<br />RHIZOME DIGEST: July 28, 2006<br /><br />Content:<br /><br />+opportunity+<br />1. Tamas Banovich: The4thScreen - deadline - Jury - event<br />2. joy garnett: Open call: Intersection for the Arts (San Francisco) Fall<br />2006 Exhibition - "Terror?"<br />3. mpgough@gmail.com: Transubstantiate - open call<br />4. daubner@alcor.concordia.ca: Call for Papers<br /><br />+announcement+<br />5. marc garrett: New Reviews/Interviews on Furtherfield.org (July 06)<br />6. zanni.org: new work by Carlo Zanni<br />7. James: Ars Virtua Opening Friday July 28<br /><br />+Thread+<br />8. Jim Andrews, Eric Dymond, Salvatore Iaconesi, Steve OR Steven Read,<br />Alexis Turner, rob@robmyers.org, Pall Thayer, Marisa Olson, M. River,<br />Michael Szpakowski, marc, josephgray@grauwald.com, mark cooley: net art?<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow 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: Tamas Banovich <tamas@thing.net><br />Date: Jul 23, 2006<br />Subject: The4thScreen - deadline - Jury - event<br /><br />for immediate release: <br /> July 20 , 2006<br />The4thScreen: a global fest of art & innovation for mobile phones<br />The extended deadline for submissions to the 2006 The4thScreen festival is<br />coming up in five days, on July 25.<br /><br />The entries will be judged by our distinguished Jury :<br /><br />Laurie Anderson<br />Jacqueline Bosnjak<br />J.C. Herz<br />Warrington Hudlin<br />Surj Patel<br />Eric Paulos<br />Paul Miller aka DJ Spooky<br />Christiane Paul<br />Holly Willis<br />more information about the Jury, go to: <a rel="nofollow" href="http://The4thScreen.net/jury.php">http://The4thScreen.net/jury.php</a><br /><br />There will be a presentation of selected entries on Sunday July 30 at 8pm<br />at the 'Scanners': The 2006 New York Video Festival. A co-presentation of<br />the Film Society and Lincoln Center Festival 2006'.<br /><a rel="nofollow" href="http://www.filmlinc.com/wrt/onsale/scanners06.html">http://www.filmlinc.com/wrt/onsale/scanners06.html</a><br /><br />The4thScreen Festival'06 is produced by Postmasters Productions in<br />partnership with the Museum of the Moving Image and Polytechnic<br />University, New York.<br />contact: Tamas Banovich, Festival Director<br />tamas@The4thScreen.net<br />The4thScreen<br />459 W19 Street New York, NY10011 USA<br />phone: 212 229 9736<br />mobile: 917 400 2381<br /><a rel="nofollow" href="http://The4thScreen.net">http://The4thScreen.net</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: joy garnett <joy.garnett@gmail.com><br />Date: Jul 26, 2006<br />Subject: Open call: Intersection for the Arts (San Francisco) Fall 2006<br />Exhibition - "Terror?"<br /><br />fyi:<br /><br />———- Forwarded message ———-<br />Intersection for the Arts is launching a building-wide exploration of how<br />each one of us experiences and understands fear and terror, which will<br />culminate in a visual arts exhibition opening September 2006. There are a<br />number of ways in which you can participate - through contributing your<br />artwork to Intersection's first open call juried show in over a decade, to<br />sharing your stories or your experiences.<br /><br />INTERNATIONAL OPEN CALL FOR ART<br />Intersection's Fall 2006 Exhibition - "Terror?"<br /><a rel="nofollow" href="http://www.theintersection.org/">http://www.theintersection.org/</a><br /><br />PROJECT DESCRIPTION<br />Are you scared? What are you scared of? How does fear immobilize or<br />control you and the world around you? What does fear cost? Where does<br />personal fear intersect with larger societal and political messages of<br />terror? These are some of the questions we are interested in exploring<br />through Terror?, a networking experiment investigating how people all over<br />the world experience fear and how it affects our lives. Utilizing the<br />internet as a starting place, this project is about searching for new and<br />true definitions for a word that has become all too pervasive. Where are<br />we now - five years from September 11, 2001? How much do we really know<br />about what people around the world are experiencing? What kind of a here<br />and now do we have? And, what kind of future? How do we actively and<br />hopefully break through media distortions, manufactured information and a<br />seemingly constant war agenda? Selected entries will be exhibited at<br />Intersection for the Arts in San Francisco, California, U.S. for two<br />months beginning on the 5-year Anniversary of 9/11 - September 11 through<br />November 11, 2006.<br /><br />Please include a self addressed stamped envelope with proper postage for<br />the return of your work. You will be notified by email of your involvement<br />in the exhibition, so please be sure to provide a valid e-mail address<br />with your materials. Intersection is not responsible for<br />returning works submitted without a self addressed stamped envelope.<br />Following the exhibition, selected works may be passed along to other<br />non-governmental international organizations and entities in order to<br />continue to develop and deepen networks. The artist agrees to provide for<br />the return of work, including adequate provisions for shipping costs and<br />insurance. Local artists in Northern California can arrange to drop off<br />for consideration and pick up at the close of the exhibition work directly<br />at Intersection. There is no entry fee for submitting work for<br />consideration.<br /><br />It is our hope that this experiment can live and grow beyond the walls of<br />Intersection for the Arts. If you have ideas about how to continue his<br />exploration in your own gallery or space or in a completely different way,<br />please contact us at terror@theintersection.org.<br /><br />MEDIA<br />Works submitted should be 2-D works (painting, illustration, design,<br />collage, photography, printmaking, Xerox, textile) no larger than 11<br />inches high by 8.5 inches wide (or for international entries, standard A4<br />paper, 297mm high by 210mm wide). Digital submissions will only be<br />accepted in PDF format, and must be formatted to print no larger than 11<br />inches high by 8.5 inches wide (or for international entries, standard A4<br />size, 297mm high by 210mm wide). We will accept up to 5 works per artist<br />for consideration.<br /><br />ENTRY DEADLINE<br />Submissions must be received at Intersection for the Arts by Tuesday<br />August 15, 2006.<br /><br />EXHIBITION DATES<br />Selected entries will be exhibited at Intersection for the Arts in San<br />Francisco, California, United States from September 11 through November<br />11, 2006.<br /><br />STORY PROJECT-SEEKING YOUR SUBMISSIONS<br />Are you scared? What are you scared of? Do you ever feel immobilized,<br />paralyzed? Why? How does fear control you and the world around you? What<br />does fear cost? Where does personal fear intersect with larger societal<br />and political messages of terror? These are some of the questions we are<br />interested in exploring through Terror?, an international<br />interdisciplinary project investigating how each one of us experiences<br />fear and how it affects our lives.<br /><br />Please send us your thoughts and reactions to the above questions. With<br />the Terror? Story Project, we aim to collect, reflect upon and incorporate<br />your responses to these questions as we prepare to open a major<br />installation in solemn commemoration of the 5th Anniversary of September<br />11, 2001. Your response may be woven into Constructed Fears, an Open<br />Process Series event on Wednesday, August 9, 2006 designed to involve as<br />many people as we can in the visioning for this important project which<br />will open on September 11, 2006.<br /><br />We hope to collect and share answers & feedback to the above questions via<br />theatrical readings and performances by local artists. With our Open<br />Process Series, we hope also to democratize the artistic process by<br />inviting as many people to contribute and help shape the ideas as we can.<br /><br />We are looking to hear from as many people and share as many stories and<br />as possible for this first event surrounding Terror?<br /><br />Please send your responses to:<br />Terror? Story Project<br />Intersection for the Arts<br />446 Valencia Street<br />San Francisco, CA 94103<br /><br />Or send your submissions via email to Rebeka Rodriguez at<br />rebeka@theintersection.org<br />Intersection for the Arts<br />446 Valencia Street (btwn 15/16), Mission District<br />San Francisco, CA 94103<br />Reservations at www.theintersection.org<br /><br />INTERSECTION FOR THE ARTS is San Francisco's oldest alternative art space<br />and provides a place where provocative ideas, diverse art forms, artists<br />and audiences can intersect one another. At Intersection, experimentation<br />and risk are possible, debate and critical inquiry are embraced, community<br />is essential, resources and experience are democratized, and today's<br />issues are thrashed about in the heat and immediacy of live art. We depend<br />on the support of people like you. To become a Member, simply visit our<br />Website and click on the Donate Now icon at www.theintersection.org. All<br />Members receive a Limited Edition T-shirt.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: mpgough@gmail.com <mpgough@gmail.com><br />Date: Jul 28, 2006<br />Subject: Transubstantiate - open call<br /><br />Transubstantiate: a peer-reviewed, online journal for performance<br />technologies praxis.<br /><br />Call for submissions:<br /><br />Transubstantiate welcomes submissions for its inaugural issue on the theme<br />of ?Disruptive Innovation?. We seek examples of new thinking and practice<br />that overturn and/or reassess existing performance technology praxis.<br />Submissions may be presented as papers, reviews , audio, visuals (stills /<br />video) and code. Authors may use multiple formats in a single submission.<br /><br />Topics of interest include, but are not limited to:<br /><br />* Networked performance.<br />* Disruptive innovations & discourse.<br />* Pedagogy, ontologies and epistemologies.<br />* Choreography for iPod.<br /><br />Choreographies for iPod must be specifically devised works and may take<br />the form of:<br /><br />* Video / stills.<br />* Audio description / instructions.<br />* Text description / instructions.<br />* ?Soundscore? with text description / instructions.<br /><br />Transubstantiate encourages submissions that take an alternative stance on<br />established modes of mediated performance. Submissions should be<br />equivalent to 3000 ? 8000 words in .doc, mp3, .jpg or .mp4 (video) format.<br /><br />The deadline for submissions is 1st November 2006.<br /><br />For more information or to submit please contact the editorial &<br />curatorial board via curators[at]transubstantiate[dot]org.<br /><br />The liminal is limited; transubstantiate.<br /><a rel="nofollow" href="http://transubstantiate.org">http://transubstantiate.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<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: daubner@alcor.concordia.ca <daubner@alcor.concordia.ca><br />Date: Jul 28, 2006<br />Subject: Call for Papers<br /><br />Call for Papers for the colloquium<br />MOBILE/ IMMOBILIZED: Art, biotechnologies & (Dis)abilities<br />Montréal, October 2007<br /><br />Please submit, to the Centre Interuniversitaire en arts médiatiques,<br /><gram@uqam.ca><br />- a short biography (15 lines)<br />- an abstract of 250 words maximum<br />before September 1 2006<br /><br />?A human being would lack nothing, if one were to admit that there are<br />a thousand ways to live.? Canguilhem<br /><br />Following the activities that took place within the framework of two<br />colloquia, "Interfaces et Sensoralité" (2003) and "Arts & Biotechnologies"<br />(2004), and based on the work with the handicapped conducted, over several<br />years, by the group at Cyprès in Marseille, we believe it is opportune to<br />provide a site for insightful reflections on questions relating to<br />(dis)abilities. At the intersection of several contemporary art projects,<br />bioscientific research and technological innovations, the notion of<br />deficiency seems to be one of the most fertile and troubling forces. It<br />certainly has a pronounced affect on the experimental art scene, where it<br />generates a significant array of creative, phantasmagorical and symbolic<br />artworks.<br /><br />Redesigning the Human<br /><br />Indeed, it seems important, at the present time, to evaluate how<br />technologies and biotechnologies affect the condition of viability, of<br />autonomy and disability of people, and to observe any signs of evolution<br />that signal an increase in cognitive, mental, imaginary and symbolic<br />capabilities. All disciplines involved in the redesigning of the human<br />being are included within the framework of this colloquium. On the one<br />hand, these disciplines occupy the central stage, determining and<br />illuminating the orientation and objectives of the project Mobile /<br />Immobilized, and on the other hand, they serve as a gauge, allowing one to<br />evaluate the techno-anthropological and political impact of practices<br />exerted by humans on humans.<br /><br />The Augmented Body<br /><br />Increasingly, technological developments give the impression that human<br />beings are inadequately equipped. This section of the colloquium<br />concentrates on artistic works whose orientation and experimental factors<br />open up conceptual possibilities as well as practical applications for<br />people with deficiencies or constraints (Virtual reality, biofeedback,<br />motion captures, interactivity, synthetic voices, sound, technological<br />extensions, implants, etc.)<br /><br />Artworks will also be presented by people with disabilities who have,<br />because of their deficiencies and their differences, strengthened their<br />sensorial capabilities, and so produce unique poetic and phantasmagorical<br />worlds with technological tools (images, digital photographs, video?). <br />Since such works are adapted to particular disabilities, in certain cases<br />they may result in technical or technological solutions that offer<br />potential uses for the broader<br />public.<br /><br />Art as a Life Laboratory<br /><br />The question here is the study of artistic approaches that propose an<br />important slippage towards a centre of gravity different from the site of<br />current art practices. It is a matter of considering new artworks and<br />artistic processes as cognitive tools, charged at one and the same time<br />with an emotion and with indissociable cognition, artworks that permit one<br />to conceive of strategies for inventive learning and adaptation in order<br />to try to find new symbolic and sensory forms. These approaches permit one<br />to redefine artistic activity in terms of the laboratory of life by<br />actively participating in the development of tools that work for, and in<br />concert with, handicapped persons. This can be done by considering<br />specific imaginaries, unique forms of<br />creations and creativity, and modes of global communication.<br /><br />Artists, theorists, (bio)scientists, and (bio)engineers) working in<br />related fields are invited to present their artworks, ideas and research,<br />as well as certain developments and applications in this domain.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: marc garrett <marc.garrett@furtherfield.org><br />Date: Jul 26, 2006<br />Subject: New Reviews/Interviews on Furtherfield.org (July 06).<br /><br />New Reviews/Interviews on Furtherfield.org (July 06).<br /><br /><a rel="nofollow" href="http://www.furtherfield.org">http://www.furtherfield.org</a><br /><br />The Ultrasound of Therapy by Staalplaat Soundsystem.<br />One of a number of pieces reclaiming the body from a post-material world.<br />A therapeutic process including anything in the range from homeopathy to<br />electroshock therapy brings the bodies back to life. Staalplaat<br />Soundsystem, the audio art collective based in Amsterdam, celebrates the<br />physical power of sound in an installation, which is currently shown at<br />Manchester?s Cornerhouse. Reviewer: Mathias Fuchs.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=193">http://www.furtherfield.org/displayreview.php?From=Index&review_id=193</a><br /><br />An Interview with Jeanie Finlay about Homemaker.<br />Entering the domestic spaces of seven people living in Tokyo or<br />Derbyshire, Finlay centres in on the household as a way of uncovering<br />individual interaction with public and private selves. Telling personal<br />stories with the aid of house-hold objects, fragments of narrative, and<br />new media technologies is a new way of thinking about portraiture.<br />Interview by Jess Laccetti.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=192">http://www.furtherfield.org/displayreview.php?From=Index&review_id=192</a><br /><br />Handmade Electronic Music.<br />A review of The Art of Hardware Hacking by Nicolas Collins.<br />In Nicolas Collins? book, we shake off the bounds of mass produced<br />software, of expensive consumer electronics and re-enter the exploratory<br />worlds of early electronic experimentalists such as David Tudor & Alvin<br />Lucier, riding the pulsating waves of sonic history through to<br />contemporary hardware hackers & instrument builders such as Xentos ?Fray?<br />Bentos, Phil Archer, John Bowers & of course Nicolas Collins himself. What<br />an enlightening journey it is too. Reviewer: Liam Wells.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=191">http://www.furtherfield.org/displayreview.php?From=Index&review_id=191</a><br /><br />Tijuana Calling: an exercise on virtual coyote tactics.<br />Mark Tribe, founder of Rhizome.org and the man behind Tijuana Calling,<br />defines the net-based works as ?playful disruptions? that address urgent<br />issues such as migration flows, cultural translation, surveillance and<br />hybridity. Indeed, the common thread that connects Turista Fronterizo<br />(Ricardo Dominguez and Coco Fusco), Tj Cybercholos (Fran Illich), LowDrone<br />(Angel Nevarez and Alex Rivera), Corridos (Anne-Marie Schleiner and Luis<br />Hernandez) and DENTIMUNDO (Ricardo Miranda Zuñiga) is the commitment to<br />pollute cyberspace through an intermittent translation of the borderland<br />experience. An insight into border-crossing in a borderless space, Tijuana<br />Calling, an on-line exhibition features five commissioned projects by<br />artists living on both sides of the border Mexico-U.S. Presented in<br />October 2005, the exhibition is one of the ?scenarios? of inSite_05, a<br />network of art practices exploring the cultural and sociological nature of<br />the Tijuana-San Diego borderland.<br />Reviewer: Maria Guglietti.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?review_id=190">http://www.furtherfield.org/displayreview.php?review_id=190</a><br /><br />All reviews:<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreviews.php">http://www.furtherfield.org/displayreviews.php</a><br />Reviewers at Furtherfield:<br /><a rel="nofollow" href="http://www.furtherfield.org/reviewersbio.php">http://www.furtherfield.org/reviewersbio.php</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />BNMI Announces International Co-production Labs<br />BNMI has launched its new co-production residency model which includes<br />three exceptional programs led by three peer advisors. Apply today for one<br />of these outstanding opportunities!<br /><br />Co-production Lab: Almost Perfect<br />Program Dates: November 5 - December 2, 2006<br />Application Deadline: July 15, 2006<br />Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest<br />(DK, UK)<br /><br />Co-production Lab: Liminal Screen<br />Program Dates: March 5 - March 30, 2007<br />Application Deadline: October 2, 2006<br />Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih)<br /><br />Co-production Lab: Reference Check<br />Program Dates: June 24 - July 21, 2007<br />Application Deadline: December 1, 2006<br />Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj<br />(Sa/UK)<br /><br />For more information visit: www.banffcentre.ca/bnmi/coproduction<br />or email <bnmi_info@banffcentre.ca><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: zanni.org <cz@zanni.org><br />Date: Jul 28, 2006<br />Subject: new work by Carlo Zanni<br /><br /><a rel="nofollow" href="http://www.ThePossibleTies.com">http://www.ThePossibleTies.com</a><br /><a rel="nofollow" href="http://www.ThePossibleTies.com">http://www.ThePossibleTies.com</a><br /><br />ONCE INTERACTION MET CONTEMPLATION<br />NOW CINEMA MEETS YOU<br /><br />Opening: August 3rd 2006 at La Rada Centro Per l?Arte, Locarno<br />as part of WIRELESS a show in partnership with 59° LOCARNO INTERNATIONAL<br />FILM FESTIVAL<br /><br />The Possible Ties Between Illness and Success<br /><br />the new work by Carlo Zanni<br /><a rel="nofollow" href="http://www.ThePossibleTies.com">http://www.ThePossibleTies.com</a><br /><br />a data cinema project about providing success appropriating other people's<br />lives<br />Random and Artificial are proud to present The Possible Ties Between<br />Illness and Success by Carlo Zanni, a two minutes short movie transformed<br />by an Internet data flux and re-edited server-side when web statistics<br />(Google Analytics) are available: the public can watch a new movie every<br />day.<br /><br />The core idea of the work is the relationship between manic-depressive<br />illness forms and success at large, a theme it symbolically tracks through<br />the filming of a ill man lying in a bed and the presence of his partner<br />(actress Stefania Orsola Garello). The man?s body (actor Ignazio Oliva)<br />progressively fills with stains: quantity and position depend on the<br />number of users (and country of origin) visiting the website. The more<br />users, the more stains, thus causing the "illness" to spread all over the<br />body. The public grants success while appropriating the body of the<br />artist.<br /><br />The title of this work has been derived from a review of a book called<br />Touched with Fire: Manic-Depressive Illness and the Artistic Temperament<br />by psychiatrist Kay Redfield Jamison. This is basically a work dedicated<br />to all those people living beside someone suffering or experiencing<br />bipolar disorders.<br /><br />Music for the film is by acclaimed composer Gabriel Yared (The English<br />Patient, Cold Mountain); words of the voice playing over the film are<br />taken from the last page of American Purgatorio, a novel by Brooklyn based<br />American writer John Haskell, who also plays the text in the English<br />version.<br /><br />?Art as disease. And success as a contagious and self-destructing process.<br /> In a challenging mix between cinema and live Internet data. The Possible<br />Ties Between Illness and Success is a visual statement about the ancient<br />theme of malaise as a typical artistic condition, built with tools and<br />metaphors of our technological era.? (Valentina Tanni)<br /><br />THE POSSIBLE TIES BETWEEN ILLNESS AND SUCCESS<br />a work by Carlo Zanni<br />words by John Haskell<br />music by Gabriel Yared<br />with Stefania Orsola Garello and Ignazio Oliva<br />Opening August 3rd 2006 at La Rada Centro Per l?Arte, Locarno<br />As part of ?Wireless? show curated by Noah Stolz and Fabiola Naldi<br />IN PARTNERSHIP WITH 59° LOCARNO INTERNATIONAL FILM FESTIVAL<br />Web: <a rel="nofollow" href="http://www.ThePossibleTies.com">http://www.ThePossibleTies.com</a><br />Press Info: info@thepossibleties.com<br />Press PDF: <a rel="nofollow" href="http://www.thepossibleties.com/press/possible-ties-pdf-press.pdf">http://www.thepossibleties.com/press/possible-ties-pdf-press.pdf</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: James <rhizome@factorynoir.com><br />Date: Jul 26, 2006<br />Subject: Ars Virtua Opening Friday July 28<br /><br />Ars Virtua presents "The Second Life Landscape Initiative"<br /><br />"A landscape comprises the visible features of an area of land, including<br />physical elements such as landforms, living elements of flora and fauna,<br />abstract elements such as lighting and weather conditions, and human<br />elements…"<br /><br />–wikipedia<br /><br />The landscape is well understood in real-space as a driving force of the<br />economy, an inspiration and a refuge.<br /><br />Ars Virtua is proud to present the Second Life Landscape Initiative. In<br />this exhibit we are testing the boundaries of translation and connection. <br />What happens to our relationship with the environment when we enter the<br />synthetic world?<br /><br />We examine four plots of land through data, analysis, visual imagery and<br />prose. We then ask the viewer to engage the landscape and form their own<br />memories and associations.<br /><br />This exhibit looks at the land of Second Life through several lenses and<br />tries to find a closer connection, this is not merely the distant gaze of<br />the scientist but the the gaze of a lover or of a poet. We examine the<br />data, forms, texture, images and stories that come from the land. Ars<br />Virtua invites it's viewers to come to the show and then to walk the<br />surrounding lands of Butler and Dowden in search of their own narratives.<br /><br />We will be highlighting the work of Lucid Vindaloo, LestatDe Lioncourt,<br />Fiend Ludwig, Zero Philo<br /><br />The SLLI (Second Life Landscape Initiative) opens Friday July 28th at 7pm<br />SLT in Gallery 2 of Ars Virtua along the Butler/Dowden sims.<br /><br />Located at the border of Butler and Dowden in Second Life's virtual<br />environment, Ars Virtua's 3000 square meter two story building is divided<br />into main and secondary galleries and a residency space. In order to visit<br />Ars Virtua you will need to create a free account at Second Life<br />(<a rel="nofollow" href="http://secondlife.com/join">http://secondlife.com/join</a>) and need to be running the current client. <br />Once you have this properly installed you should be able to follow this<br />link directly to Ars Virtua<br /><br />secondlife://butler/228/15<br /><br />Ars Virtua: Gallery 2, Butler (228, 15, 52)<br /><a rel="nofollow" href="http://slurl.com/secondlife/Butler/228/15/32/">http://slurl.com/secondlife/Butler/228/15/32/</a><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<br />panel-awarded 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 />8.<br /><br />From: Jim Andrews <jim@vispo.com>, Eric Dymond <dymond@idirect.ca>,<br />Salvatore Iaconesi <salvatore.iaconesi@fastwebnet.it>, Steve OR Steven<br />Read <steveread@mindspring.com>, Alexis Turner<br /><subbies@redheadedstepchild.org>, rob@robmyers.org <rob@robmyers.org>,<br />Pall Thayer <p_thay@alcor.concordia.ca>, Marisa Olson<br /><marisa@rhizome.org>, M. River <mriver102@yahoo.com>, Michael Szpakowski<br /><szpako@yahoo.com>, marc <marc.garrett@furtherfield.org>,<br />josephgray@grauwald.com <josephgray@grauwald.com>, mark cooley<br /><flawedart@yahoo.com><br />Date: Jul 18-28, 2006<br />Subject: net art?<br />+Jim Andrews posted:+<br /><br />is it my imagination or is it the case that there are fewer and fewer<br />posting on rhizome.org concerning net art, as opposed to news items about<br />gallery or museum etc work?<br /><br />does this reflect more concern among the rhizome people for such work<br />rather than netart?<br />+Eric Dymond replied:+<br /><br />Good point Jim. I hope it's just that the summer creates a less charged<br />atmosphere, I think it's just a more reflective time.<br />Hopefully when September rolls around the discussions re. net.art will<br />resume. I remeber someone on Matrix (Interaccess' old BBS) posting a<br />message about letting the computers rest when the weather is so nice (I<br />think it was Tom Leonardt) and it's not such a bad idea. Input time rather<br />than output time.<br /><br />+Salvatore Iaconesi replied:+<br /><br />There is this thing.. post-media…<br /><br />With the death of interaction-design critique is looking for "the next<br />thing to sell". So they are inventing post-media.<br /><br />It is a wonderful theory that effectively creates from scratch "something"<br />that can be shown and sold in galleries and events.<br /><br />Take the various disciplines of digital arts (be them network, software,<br />generative.. whatever), apply post-medianism to them, and here you go:<br />something materialized in the physical world, ready to be given a price<br />tag, and sold.<br /><br />"We make money, not art", ok. But is the focus changing direction?<br /><br />The artist "was" dead. And it was a good thing.<br /><br />Apart from that: welcome to all the event descriptions and reportages ( <br />even mine :) ); i read them all. They are interesting and show that<br />there is activity and thought, and a will to break the barriers running<br />between who's connected and who's not.<br />+Jim Andrews replied:+<br /><br />"post-media" was invented quite a while ago, i believe. i think it's a<br />guattari term? anyway, check out <a rel="nofollow" href="http://aleph-arts.org/epm/eng">http://aleph-arts.org/epm/eng</a> , for<br />instance, which has been and gone, but discusses "post-media". Or do you<br />mean post-post-media?<br /><br />In the "Webs" section of that site, they say<br /><br />"Without Rhizome, there would be no 'international net.art community', or<br />if there were, it wouldn't have the same form as it does. Rhizome is the<br />place where 'everybody' gets informed and communicates the results of<br />their creative practices on the Internet -and logically it is also the<br />place where everybody goes to find out what's happening. Thanks to this,<br />the form that the net.art community has adopted looks, at least here, like<br />a 'community of media producers' -that is, like one where the audience and<br />the collective of 'broadcasters' tend to coincide. If that is indeed the<br />case, it is due above all to the experience of these kinds of lists, which<br />incite their audience to online participation."<br /><br />To me, an 'international net.art community' does indeed need some net art.<br />+Eric Dymond replied:+<br /><br />is this a net aet vs networked art question7<br />+Steve OR Steven Read replied:+<br /><br />It has become fashionable to bring internet/media art ideas into 'real'<br />spaces, integrating with nature or urban areas or galleries or mechanics<br />or such. These fashions come and go like the winds. This has happened with<br />painting too, but luckily painting always 'triumphs' and comes back strong<br />time and time again. Hopefully the same will be true for the<br />fill-in-the-blank flavor of 'new media art' which one personally digs,<br />net.art or otherwise. I don't think net.art is already dead, maybe it just<br />smells a little funny?<br />+Alexis Turner replied:+<br /><br />Of course it's not dead. To be dead, net.art - art created for the<br />Internet -<br />would require either the Internet or art to stop happening altogether.<br /><br />Personally, I'd wager to say it hasn't really happened yet at all. Just some<br />cute but ineffective stabs at it the way a little baby stabs a piece of<br />chalk at<br />the sidewalk.<br />+Salvatore Iaconesi replied:+<br /><br />> "post-media" was invented quite a while ago, i believe. i think it's a<br />guattari term?<br /><br />yup! it's correct. and i'm not referring to post-post media either :)<br /><br />the two essential theoretical components of the theory ("equal dignity of<br />all medias", and "mix'em up", as correctly reported by aleph-arts, which<br />is a quite good site!) have some breathtakingly wonderful effects, and<br />some darker ones. as with everything.<br /><br />on on side, this "declaration" of dignity is a formalization of some of<br />the concepts that helped make netart, software art, webart (and the rest<br />of the family! :) ) concrete practices and disciplines (somehow too<br />beautifully chaotic in essence, to be referred to as "disciplines" in the<br />classical way… but that's the nice part of it, isn't it? ).<br /><br />on the oter side it formalized, in too many cases, a merge in perspective<br />of two very different worlds. digital is essentially different from<br />physical. this does not mean it shouldn't have connections, or that you<br />shouldn't mix both up, but the difference is something to understand and<br />to use, if you feel like it.<br /><br />and this created a.. what shall we call it.. a "tension", a little nervous<br />twitch…<br /><br />in one way or another there is this distributed feeling of "searching" ..<br />is it the search for a definition? is it a search of recognition? of fame<br />and money? of something to sell in galleries and the like?<br /><br />too many times it's just a search of something that sounds like "i have A<br />and B… i distort the way i use A and/or B and then i mix them up.. then<br />i show it" .. and it reminds me too much of every art fair that i go to:<br />the painting stuff is too many times a sterile search of the "next thing",<br />in the same way …<br /><br />this i think is the main glitch in things. as eric said in a wonderful way<br />"networked art vs net art": do you use the media? do you build using the<br />media? do you communicate through the media?<br /><br />and, most of all: do you care about the concept? about the action? about<br />the effect? about the significate? about me?<br /><br />which are extremely different things!<br />+rob@robmyers.org replied:+<br /><br />> the two essential theoretical components of the theory ("equal<br />> dignity of all medias", and "mix'em up",<br /><br />Or, alternatively, "give the market what it wants".<br /><br />"Postproduction" by Nicolas Bourriad looks at this sort of thing as a<br />follow up to his earlier "Relational Aesthetics".<br /><br />"Museum, Inc.: Inside the Global Art World" by Paul Werner gives an<br />insider's view of how contemporary art helps launder reputations and<br />ideology.<br /><br />And "Sweet Dreams: Contemporary Art and Complicity" by Johanna Drucker<br />might be good for anyone who still needs an October detox.<br />+Jim Andrews replied:+<br /><br />digital art is a wide field. there is much happening for performance,<br />installations, mobile networks, workshops, conferences, and so on, offline<br />or concerning local networks. and that's all good to hear about. you click<br />links on rhizome.org's home page and you go to sites informing you of such<br />things, and you read descriptions of the projects and see photos maybe<br />even a video or whatever. documentation about the project.<br /><br />but i would also like to be informed via rhizome.org's web site of<br />projects where you experience the art itself online, not just<br />documentation about the art. and maybe it's my imagination but it seems<br />to me i see less and less of that on rhizome.org's web site.<br /><br />net art is for the world. or much of it is, deals with language issues in<br />an international way, ie, presents the work in more than one language or<br />has much to say independent of its particular written/spoken language. i'd<br />like to see more of this sort of art on rhizome.org's home page.<br />+Pall Thayer replied:+<br /><br />I agree and second.<br />+Marisa Olson replied:+<br /><br />Regarding Rhizome's front page content…<br /><br />The reblog is managed by the Site Editors, so it is a reflection of their<br />diverse interests as much as what people are posting to Raw or on other<br />blogs that are then reblogged.<br /><br />When I assign articles for Rhizome News, I try to maintain a balance<br />between various practices within our 'wide field,' as you put it,<br />including online & offline work. These News pieces also get reblogged.<br />Additionally, we are working on automating announcements about new Member<br />Curated exhibits and new additions to the ArtBase, so that they are<br />instantly reblogged. This may help in bumping up the number of<br />internet-based works that are linked on the front page.<br /><br />Meanwhile, we'd love to see more of you initiating Member Curated shows…<br />It would be interesting to see what you are currently looking at, and how<br />you're contextualizing it…<br /><br />I hope everyone's having a nice summer!<br />+Eric Dymond replied:+<br /><br />It's nice to see the wide field being covered, it's great to see how the<br />protocols of the net have invaded other art practices.<br />It would also be nice to see a bias toward net.art on the main page.<br />Works that are complete unto themselves when viewed online.<br />It probably should be Rhizome's main focus. Not that the other mongrel<br />works should be ignored, but after all I think net.art relies upon Rhizome<br />as a its champion.<br />+M. River replied:+<br /><br />I disagree with your call to narrow focus Rhizome on "net.art"<br /><br />Why? I feel that what you are really looking for, what you really miss<br />finding here, is screen based work that looks like the good old days of<br />net.art. Works that might make your browser jump around and flash on and<br />off. It's been done. It's over. Move on.<br /><br />The net has changed and so has net art. My baseline definition of net art<br />has always been - art that is located in an exchange between two or more<br />computers via that net. Rhizome still posts about "net art" all the time.<br />It's still here. It's here every day. p2p, rss, flickr, myspace, google<br />ads, multi player, remote viewing, blog, vlog, blah, blah, blah…<br /><br />And this concludes M.River of MTAA's quarterly rant/networked performance<br />onRhizome.org<br /><br />Keeping it real since 97…<br />+Michael Szpakowski replied:+<br /><br />Absolutely! Spot on.<br />+Eric Dymond replied:+<br /><br />I still think Jims observation was true, and I doubt this is a natural<br />evolution. Just a maturing venue starting to look more and more like Art<br />Forum and seeking a broader base.<br />And your Baseline looks pretty thin from here. But hey the lines are<br />showing on all of us.<br />;-)<br />+Pall Thayer replied:+<br /><br />I too disagree with such a call. However, I don't agree that screen-based<br />net.art is "done" or "over." There's still a lot of potential to be<br />explored. It may not be "in" at the moment, but that doesn't mean it's<br />"done." So it's up to the artists. Either go with the flow or go with your<br />convictions. If you feel you have something to add to screen-based<br />net.art, then do. My computer screen has 786, 432 pixels and millions of<br />colors. There must be something in there that hasn't been explored yet and<br />is worth exploring.<br />+josephgray@grauwald.com replied:+<br /><br />not to mention that those 786,432 pixels can be updated at least 60 times<br />a second…<br /><br />interactive network fed screen based media is defiantly stuck in a box,<br />but is by no means dead<br />+marc replied:+<br /><br />Why has everyone conformed to using the term 'net.art', as in net.dot.art?<br /><br />Historically net.art, mainly belonged to just a few elite artists working<br />on th Internet, Vuk Cosic made sure of this, and Manovich etc…<br /><br />I have always been interested in those who did not bandwagon jump onto the<br />term 'net.art '- those who used 'net art' (without the dot), are the real<br />blood of net art - for they have to deal with not being supported by<br />history and cannons, and institutions.<br />+Jim Andrews replied:+<br /><br />> I disagree with your call to narrow focus Rhizome on net.art<br />><br />> Why? I feel that what you are really looking for, what you really<br />> miss finding here, is screen based work that looks like the good<br />> old days of net.art. Works that might make your browser jump<br />> around and flash on and off. Its been done. Its over. Move on.<br />><br />> The net has changed and so has net art. My baseline definition of<br />> net art has always been - art that is located in an exchange<br />> between two or more computers via that net. Rhizome still posts<br />> about net art all the time. Its still here. Its here every day.<br />> p2p, rss, flickr, myspace, google ads, multi player, remote<br />> viewing, blog, vlog, blah, blah, blah<br />><br />> And this concludes M.River of MTAAs quarterly rant/networked<br />> performance on Rhizome.org<br />><br />> Keeping it real since 97<br />miss jodi? i always thought net.art was fabulous as in 'fable'. more than<br />a few of us are not included in the cliquish way "net.art" is understood,<br />though we were working at that time and continue at it to this day.<br />"net.art" is a story told by museum curators posing as anti-gallery, isn't<br />it?<br /><br />but to move on,<br /><br />"My baseline definition of net art has always been - art that is located<br />in an exchange between two or more computers via that net."<br /><br />it's true that the notion of net art is broadened to things like "p2p,<br />rss, flickr, myspace, google ads, multi player, remote viewing, blog,<br />vlog, blah, blah, blah". and pretty much all of the quoted examples<br />operate on the public internet. as opposed to solely local networks or<br />internet2 etc. stuff that operates solely on local networks or requires<br />internet2 is surely still 'net art'. but if you're not in the local<br />network or you're not at a research facility, in the case of internet2,<br />you're out of the loop.<br /><br />what i enjoy about net art is its international dimension that operates<br />beyond the local and toward very wide availability. and work that is<br />adventurous imaginatively and with whatever technologies support that wide<br />availability, such as the ones you mention and also shockwave, flash,<br />java, etc. but, mainly, works that you can experience on the net wherever<br />you are. if rhizome's membership is to be international, it has to give us<br />peons in the sticks something beyond documentation of stuff that happens<br />elsewhere.<br />+ Jim Andrews added:+<br /><br />> I disagree with your call to narrow focus Rhizome on net.art<br />><br />> Why? I feel that what you are really looking for, what you really<br />> miss finding here, is screen based work that looks like the good<br />> old days of net.art. Works that might make your browser jump<br />> around and flash on and off. Its been done. Its over. Move on.<br /><br />I'm not sure you were implying that screen-based net art is over. That's a<br />pretty wide range, actually. So I kind of doubt it. I mean, that includes<br />audio as well as visual. And interactive possibilities. So the information<br />space is wider than video for the net, say, includes video for the net.<br /><br />My own feeling is that monitor-based net art will be around as long as the<br />internet is around, though of course the monitors will change, maybe the<br />mouse/keyboard io will change, the computers themselves will change,<br />browsers will change and maybe something else will replace them, the<br />typical bandwidth will change, and so forth.<br /><br />Also, the social structures of net communication will broaden. But one<br />thing I hope will continue is ease of getting international information.<br />There are exceptions, such as China, where tens of thousands of people are<br />employed to enforce bans on looking abroad into innumerable information<br />sources. And North Korea. But if people can see what's going on elsewhere<br />in the world, they are less likely to tolerate a situation at home that<br />doesn't live up to what people elsewhere in the world have, or where the<br />government is feeding them propaganda.<br /><br />So, in a sense, international net art is a part of an ideal of global<br />communications. And it isn't a cure all, global communications. But it<br />beats a situation where people are treated like mushrooms: keep em in the<br />dark and feed them shit.<br /><br />And part of that ideal is access to work that in some sense transcends not<br />only national boundaries but language boundaries. Art that is for the<br />world. The art of global communications. I hope that is around for a long<br />time. And screen-based net art is an important part of it.<br /><br />Moreover, the artistic possibilities it presents, it seems to me, are a<br />very long way from exhaustion.<br /><br />Rhizome has been a crucial organization in propagating this ideal. I<br />really hope it continues to do so.<br />+mark cooley replied:+<br /><br />i also disagree with m river's statement -<br /><br />> Why? I feel that what you are really looking for, what you really<br />> miss finding here, is screen based work that looks like the good<br />> old days of net.art. Works that might make your browser jump<br />> around and flash on and off. Its been done. Its over. Move on.<br /><br />the subject of what is dead and what is not - what is cool and what is<br />drool has come up fairly often here. i remember the fairly animated<br />discussion some time ago concerning the supposed "death of netart". what<br />is usually lacking in these bold statements about getting passed the past<br />- going on to new brave new frontiers etc. is the basic question "why"? <br />maybe some things are worth keeping around. How ridiculous it is anyway<br />to talk of abandoning things that are 10 years old or less. I think Jim<br />is right, is there no more to be explored with screen based netart - it's<br />been exhausted in that short of time? It must not have had much to offer<br />in the first place. But beyond that, back to the question "why". I think<br />that it needs to be addressed that the rhizome community is part of at<br />least two industries that are interconnected - the culture industry and<br />the technology industry. Both industries are themselves expressions of<br />this thing called capitalism. i think it's worth exploring the desire to<br />constantly "move on" in terms of the consumer society. this fiction that<br />envelops both the culture industry (fine art) and the technology industry<br />says that "new is always better," "innovation always leads to better<br />things." Aren't we just feeding the beast here when we say that we need<br />to move on for no better reason that something has already been done? is<br />nothing worth saying twice? is art is out there to be consumed and thrown<br />away like everything else? this is why i think the discourse around<br />tactical media is so much more constructive than that of fine art - when<br />media tacticians "move on" it is in relation to something - in relation to<br />a social context that means something conceptually. If a tactical media<br />piece works it's because the producers were aware of social context and<br />how their work will operate within it. if your a tactical media<br />practitioner and you start using video news releases, for example, it's<br />not because you want to be the first cutting edge artists to do that -<br />it's because that's what will work if you want to get on the 6:00 news. <br />there's a goal there that is real. i have little use for all these avant<br />garde-isms that attempt to discredit with silly statements like "that's<br />been done". yeah so? the question is, "did it work, and if so, what did<br />it work to do?" then we can ask, "should we do it again? will it work a<br />second time? Who wants to live in a society where everyone throws away<br />the language and tools of their culture every couple of years?<br />+M. River replied:+<br /><br />mark cooley wrote:<br /><br />> i also disagree with m river's statement -<br /><br />I'd like taht on a t-shirt :)<br /><br />"the subject of what is dead and what is not - what is cool and what is<br />drool has come up fairly often here. i remember the fairly animated<br />discussion some time ago concerning the supposed "death of netart". what<br />is usually lacking in these bold statements about getting passed the past<br />- going on to new brave new frontiers etc. is the basic question "why"?<br />maybe some things are worth keeping around."<br /><br />Ok. One more try and then I'll stop. I'll try to be a bit straight forward<br />this time. I'll try to be a bit more 'let's hold hands'. I might even<br />proof read and spell check. Might.<br /><br />What I'd like to suggest, in response to the 'rhiz should get back to<br />netart' thought are 2 things.<br /><br />First off, and what people seem to agree with, netart has changed. (side<br />note: Yes, I use the 'net.art' name when thinking about that group and<br />that time and 'netart' about the practice in general.) Netart has changed.<br />Netart is changing. No, it's not done/dead/over. 'Done' refers to art and<br />ideas that we all worked on some time ago. I enjoy the work I made 5 or 10<br />years ago. I think it's interesting. I think all the work back then was<br />brave and full of life. Do I want to go back? No. Do I want to see net<br />artist keep mining the concepts and forms that we started with? No.<br /><br />Which leads us to point #2.<br /><br />Beware mannerism. Beware nostalgia. Pollack made drip paintings.<br />Interesting. Watching a painter make a drip painting 10 years later? Not<br />so interesting. In fact, it might be a bit, well… sad. But then again,<br />it could be done in way that takes on the materials and practice of drip<br />painting and makes it relevant to the time. (full disclosure, t.whid and I<br />made a Pollack painting this year… don't get any bright ideas) But this<br />is not what I hear in the 'let's get back to netart call' What I'm hearing<br />is pixel counts.<br /><br />Now, as far as 'capitalism, the consumer society and this fictional<br />envelop of the avant garde…' one of the reason tactical media has an<br />impact might be because some smart people realized that the street may no<br />longer be the center of power. They stopped making posters and started<br />making websites. Be it drip painting, or political change, we can respect<br />and try to understand the past but let's not live in it. It's over. It's<br />done. Move on.<br /><br />So, that's my second try. I'll give up now. Although, I would still like<br />to hear more about two of the other points brought up in this thread - <br />the age old problem in netart of global / local and the change in what I<br />think t.whid called 'the discrete netart object.'<br />+Pall Thayer replied:+<br /><br />As a tech-art journal, it's Rhizome's job to keep up with the new. What's<br />happening now? What directions might things be moving in?<br /><br />However, as far as personal practice goes, I think that the artists who<br />maintain some sort of focus rather than trying to jump on the bandwagon<br />every time something new pops up, will be more satisfied with the fruits<br />of their labor in the long run.<br /><br />The difference between work done by people who have really taken the time<br />to discover, understand and conquer (or succumb to) their chosen medium or<br />media and the work done by those who barely spend enough time with it to<br />scratch the surface before they move on to something else, is huge.<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the<br />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 the<br />Visual Arts, and with public funds from the New York State Council on the<br />Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 11, number 28. 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 />
