RHIZOME DIGEST: 12.2.00

discussion

Posted Dec. 1 2000 19:00

RHIZOME DIGEST: 12.2.00

RHIZOME DIGEST: December 2, 2000 Content: +editor's note+ 1. Mark Tribe: Rhizome.org Community Campaign Update +opportunity+ 2. Info: EMAF 2001 Call for Entries 3. Michael Thomas: videonale 9–call for entries +announcement+ 4. isea: ISEA2000-PROGRAM AND REGISTRATION 5. Mark River: DWA art/action 6. Pierre Robert: —a r c h é e—sommaire—<déc. 00>— +work+ 7. Marc Voge: Web Project 8–Web Art in Seoul 8. ||| || ||||| || |: netart_latino database 9. ade@stub.org: Signwave releases Auto-Illustrator 0.1d-r15 10. gregory.chatonsky: WWW.REVENANCES.NET +feature+ 11. anne-marie: luckykiss_xxx–curator's note + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 12.2.00 From: Mark Tribe (mark@rhizome.org) Subject: Rhizome.org Community Campaign Update Dear Rhizome Digest subscribers: We've just completed our third week of the Rhizome.org Community Campaign, and the barometer is rising! Contributions totaling $3,600 have come in from across the U.S.A., France, Canada, Germany, the Netherlands, Brazil, Turkey, Singapore and Iceland–a total of 36% of our campaign goal of $10,000. Many, many thanks to our latest group of supporters: Haenggih Benedict, The Bolton Foundation, Kim Cascone, Molly Cumming, Paul A. Fishwick, Patrick Lichty, Matthew Locke, Laura U. Marks, Abigail D. McEnroe, Katie Mondloch, Liza Mulvenna, Shannon Palmer, Rita Sberlati, Tom Scarpino, Rachel J. Stevens, KimYoonah and Amy Youngs. Rhizome.org has grown tremendously in the past year, and our monthly operating cost has increased with it. We depend on support from individuals like you to make ends meet. Each and every contribution makes a real difference in our ability to survive as an organization. So if you haven't yet made a gift this year, please do so today. It only takes 3 minutes to make a secure online contribution using your credit card at www.rhizome.org/support. Or mail your contribution to Rhizome.org, 115 Mercer Street, New York, NY 10012 Every gift of $25 or more is rewarded with a premium. And gifts are tax- deductible for US residents. Our contribution premiums include: + At the "seed" level ($25) you get your own email address @rhizome.org. + At the "sprout" level ($50) you get a Rhizome.org T-shirt. + At the "stem" level ($250) you get a limited edition Splash Art mouse pad. Sincerely yours, Mark Tribe Founder & Executive Director + + + Rhizome.org is a 501©(3) not-for-profit organization. Contributions to Rhizome.org are tax-deductible to the extent allowed by law. Our audited financial statement is available upon request. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Mute18 OUT NOW: Network coverage includes the psychogeographies of Iain Sinclair and Chris Petit, social pathologies of Michel Houellebecq, Third Way alliances of London's 'Culture Clubs' and - hostage to fortune - Roy Ascott, Sara Diamond and Geert Lovink's take on the actually existing Internet. <subs@metamute.com> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 11.21.00 From: Info (info@emaf.de) Subject: EMAF 2001 Call for Entries European Media Art Festival Osnabrueck 25.-29. April 2001 www.emaf.de -Inside/Outside- // From 25 to 29 April 2001 the European Media Art Festival presents once again a diverse cross section of media art in Osnabück. Productions from internationally renowned artists as well as innovative works from creative young talents will be shown. // The European Media Art Festival is an international forum for film, video, performance, multimedia installations and for digital media such as CD-ROM, DVD and the Internet. As part of the festival two prizes are awarded annually. There is the German Film Criticism Prize for the best German experimental film or video production and the OLB Media Art Prize for exemplary media installations. <a href="http://www.emaf.de">http://www.emaf.de</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Move those digits and order the LEONARDO Eighth New York Digital Salon catalog. Hot off the press, the Digital Salon issue documents this exhibition of computer art and presents articles by computer artists sharing their viewpoints. To order: <<a href="http://mitpress.mit.edu/e-journals/Leonardo/order.html">http://mitpress.mit.edu/e-journals/Leonardo/order.html</a>>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 11.29.00 From: Michael Thomas (mthomas@bureau-k.de) Subject: videonale 9–call for entries VIDEONALE 9 CALL FOR ENTRIES / AUSSCHREIBUNG: INFORMATION / ENTRYFORMS / TEILNAHMEFORMULARE: <a href="http://www.videonale.org">http://www.videonale.org</a> Since 1984 the Bonn Videonale has shown the most current work in video and other new media. It is an exhibition, festival and symposium in one. The Videonale seeks new artistic tendencies and is a platform for bringing attention to new work. Deadline for submissions: January 20, 2001 <a href="http://www.videonale.org">http://www.videonale.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Artbyte's November/December issue has been CENSORED! Our printer blurred a brain-searing passage in Julian Dibbell's true confessions about online "preggo" porn. (Inquiring minds will find the offending text at Artbyte.com.) Miraculously spared our printer's wrath were: Anka Radakovich, on why Netporn for chicks sucks and architect Greg Lynn, on his Embryological House. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 11.25.00 From: isea (isea@ISEA.QC.CA) Subject: ISEA2000-PROGRAM AND REGISTRATION ISEA2000 REVELATION - 10th INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART Official Program now available online !! <a href="http://www.isea2000.com">http://www.isea2000.com</a> Please REGISTER before November 30th, 2000 Registration form available on the official website Special rates for ISEA members, students and groups <a href="http://www.isea2000.com">http://www.isea2000.com</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 11.30.00 From: Mark River (mriver102@YAHOO.COM) Subject: DWA art/action REATIVE TIME WEB ACTION DAY WITHOUT ART 2000 www.creativetime.org/dwa On December 1 World AIDS Day celebrate the premiere of Creative Time's DAY WITHOUT ART WEB ACTION 2000. Lights! The Banner Project returns with a new series of downloadable banners from a global network of designers and artists. By posting these banners on your website, you ensure a spotlight on these vital responses to this pressing health crises. Link up to the nexus at <a href="http://www.creativetime.org/dwa">http://www.creativetime.org/dwa</a> and send an email with your web site and URL to dwa@creativetime.org. Camera! Creative Time and D-Film present CineVirus: Make A Scene, a digital community space for you make your personal response to the HIV/AIDS pandemic visible. Upload your own digital video, and show us what AIDS looks like now. Action! HIV/AIDS is a public issue. It demands a public response. As part of its 27-year commitment to bring art to public spaces, Creative Time invites you to join this digital coalition by posting a banner to your own website, or adding your vision to the CineVirus series. Just as individuals make up the public sphere, it is individual stories that define the AIDS crisis. Make sure yours is not forgotten. <a href="http://www.creativetime.org/dwa">http://www.creativetime.org/dwa</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 12.1.00 From: Pierre Robert (probert@videotron.ca) Subject: —a r c h é e—sommaire—<déc. 00>— —a r c h é e—sommaire—<déc. 00>— <a href="http://archee.qc.ca/sommaire.htm">http://archee.qc.ca/sommaire.htm</a> ___UN COMPTE RENDU COMMENTÉ DU LIVRE /WORLD PHILOSOPHIE/ DE PIERRE LÉVY___ <a href="http://archee.qc.ca/ar.php3?btn=texte&no=141">http://archee.qc.ca/ar.php3?btn=texte&no=141</a> ___UN ENTRETIEN AVEC PIERRE LÉVY___ <a href="http://archee.qc.ca/ar.php3?btn=texte&no=142">http://archee.qc.ca/ar.php3?btn=texte&no=142</a> ___UNE RENCONTRE AVEC ÉRIC SADIN___ <a href="http://archee.qc.ca/ar.php3?btn=texte&no=143">http://archee.qc.ca/ar.php3?btn=texte&no=143</a> ___UN ENTRETIEN AVEC ALEX GALLOWAY___ prise deux <a href="http://archee.qc.ca/ar.php3?btn=texte&no=144">http://archee.qc.ca/ar.php3?btn=texte&no=144</a> ___UNE INVITATION AU SALON___ <a href="http://archee.qc.ca/salon4/">http://archee.qc.ca/salon4/</a> + + + <a href="http://archee.qc.ca/sommaire.htm">http://archee.qc.ca/sommaire.htm</a> <a href="http://archee.qc.ca/ar.php3?btn=texte&no=141">http://archee.qc.ca/ar.php3?btn=texte&no=141</a> <a href="http://archee.qc.ca/ar.php3?btn=texte&no=142">http://archee.qc.ca/ar.php3?btn=texte&no=142</a> <a href="http://archee.qc.ca/ar.php3?btn=texte&no=143">http://archee.qc.ca/ar.php3?btn=texte&no=143</a> <a href="http://archee.qc.ca/ar.php3?btn=texte&no=144">http://archee.qc.ca/ar.php3?btn=texte&no=144</a> <a href="http://archee.qc.ca/salon4/">http://archee.qc.ca/salon4/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 12.1.00 From: Marc Voge (marc@totalmuseum.org) Subject: Web Project 8–Web Art in Seoul Web Project 8 – Web Art in Seoul <a href="http://www.totalmuseum.org/webproject8.html">http://www.totalmuseum.org/webproject8.html</a> info@totalmuseum.org The Total Museum of Contemporary Art, Seoul, presents: Web Project 8, December 1, 2000 - February 1, 2001 An online exhibition of new Web works by 8 artists: Superbad (Ben Benjamin) Diane Bertolo Young-hae Chang Heavy Industries Jeong-hwa Choi Jodi (Joan Heemskerk, Dirk Paesmans) The Candy Factory (Takuji Kogo) Olia Lialina Alexei Shulgin <a href="http://www.totalmuseum.org/webproject8.html">http://www.totalmuseum.org/webproject8.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 12.1.00 From: ||| || ||||| || | (vibri@internet.com.uy) Subject: || | || netart_latino database || |||| || || |||||| netart_latino database URL: <a href="http://www.internet.com.uy/vibri/netart_latino.htm">http://www.internet.com.uy/vibri/netart_latino.htm</a> any contributions/corrections are welcome! <a href="http://www.internet.com.uy/vibri/netart_latino.htm">http://www.internet.com.uy/vibri/netart_latino.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 11.26.00 From: ade@stub.org (ade@stub.org) Subject: Signwave releases Auto-Illustrator 0.1d-r15 An all new release of Auto-Illustrator is now available for download from <a href="http://www.auto-illustrator.com/">http://www.auto-illustrator.com/</a> The latest release (0.1d-r15) has resolved many cosmetic and functional bugs in the Windows version, and sports an all-new look and feel for registered users. There are more tool palettes, giving you more control over each of the tools. One of the most powerful new features is the Recording Tool (available to registered users only) which allows you to record your favourite actions and replay them on other artwork or documents. Users can also edit the ActionScript that accompanies each recorded action, creating the potential for complex, recursive artwork generation. The new version can be downloaded directly using these links <a href="http://www.auto-illustrator.com/AI-0.1d-r15.sit">http://www.auto-illustrator.com/AI-0.1d-r15.sit</a> (MacOS, 2.9M) <a href="http://www.auto-illustrator.com/AI-0.1d-r15.zip">http://www.auto-illustrator.com/AI-0.1d-r15.zip</a> (Win32, 2.5M) Any feedback is warmly welcomed - the more bug reports and suggestions we get, the better the application will be. Send emails to ade@stub.org <a href="http://www.auto-illustrator.com/">http://www.auto-illustrator.com/</a> <a href="http://www.auto-illustrator.com/AI-0.1d-r15.sit">http://www.auto-illustrator.com/AI-0.1d-r15.sit</a> <a href="http://www.auto-illustrator.com/AI-0.1d-r15.zip">http://www.auto-illustrator.com/AI-0.1d-r15.zip</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 11.26.00 From: gregory.chatonsky (rank@incident.net) Subject: WWW.REVENANCES.NET WWW.REVENANCES.NET Produced at the C3 (Budapest, Hungary) by Gregory Chatonsky and Reynald Drouhin, Revenances* is an online art project about the ghosts and the disjunction between the contact and the vision. The Revenance of the ghosts, of the separations and contact. The Revenance of fiction, of stories, of the history. Stepping the frontiers between ghost logic and virtual technologies. Ghost, fantasies, present and absent images. At night, the contact of the infra-mince of our skin. Bewitching our distances and solitudes. <a href="http://www.revenances.net">http://www.revenances.net</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 11.22.00 From: anne-marie (amschle@cadre.sjsu.edu) Subject: luckykiss_xxx–curator's note // LUCKYKISS_XXX > adult kisekae ningyou sampling ^_^ <a href="http://www.opensorcery.net/luckykiss_xxx/">http://www.opensorcery.net/luckykiss_xxx/</a> Luckykiss_xxx: Adult Kisekae Ningyou Sampling Curator's Note "'Kisekae' is Japanese for 'changing clothes'. It's a popular play for little girls. They are given 'kisekae ningyou' (dolls for changing clothes) and play changing clothes of the dolls. And, girls' manga magazines sometimes provide paper dolls and clothes for kisekae. (You can also find swimsuit collections and popular comic heros wearing naughty leather gear)." [1] 1. Open Kisekae: an open source art form Luckykiss_xxx is a sampling of adult kiss dolls presented as online art. Kisekae ningyou paper doll sets migrated from Japanese shoujou (girl) manga paper comic books to computers in the mid 1990's. Through the web, "The World KiSS Project" attracted doll creators first in Japan and then internationally. KiSS viewers and development kits are available freely for PC, Mac, and Amiga platforms. Similar to the active cultural production and online exchange of computer game add-ons at both code and content levels, the World KiSS Project's operating principles are founded on the hacker gift economy endemic to the Internet. Instructions for ethical (non-profit) distribution of KiSS doll sets are included with the development kits and viewers for KiSS. KiSS is an open source collaborative art form enabled by networkability. Both KiSS visuals and code are developed through collaborative online interactions between multiple artists and programmers, rather than by a select, elite industry sector, (in the case of the original girl manga books, a select group of comic book artists). As a distributed interactive software, KiSS is open to a multiplicity of artistic visions, practices, cultures, genders, ages, and artistic skill levels. Variety and play, a dynamic chain of alternates, imaginings and reimaginings, characterize KiSS. The role of the KiSS developer merges with role of the KiSS player, the KiSS player is also usually a KiSS artist, reading is writing, authoring is using, consumption is production.[2] The process of creativity employed by KiSS artists is a form of cultural sampling, hacking and appropriation, a form of play from which new configurations emerge from tweaking what another artist has made and so on, a dynamic recycling of anime and other visual lexicons as well as a repurposing of the interactivity of paper doll play and other forms of interactivity. (These very processes of play and creative remixing are also built into how the user interacts with the KiSS doll itself as s/he dresses and undresses the doll.) Designer Russell Talyor has described the initial phase of a design process as a "playtype". According to Taylor, "playtype" is preferable to "prototype", as the latter term is imbued with notions of originality and proprietary authorship. A playtype is "about free movement, action, an activity and interactivity" and is not about a frozen "product, artifact and object."[3] The David "KiSS Jam" by multiple authors is an example of this playful, collaborative, dynamic creative design process.[4] In each KiSS data set frame, a Michelangelo's David statue doll wears a different costume designed by a different female artist, ensembles ranging from lederhosen to fishnets. 2. The Shape of Online KiSS Even though KiSS doll set production activity peaked only a few years ago, about 1997, sleuthing for KiSS dolls is already a detective assignment for a cyberarcheologist. If I try to branch out of a small number of centralized KiSS archiving sites, such as Dov Sherman's invaluable KiSS archive, and access individual KiSS artist home pages, I will dead-end in many "404-page not found's". This is especially true on Japanese servers, where KiSS is an older phenomenon, and also where trends seem to propagate and burn out even faster than in the West. (I find myself surfing in dead link wastelands, following only indexical traces–the hyperlinked descriptions of ghost sites.) The topology of KiSS sites can be roughly mapped into three different communities of users and developers. The first and earliest community is the Japanese girls and boys who build cute KiSS sets to play doll dress up, drawing from children's anime sources and girl manga. Second are older Japanese teenage boys who build more erotic adolescent KiSS dolls sets to play "undress up" or strip tease, drawing from casts of teen anime characters.[5] And the third clustering is of Western teenagers, and Western young women and men, who build erotic KiSS dolls to play out adult fantasies. This third user group references both anime, Western pop culture, gothic underground alternative culture, cartoons and other eclectic, (international, non-Japanese), sources. This community is presently more active in comparison to the first two communities. Each community shares dolls with each other and members link to each other's sites, forming hyperlink clusterings that serve to reinforce community identity and exchange. Out of these three sometimes overlapping fields of cultural production, Luckykiss_xxx exhibits KiSS dolls created by adult artists participating in the second and third fields. 3. My Doll, My Avatar Paper dolls, sexy dolls, anime characters and computer game avatars are all inhabitants of fantasy life. The children's micro world of doll houses, puppet shows, and miniature soldier landscapes has been extended into the virtual, where children grow into adults and continue active fantasy lives.[6] Doll as miniature fetish play object and avatar as a fragment of self are both components of player/avatar/doll interaction. I am my avatar, I objectify my doll, my doll is my sex toy, I play with who I am, I dress up as other, I don't recognize myself and I delight in myself as other. The subject switches places with the object and jumps back again. In Glyndon's goth KiSS doll set "X" the player transitions through a variety of outfits from pony girl to maid to goth boy, (when you strip the doll in data set one s/he is endowed with a penis and in data set two her breasts disappear). In the online fetish ball of KiSS dolls, the doll is not frozen in time into one subject position and gender position.[7] Fluid and infinitely mutable, the digital doll cycles through a play of (potentially contradictory) signifiers as the user flips through the standard ten frames or "data sets" of the KiSS viewer, each data set presenting a new doll costume and a new identity. Gender/subject construction is effected through gender play and role play. What is important here is to recognize the process of play as a modality of gendering. Gendering is not a process whereby the subject is a passive recipient of social gender norms, but neither is the subject isolated from these norms. The subject employs agency as s/he interacts with given gender categories, a back and forth playful interchange as s/he rotates through various roles or creates/implements new roles as the creator of a new KiSS doll. This gender play can be both liberating and funny as the player/creator evades a fixed and frozen subjectivity, but should not be underestimated as an effective gendering process. Asia de Guarde, author of many lovely KiSS sets, extended the use of kiss for role play by creating a KiSS doll for her "Boo Liberty" character that she played in an online role playing game.[8] Asia's female KiSS dolls are both sexy, (very nice translucent underwear), and defiant girl dolls whose costumes include combat wear and gadgets. For instance, Asia's "Girl Paradox" doll poses in a confrontational stance facing off the user with her legs firmly planted on the ground, cybervisor and tool vest within easy reach. "Mechanisma" by Yuki Saegusa is an early Japanese (1994) transformer doll that through "kisekae", changing clothes, alters her identity. Mechanisma is a doll inside a doll, disassembling entirely from her giant female robot form to reveal a tiny human girl doll inside of her multiple mechanical parts. 4. Sexy Play Play is not the exclusive domain of children but is integrated into the adult fantasy life of KiSS players and artists. Pleasure in role play, in interactive, erotic costuming, merges with the interactive pleasure of stripping, of removing layers of often finely crafted clothing to find the next layer that lies underneath. These KiSS pleasures are further channeled into a variety of more specific sexual fantasies, fetishes and modalities, such as bondage, leather fetish toys and whips, cross-dressing, and mouse action over defined pleasure spots. (As noted by Elena Gorfinkel & Eric Zimmerman, it is sometimes necessary to patiently and repeatedly rub the mouse back and forth over a doll's panties to remove them.) Although many of these pleasures are addressed to Japanese and Western hetro males it is not difficult to find adult KiSS sets which are queer and/or female friendly, or to imagine queer "rereadings" or repurposing of many KiSS dolls. The dark and sulky male Olympia doll lounging in an easily removable Sailor Moon outfit is a KiSS doll that holds potential appeal for straight women and queer men alike. "Glyndon" is the author of a number of elegant erotic "gothic" KiSS sets that explore androgynous, inbetween and queer gender zones. In Glyndon's "X" sets, the dolls are framed by a backdrop of two monolithic overarching penises bound up in ribbons. Appropriating wickedly from Japanese Pokeman games and anime, Glyndon's "Rocket" KiSS sets feature two dominatrix and domimaster/dominatrix Pokeman trainers who can dress themselves up in a variety of leather fetish wear and choose from multiple whips and instruments for training their Pokeman pet. Although hentai, (Japanese adult anime), and adult interactive narrative games are popular in Japan, in the West very little development has occurred in adult interactive entertainment. Despite lucrative potential, Western game publishers and developers are fearful of creating content that would seem inappropriate for children. In the West, children are commonly understood as the only market for games and interactive content, despite growing evidence to the contrary and a self imposed industry rating system based on age for violent content. Western game developers would prefer to allow illicit game hackers, like the makers of the Nude Raider patch for Tomb Raider, to insert blatantly erotic or pornographic content into games, although suggestive clothing, at least for female characters, is permissable in commercial games. (Unfortunately, much of the erotic content in computer game hacks also reflect the limited erotic imagination of hetro teenage boys, although there are exceptions.) Another unacknowledged active site of erotic gaming in Western culture is in the genre of role playing games, both text and graphical, where text-based social interaction between players can quickly move from flirtation to Tinysex.[9] As an open source strip doll player, the World KiSS Project allows its users to insert their own erotic fantasies into the mix rather than relying on a particular industry to feed its users prepackaged sexiness. The World KiSS Project is a global collaborative experiment for how to play with sexy interactive dolls and avatars, allowing queer, hetro, female friendly, fetish, Goth, Japanese bondage, anime teen girls, (lots of Japanese anime girls and a few boys), and other fantasies to be distributed and exchanged. Imaging, sound, and interactive aesthetics are refined and evolved over time in the body of work of individual KiSS artists and genres emerge from interactions between these artist communities. Curious, beautiful, and sometimes refreshingly flawed or amateurish, cute or sweet, sometimes perverse or disturbing, adult KiSS "paper" dolls are fun to play with and fun to make, to sample, to hack, to mutate, to reoutfit, dress up and undress, an open ended interactive art form that activates adult erotic fantasies and adult desire for continuous play. + + + Notes: 1. <a href="http://hometown.aol.com/jrbuell2/winbee.html">http://hometown.aol.com/jrbuell2/winbee.html</a> 2. Roland Barthes, The Death of the Author, Image, Music, Text. Ed. And trans. Stephen Heath. New York: Hill, 1977. 3. Russell Taylor, Design for Digital Environments, Unit 1.2 Process Notes, Online Course at the Technical University of British Columbia. 4. Kiss Jam is a term coined by "The King in Yellow", who orchestrated the David Kiss Jam and authored David's Apple Geek costume. 5. Gorfinkel and Zimmerman underscore the act of undressing or stripping as the key interaction with kiss dolls. Elena Gorfinkel & Eric Zimmerman, "Technologies of Undressing: The Digital Paper Dolls of KISS", first published in 21C Magazine, 1997 appearing in SEX: The Art of Allure in Graphic and Advertising Design, Steve Heller, ed. Allworth Press, 2000 6. Gaston Bachelard, Poetics of Space, first published 1958 by Presses Universitaires de France, p. 148. 7. Teresa de Lauretis, Technologies of Gender, Indiania University Press, Bloomington and Indianapolis, 1987, p. x. 8. A memorial site honoring Asia de Guarde's kiss dolls is located at <a href="http://home.korax.net/~rsm/asia/">http://home.korax.net/~rsm/asia/</a>. Asia de Guarde passed away at age 26 from AIDS in February 2000. 9. Julian Dibbell, "Samantha, Among Others" in My Tiny Life: Crime and Passion in a Virtual World, Henry and Holt Company: New York, 1998. <a href="http://www.opensorcery.net/luckykiss_xxx/">http://www.opensorcery.net/luckykiss_xxx/</a> <a href="http://hometown.aol.com/jrbuell2/winbee.html">http://hometown.aol.com/jrbuell2/winbee.html</a> <a href="http://home.korax.net/~rsm/asia">http://home.korax.net/~rsm/asia</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means. We accept online credit card contributions at <a href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Or call us at +1.212.625.3191. Contributors are gratefully acknowledged on our web site at <a href="http://rhizome.org/supporters.rhiz">http://rhizome.org/supporters.rhiz</a>. Rhizome Digest is made possible with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Alex Galloway (alex@rhizome.org). ISSN: 1525-9110. Volume 5, number 48. 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 href="http://rhizome.org/unsubscribe">http://rhizome.org/unsubscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Subscriber Agreement available online at <a href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.