RHIZOME DIGEST: 10.25.03

discussion

Posted Oct. 24 2003 20:00

RHIZOME DIGEST: 10.25.03

RHIZOME DIGEST: October 25, 2003 Content: +announcement+ 1. Amy Alexander: Discordia welcomes Guest Host Stella Rollig on Curating +opportunity+ 2. Shelley Stamp: FACULTY POSITION AT UC-SANTA CRUZ 3. Rosanne: stipend 2004 4. Shawn: Faculty Position in Mechatronics, Telematics and Robotics UW Seattle 5. Elliot Anderson: Job Opening–Assistant Professor, Electronic Media Art 6. Vicente Matallana: CALL FOR PROPOSALS: ARANEUM/Art, Science and Technology Award/Awarded by the Spanish Ministry of Science and Technology (MCYT) +work+ 7. Jo-Anne Green: Turbulence Artists Studio: Left To My Own Devices by Geoffrey Thomas +feature+ 8. Dyske Suematsu: Understanding the Medium of Video Game + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 10.19.03 From: Amy Alexander (plagiari@plagiarist.org) Subject: Discordia welcomes Guest Host Stella Rollig on Curating This week Discordia welcomes Stella Rollig as our current Guest Host! Please join us for a discussion on the field of critical curating launched by Curating Degree Zero Archive: A Touring Exhibition, Archive and Web-Resource Exploring the Field of Critical Curating: <a rel="nofollow" href="http://www.discordia.us/scoop/section/guesthost">http://www.discordia.us/scoop/section/guesthost</a> The discussion will focus mainly on how to curate critique: is this only a question of content or is it equally a question of structuring/disturbing the space of representation and therefore of the exhibition space? Also this week on Discordia: Group activity: Amy Alexander invites you to rewrite the histories of the Apple computer and of Internet art. <a rel="nofollow" href="http://www.discordia.us/scoop/story/2003/10/18/55338/121">http://www.discordia.us/scoop/story/2003/10/18/55338/121</a> In keeping with Discordia's interest in experimenting with different forms of communication, several new features have recently been added: E-mail digest for those who still prefer e-mail: Just click the "user prefs" link in the red box after you log in, and you'll see a box that lets you subscribe to Discordia Digest on a daily, weekly, or monthly basis. Discordia's rdf feed: <a rel="nofollow" href="http://rdf.discordia.us/discordia.rdf">http://rdf.discordia.us/discordia.rdf</a> Feeds (summaries of news from a website) allow you to get notified when there's a new post to discordia, or any other RSS syndicated site, or when there's a change to a blog or wiki you like. For more information: <a rel="nofollow" href="http://www.discordia.us/scoop/special/feedprimer">http://www.discordia.us/scoop/special/feedprimer</a> Discordia-bytes for WAP-enabled phones: Get the latest Discordia story intros on your mobile phone. Just point your WAP-capable phone at: <a rel="nofollow" href="http://rdf.discordia.us/wap.wml">http://rdf.discordia.us/wap.wml</a> <a rel="nofollow" href="http://discordia.us">http://discordia.us</a> Discordia - and welcome to it. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 10.22.03 From: Shelley Stamp (stamp@ucsc.edu) Subject: FACULTY POSITION AT UC-SANTA CRUZ The Film and Digital Media Department at the University of California, Santa Cruz, invites applications for the position of Professor or Associate Professor of Critical Studies. Applicants with a specialty in the theory and/or history of film and/or television are of particular interest, but we will also consider candidates concentrating in other areas of media studies. We are seeking an established scholar with a record of excellence and a unique orientation to the field. Candidates should submit: a curriculum vitae; samples of recent publications; syllabi from courses previously taught; and names of three confidential references. A summary of past student evaluations is also desirable. Send materials to: Search Committee, Film & Digital Media Department, University of California, Porter Faculty Services, 1156 High Street, Santa Cruz, CA 95064. Refer to provision #0700-04 in your reply. Postmark deadline: November 3, 2003. UCSC is an EEO/AA Employer. <a rel="nofollow" href="http://www2.ucsc.edu/ahr/employment/bulletin/03-04/700-04.htm">http://www2.ucsc.edu/ahr/employment/bulletin/03-04/700-04.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.22.03 From: Rosanne (r.altstatt@gmx.net) Subject: stipend 2004 (scroll down for English) Das Edith-Ruß-Haus für Medienkunst vergibt für das Jahr 2004 drei 6-monatige Arbeitsstipendien für internationale Künstler, die sich mit Neuen Medien beschäftigen. Jedes Stipendium ist mit 10.225,84 Euro (20.000 DM) dotiert, es besteht keine Residenzpflicht. Die Stipendien werden durch eine Förderung der Stiftung Niedersachsen ermöglicht. Wichtig! Informationen und Bewerbungsunterlagen: www.edith-russ-haus.de Deadline für die ausgefüllte, unterschriebene Bewerbung mit Projektbeschreibung: 31. Januar 2004 (Poststempel). Die Stipendiaten des Jahres 2003 waren: Dave Allen (GB/D), Bernadette Corporation (USA/F), Naomi Ben-Shahar (USA/ISR). Die Stipendiaten des Jahres 2002 waren: Johan Grimonprez (B), Dagmar Keller/Martin Wittwer (D/CH) und Florian Zeyfang (D). Bewerbungen bitte an: Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 32 08 f. +49 (0)441 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de ************** The Edith Russ Site for Media Art will award 3, six-month stipends for 2004, aimed at artists working with new media. Each stipend is 10.225,84 Euro (20.000 DM). There are no residency requirements. The stipends were made possible by the Foundation of Lower Saxony. Important! Information and application: www.edith-russ-haus.de Deadline for the completed, signed application, which includes a project description: 31 January, 2004 (post date). The artists who received stipends in 2003 were Dave Allen (GB/D), Bernadette Corporation (USA/F), Naomi Ben-Shahar (USA/ISR). The artists who received stipends in 2002 were Johan Grimonprez (B), Dagmar Keller/Martin Wittwer (D/CH) und Florian Zeyfang (D). Send applications to: Edith-Ruß-Haus für Medienkunst Edith Russ Site for Media Art Peterstraße 23 26121 Oldenburg Germany t. +49 (0)441 235 32 08 f. +49 (0)441 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 10.21.03 From: Shawn (shawnx@u.washington.edu) Subject: Faculty Position in Mechatronics, Telematics and Robotics UW Seattle University of Washington, Seattle, WA. www.dxarts.washington.edu Center for Digital Arts and Experimental Media (DXARTS) University of Washington, Center for Digital Arts and Experimental Media, is seeking a Multidisciplinary Arts Assistant Professor Position in Mechatronics, Robotics, and Telematic art forms to teach and conduct research. Masters degree or equivalent required. Application must include: CV, artist statement, statement on pedagogy, and a cohesive portfolio of professional creative work. Support materials must include three references with phone numbers, mail and e-mail address, samples of previous course design and recent student work. 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: Professor Shawn Brixey, Chair, Digital Arts 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. A competitive recruitment and selection process is being conducted and if a U.S. worker is not selected pursuant to this process, an application for Alien Employment Certification may be filed on behalf of an alien to fill this job opportunity. Any person may provide documentary evidence bearing on the application (such as information on available workers, wages, working terms and conditions, or other pertinent information) to either: Employment Security Department AEC Unit P.O. Box 9046 Olympia, WA 98507-9046 OR Employment & Training Administration Region VI, U.S. Department of Labor Certifying Officer P.O.Box 193767 San Francisco, CA 94119-3767 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 10.23.03 From: Elliot Anderson (ewanders@cats.ucsc.edu) Subject: Job Opening–Assistant Professor, Electronic Media Art University of California, Santa Cruz ELECTRONIC ART The Art Department of the University of California, Santa Cruz, invites applications for a tenure-track position in Electronic Art. The Electronic Media program in the Art Department offers theory and practice courses in electronic/digital media, Internet based artmaking, computer-based interactive installation, video art and robotic and kinetic sculpture. We seek an innovative electronic artist with a broad knowledge of historical and contemporary art practices, as well as a thorough understanding of technical, critical, and theoretical issues in electronic art, and a commitment to the integration of theory and practice in teaching. The successful candidate will be expected to teach all levels of electronic art, special topics in interactive technologies, foundation courses, and art seminars. These courses utilize Art Department and Arts Division computer studio facilities that include Macintosh and PC workstations with digital video editing systems. Other representative responsibilities may include curriculum planning, course development, participation on committees, and teaching graduate courses. The candidate will also be required to participate in the development and implementation of both a interdisciplinary graduate program in Digital Arts/New Media and a proposed departmental MFA program. Experience working with graduate level students is desirable. The Art Department is dedicated to research, teaching excellence, and its mission to serve an increasingly diverse population. It has established programs in drawing, painting, printmaking, photography, sculpture, installation, intermedia, electronic art, and issues in theory and practice. Our program currently serves 300 majors. We seek candidates able to function in a team environment in which collaborative teaching is encouraged. We are especially interested in candidates who can contribute to the diversity and excellence of the academic community through their research, teaching, and service. The campus operates on a schedule of three 11-week academic quarters per year. Faculty members are required to teach five 5-unit courses per year, or their equivalent, in accordance with the department?s workload policy; advise and mentor students; actively engage in creative research/activity; and actively undertake administrative service for the department, Porter College and the University. RANK: Assistant Professor I or II. SALARY: $46,300-$48,900, commensurate with qualifications and experience. MINIMUM QUALIFICATIONS: Candidates must have a terminal degree in studio art or equivalent professional qualifications, a strong exhibition record, demonstrated potential for teaching excellence, and an ability to communicate and work effectively with students, faculty, and administrators; and demonstrated potential for undertaking administrative service. Knowledge of the Macintosh environment is required. Knowledge of PC environments is desirable. AVAILABLE: July 1, 2004 APPLY TO: Applicants should submit: 1) a letter of application; 2) a curriculum vitae; 3) documentation of recent work (in the form of slides, video tape, CD-ROM and/or URL) and of student work; 4) syllabi and relevant undergraduate curriculum plans; 5) three letters of recommendation. All letters will be treated as confidential. Please direct your references to UCSC?s confidentiality statement at <a rel="nofollow" href="http://www2.ucsc.edu/ahr/policies/confstm.htm">http://www2.ucsc.edu/ahr/policies/confstm.htm</a>. and 6) a self-addressed stamped envelope, if you desire Item 3) materials returned at the end of this recruitment. SEND TO: Search Committee Refer to Provision #0596-04 in your reply. Baskin Visual Arts University of California 1156 High Street Santa Cruz, CA 95064 Questions regarding the department or position may be addressed to visart@cats.ucsc.edu . CLOSING DATE: Screening will begin with applications received by the postmarked date of January 9, 2004, and continue until the position is filled during the 2003-04 academic year. UC Santa Cruz is nestled within 2,000 acres of redwood forest and meadows, overlooking the Monterey Bay National Marine Sanctuary of California's beautiful Central Coast, about 70 miles from San Francisco and 30 miles from Silicon Valley. Information about UC Santa Cruz is available on our Website at <a rel="nofollow" href="http://www.ucsc.edu">http://www.ucsc.edu</a> UCSC IS AN AFFIRMATIVE ACTION/EQUAL EMPLOYMENT OPPORTUNITY EMPLOYER WOMEN AND MINORITIES ARE ENCOURAGED TO APPLY Inquiries regarding the University's equal employment opportunity policies may be directed to: Equal Employment Opportunity/Affirmative Action Office at, University of California, Santa Cruz, CA 95064; (831) 459-2686. If you need assistance due to a disability please contact the Academic Human Resources Office at 350 McHenry Library (831) 459-4300. This position description is available in alternate formats, which may be requested from Academic Human Resources at (831) 459-4300. VISIT THE AHR WEB SITE AT <a rel="nofollow" href="http://www2.ucsc.edu/ahr/employment/">http://www2.ucsc.edu/ahr/employment/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 10.24.03 From: Vicente Matallana (vicente@laagencia.org) Subject: CALL FOR PROPOSALS: ARANEUM/Art, Science and Technology Award/Awarded by the Spanish Ministry of Science and Technology (MCYT) ARANEUM Art, Science and Technology Award Awarded by the Spanish Ministry of Science and Technology (MCYT) www.araneum.es The Spanish Ministry of Science and Technology announces its 1st Science, Art and Technology Award ARANEUM, a collaboration with the ARCO Foundation. The award aims to promote the production of art and critical thinking related to the Internet. It seeks to encourage the link between technological research and artistic thought by fostering communication between manufacturers and artists. In this manner it will engage industry with the intellectual community. The interaction of these two worlds will expand their horizons with unlimited new creative and productive possibilities. Applications will be accepted in the following two fields: "Internet-related artwork" and "Research project on Internet creativity." The proposals selected for the "Internet-related artwork" category will receive 20,000.00 Euros; the selected "Research project on Internet creativity" will receive 10,000.00 for its development. The aim of this award is to promote artistic and intellectual creation. The selected proposals will receive a monetary award to assist in the production of the final work. Completed works will not be accepted. Applications will be received from October 15th to December 15th, 2003. The winners will be announced during an event at International Contemporary Art Fair ARCO, in Madrid, on Saturday February 14th, 2004, fowling day. Any scholar or artist in the world can participate. Submissions will be accepted in English or Spanish. The jury will be composed of 5 internationally renowned specialists. The members of the jury will be announced on November 1 2003. Regulations, application forms and more information can be found at: www.araneum.es. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 10.19.03 From: Jo-Anne Green (jo@turbulence.org) Subject: Turbulence Artists Studio: Left To My Own Devices by Geoffrey Thomas For Immediate Release October 17, 2003 Turbulence Artists? Studio: ?Left To My Own Devices? by Geoffrey Thomas <a rel="nofollow" href="http://turbulence.org/studios/thomas/">http://turbulence.org/studios/thomas/</a> ?Left To My Own Devices? uses the codes of digital games to explore a narrative of loss and awkward renewal. The game's main character navigates a space of playful interaction and fragmented animation. Game segments take inspiration from the shifting emotional states associated with loss. The character's backstory is gradually revealed through game play. BIOGRAPHY Geoffrey Thomas has worked as a programmer, interaction designer, and university professor. He has trained in the fields of fine art, animation, and multimedia. His work has been exhibited and screened at Siggraph 2002, File2003, Select Media Festival, Kunst Aus Strom, Popcorn Incident, Museum of Contemporary Art, North Miami, Chiangmai First New Media Art Festival and featured online at ArtMedia2002, DIAN-network.com, Mediatopia.net, Rhizome.org, and SoundToys.net. For more Turbulence Artists? Studios, please visit <a rel="nofollow" href="http://turbulence.org/studios/index.html">http://turbulence.org/studios/index.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 10.25.03 From: Dyske Suematsu (dyske@dyske.com) Subject: Understanding the Medium of Video Game Throughout history, even before computers came into existence, human beings have wrestled with the notion of "real". In the 60s, it was psychedelic drugs that inspired the question, "What is reality?" Now, it is the medium of computers armed with high-performance graphics processors that inspire the same question. Los Angeles based art cooperative C-Level seems to be keen on understanding the message of this modern medium. Their new project "Waco Resurrection" premiered on October 16 at the Kitchen in New York City. It is a 3D role-playing game where players become Vernon Howell (aka David Koresh), the cult leader of Branch Davidian in Waco, Texas. The game is played with a "hard-plastic 3D skin" featuring a voice-activated interface. Participants run around the Branch Davidian compound with a variety of weapons shooting at FBI agents and other adversaries. They are also bombarded with the government "psy-ops" such as the blasting of Nancy Sinatra's "These Boots Are Made for Walking." It is a complex experience in many ways, triggering many emotions, which in turn prompt many questions. This summer, a similar game called "9-11 Survivor" was available on the Internet, and was quickly labeled by many as exploitative. Brody Condon, a member of the team that developed "Waco Resurrection," was the teacher of the game-design class that produced "9-11 Survivor." My first question when I observed the installation of "Waco" at the Kitchen was: What are the criteria for something to be "exploitative"? To exploit, according to Merriam-Webster, is "to make use of meanly or unjustly for one's own advantage or profit." Monetary gain is the most obvious, but neither game is a commercial venture. Why then are people so quick to label "9-11 Survivor" exploitative? The only other motive that I can think of is fame, or recognition, but this is merely an assumption, albeit an obvious one. The truth of the matter is that the critics of the game do not know what the motive of the creators was. There is nothing inherently exploitative about trying to recreate experiences of others. The public smoothly accepts movies like "Titanic" and "Pearl Harbor" only because the actual events happened decades ago. Why should time be a factor in the notion of exploitation? Why are text descriptions of the event acceptable, but not a 3D graphical representation? Why are web-based interactive presentations by news organizations such as New York Times acceptable? It appears that what is required in order to be publicly acceptable is reduction or dulling of information either in time or in resolution. If the time is too soon, your presentation will feel too real. If the resolution of your presentation is too high, it will feel too real also. Something that looks and feels real, yet is protected from any real consequences, has an entertainment value. We are tempted to see and feel what it was like without risking our own lives for it. This entertainment value is what is perceived to be vulgar or of bad taste. But again, this is a projection of our own questionable motive or desire. Why should we assume that the same motive applies to everyone else, as common as it may be? The theme that runs through much of C-Level's work appears to be the disconnect we experience in computer generated reality. Mainstream games such as Unreal Tournament and Grand Theft Auto are based mostly on fictional scenarios. Despite the fact that players continuously massacre people with powerful guns or by running them over with cars, the emotions generated tend to be those of excitement, not sorrow or guilt. When the context of the game is closer to reality, such as Waco or 9-11, it is more difficult to disconnect from natural emotions or empathies. In playing "Waco", emotions are mixed and confused. The context prevents players from simply enjoying the excitement of blowing up people and objects. This feeling of disconnect is explored in a different way with another work by C-Level, "Tekken Torture Tournament." Tekken is a popular fighting game where players assume a role of a master of martial art. In the C-Level version of it, for every blow received, one is also given an electric shock, thereby matching what is seen with what is felt physically. In high-resolution video games like Tekken, there is a substantial discrepancy between what the eyes and ears experience and what other parts of the body experience. By filling in the gaps, one becomes more aware of the disconnectedness of the original game. But to blame this feeling of disconnect to the technology itself would be a mistake. It is more a product of our alienation than it is an effect of high technology. One can create a similar feeling of disconnect without technology. For instance, pinch your nose so that you cannot smell anything, and take a sip of expensive brandy. Your sense of smell is disconnected from the flavor of the brandy, and it creates a very different experience. Better yet, wipe the surface of raw fish with a piece of tissue paper, plug your nose with it, and take a sip. When you drive through a thunderstorm, what you are looking at is the same as what the pedestrian outside is looking at, but you are nice and dry, comfortably chatting with your company, a far cry from what the pedestrian is feeling. In a freezing cold weather, you are wearing 10 layers of clothes, and you are actually feeling too hot. This too is a feeling of disconnect. For most people, what they know about 9-11 came through the same mechanisms they usually use to consume any other types of information. There was nothing substantially different about their experience of 9-11 from their experience of Hollywood movies, other than their awareness of the fact that 9-11 happened for real, and that Hollywood movies are fictional. Some people were troubled by the fact that 9-11 did not feel any different from watching a Hollywood movie. They felt guilty, and had a difficult time admitting the discrepancy between how they felt and what they thought they should feel. I believe there was a certain degree of honesty in their feelings of disconnect. After all, there was no substantial difference in the nature of their experience; it was only psychological. In order to reconcile these feelings of disconnect, many people flocked around Ground Zero to see the aftermath of the tragedy. We all employ different ways of reconciling our feelings with what we perceive. For some people, visiting Ground Zero was nothing more than an amusement, but for others, it was a necessary process of reconciliation. We cannot make an overarching judgment of other people's actions based on what our own motive would be. Perhaps for some people, experiencing what it was like to be trapped in the WTC towers through the means of 3D computer graphics was meaningful. In some ways, this is similar to the effort made by C-Level to add the component of physical pain to the video game Tekken. Those who are perceptive and conscientious enough cannot help feeling a sense of disconnect in playing such a game, and they are tempted to make an effort at reconciling it. This, however, has nothing to do with the nature of technology per se. There are people whose emotional pain is so great that they feel comforted by inflicting and feeling physical pain on themselves. This too is fundamentally the same effort of reconciliation. Whenever we feel alienated, we try to reconcile. Alienation is a feeling that what we do or feel is not part of us. The term is more often used to describe the disconnect between who we are and what we produce (as in classical Marxist critiques), but my concern here is with who we are and what we feel. Just because we feel something, does not necessarily mean that it is connected to who we are. The problem is not so much that there are discrepancies and contradictions among the pieces of our sensory information, but that there is nothing that can tie these mismatching pieces into something coherent, something we can feel as our own. When our emotions originate from within ourselves, as disparate and contradictory as they may be, they make sense at least from our own perspectives. If they do not originate from within ourselves, that is, if they are being manipulated by external forces, we cannot make any sense out of the chaos of our own emotions, and we feel alienated from them. It is analogous to how an electrical motor works. If you feed electricity into a motor, it turns. Reverse the process and turn it with your hand, it generates electricity. The same can happen with human beings. That is, there are passive emotions and active emotions. Just because you feel something does not necessarily mean that it originated in you. It might be a result of external triggers. You feel alienated when most of your emotions are triggered externally, when your life is filled with apathy, and when you are a slave to your own feelings. It is not because of the fact that you work on a computer everyday that necessarily causes the feeling of disconnect. It is not the impressive realism of video games that causes it either. You could be a chef who has never had any need to touch a computer, and still feel the general feeling of disconnect in everything you do. Shown on giant screens, in vivid color, and with surround audio, movies are capable of impressive realism. Often they make viewers identify with their characters. Literature too can feel so real that one starts crying. Some of those feelings too are passive and active. The reason why we hardly hear anyone complain about the disconnect between what they see and what they feel in movies or novels, is because many of them engender active emotions in us. This is the difference between art and entertainment; the former is an opportunity to find our genuine, active emotions, whereas the latter manipulates our sensory perceptions to artificially induce emotions in us. This is why true art makes consumers work hard, whereas a piece of entertainment is served on a sliver platter for easy consumption, essentially telling consumers how to feel. The reason why video games tend to invite criticism of disconnect is because most of them provide no opportunity for our active emotions to manifest themselves. "Waco Resurrection" is one such attempt at creating this opportunity. C-Level may face some difficulties in changing the perception that video games are devoid of true emotions, but once the public understands and sees the potential of the medium, we may soon see a wave of new art using the medium. In other words, the name "video game" has a bad rap that it needs to get over first. It is a form of prejudice; the common associations with the label "video game" are getting in the way of seeing the full potential of the medium. It is similar to the way cartoon is perceived in this country. It may face a real uphill battle, but I have a faith in the determinations of video gamers. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 43. Article submissions to list@rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info@rhizome.org. To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>. Please invite your friends to visit Rhizome.org on Fridays, when the site is open to members and non-members alike. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +