using the graphics in such a way as cutting the head off. For me, it's all symbolic. I'm not interested in any particular religion, but I do respect religions. It's something we all need. We all need something to believe in. DS: Even though sexuality seems to be a common theme in your work, no one seems to talk about it, including your own descriptions of your work. Why is that? MN: It's true, people don't usually ask me about that. To me, all these ideas that I try to develop in my work are same idea; it's human nature. I'm not particularly trying to express sexual aspects of human beings. Sex is something we all live with. We eat, we reproduce. So, I always like to include that. I don't want to neglect any important aspects of human beings. If you show sexuality as good or bad, you always have to take some kind of stance. Like, if you try to show something in such and such way, you are trying to make it sexy, or trying to support freedom, or this and that. I don't necessarily mean sex is this or sex is that. I'm just trying to present it as a pure aspect of nature. DS: Any future plan or upcoming work you can share with us? MN: This VJ thing is keeping me busy. It's fun. I play at Remote Lounge and Subtonic. Sometimes I get to sit with other VJs, which is very fun. I'm actually going to England next week to do the VJ thing. That's going to be a lot of fun. A lot of VJs are coming from all over the world. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 46. 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>. 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