RHIZOME DIGEST:8.9.02

discussion

Posted Aug. 8 2002 20:00

RHIZOME DIGEST:8.9.02

RHIZOME DIGEST: August 9, 2002 Content: +opportunity+ 1. Bernhard Rieder: Call for Entries -digitalBIEDERMEIER +work+ 2. giselle: teleintervention egoscopio 3. Simon Biggs: Tristero +report+ 4. Katherine Moriwaki: The Future of Wearables +feature+ 5. are flagan: Read_Me- H2K2 HOPE Conference, Part 3 (of 3) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 08.07.02 From: Bernhard Rieder (me@strider.at) Subject: Call for Entries -digitalBIEDERMEIER /// digitalBIEDERMEIER: re/producing the private /// >From 27th November until 1st December 2002 [d]vision, the Vienna Festival For Digital Culture presents once again a diverse cross section of contemporary media culture. A conference, an exhibition and filmscreenings are exploring new approaches to the topic of private and public sphere in digital age. ::Call For Proposals With digitalBIEDERMEIER, [d]vision launches for the first time a call for entries for the conference part of the event. From 27.11.2002 to 1.12.2002 we will ask Scholars from various disciplines to discuss, in English or German, some of the questions imposed by the general topic. Please visit our website for more info: <a rel="nofollow" href="http://2002.dvision.at">http://2002.dvision.at</a> ::Call For Entries - Film/Video/Multimedia [d]vision is looking for artists, who provide digital film, video, CD-ROM or webprojects focussing the topics of public privacy: private/public surveillance, media-cocooning, intelligent houses and ambient technologies, new frontiers in digital age, digital and analogous migration, etc. Documentaries, fictions and shorts are welcome. Amateurfilm is an important topic, too. So don't hesitate to send your video diary. ::[d]vision is an international forum for mediatheory, digital film, video and expanded media such as CD-ROM, DVD and the Internet. [d]vision is exploring the media void and is bringing up important issues for the competent discourse in media society. [d]vision - Festival For Digital Culture presents contemporary trends and issues in mediaculture in an independent festival for young professionals and the creative class in Vienna / Austria. check out our digitalBIEDERMEIER website and download the application form: <a rel="nofollow" href="http://2002.dvision.at">http://2002.dvision.at</a> Concept and Organisation / Society for Mediatheory & Digital Culture / Verein fuer Medientheorie & digitale Kultur Bernhard Rieder, Mirko Tobias Schaefer, Sanna Tobias [d]vision <a rel="nofollow" href="http://www.dvision.at">http://www.dvision.at</a> Festival For Digital Culture A-1170 Vienna, Joergerstrasse 35/8 | Tel: +43-1-409 70 15 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ Limited-time offer! Subscribe to Leonardo Electronic Almanac (LEA), the leading electronic newsletter in its field, for $35 for 2002 and receive as a bonus free electronic access to the on-line versions of Leonardo and the Leonardo Music Journal. Subscribe now at: <a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/LEA/INFORMATION/subscribe.html">http://mitpress2.mit.edu/e-journals/LEA/INFORMATION/subscribe.html</a>. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 08.05.02 From: giselle (giselle@uol.com.br) Subject: teleintervention egoscopio egoscope egoscope is a mediated by media character, composed of fragments distributed in many web sites. egoscope does not have a name, age, neither a specific gender. It is a disembodied post-subject that can not recognize itself in any space that it is not a telecommunication environment. You will choose egoscope multiple identities, by the web, and they will be revealed on two electronic panels and their web cams. egoscope lives in the limit between art, propaganda and information, promoting a permanent state of disorientation and hybridism of these terms. In a phrase, egoscope is an inhabitant of the global city made of processes of passivity and interaction, entropy and acceleration. Transmissioons hours from 10 a.m. to 3 p.m., Eastern Daylight Time, From august 5 to august 20 www.desvirtual.com/egoscopio + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 08.04.02 From: Simon Biggs (simon@littlepig.org.uk) Subject: Tristero ****************************************** TRISTERO A Film and Video Umbrella online project ****************************************** <a rel="nofollow" href="http://www.tristero.co.uk">http://www.tristero.co.uk</a> A 'mail-art' project in which online artists-in-residence are creatively 're-cycling' unwanted digital material deposited by subscribers to the Tristero website. Thomas Pynchon's late-Sixties state-of-America novel 'The Crying of Lot 49' revolves around a phenomenon called the Tristero: a clandestine mail system which operates under the radar of the US Postal Service, whose initiates covertly inscribe and re-direct apparently innocent letters as a way of sending coded messages to each other. The Tristero is a kind of hacker underworld before the fact, a secret network of marginalised, dissident elements who take pride in the creative re-purposing of overlooked or discarded material, transforming dead-letters and junk mail into multi-layered carriers of meaning. At a time when junk email is reaching epidemic proportions, this Film and Video Umbrella online project attempts to put some of the Tristero's ideas into practice. Marketing communications agency, The Big Group have developed a customised digital image depository to which subscribers to the Tristero website can donate waste material from their mailboxes or hard drives in the hope that it will be transformed into ready-made, Merz-style artworks by artists. The first artist-in-residence, Nick Crowe has been creating work throughout July, and will be replaced by Simon Biggs on 5th August. Forthcoming artists include Jacqueline Donachie and Michael Landy. A direct link to Simon Biggs' version is at: <a rel="nofollow" href="http://hosted.simonbiggs.easynet.co.uk/tristero/">http://hosted.simonbiggs.easynet.co.uk/tristero/</a> Simon Biggs simon@littlepig.org.uk <a rel="nofollow" href="http://www.littlepig.org.uk/">http://www.littlepig.org.uk/</a> <a rel="nofollow" href="http://www.greatwall.org.uk/">http://www.greatwall.org.uk/</a> <a rel="nofollow" href="http://www.babel.uk.net/">http://www.babel.uk.net/</a> Research Professor Art and Design Research Centre Sheffield Hallam University, UK s.biggs@shu.ac.uk <a rel="nofollow" href="http://www.shu.ac.uk/">http://www.shu.ac.uk/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE NO. 24 OUT NOW** 'Knocking Holes in Fortress Europe', Florian Schneider on no-border activism in the EU; Brian Holmes on resistance to networked individualism; Alvaro de los Angeles on e-Valencia.org and Andrew Goffey on the politics of immunology. More @ <a rel="nofollow" href="http://www.metamute.com/">http://www.metamute.com/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 08.02.02 From: Katherine Moriwaki (kaki@kakirine.com) Subject: The Future of Wearables With all the hype surrounding wearable technology it's hard to distinguish fiction from fact. Companies like Charmed Technologies and Xybernaut would have you believe the market is already cornered. Their systems, based on work by seminal researchers like Thad Starner and Steve Mann, are fast becoming commercial reality. Meanwhile, pioneers such as Maggie Orth of International Fashion Machines and Philips Research's "soft electronics" have changed how we perceive electronics on the body. But before people start heading to the nearest CompUSA to place their orders, there are still radical interpretations of the field's future left unexplored. In the art world, Stelarc and Krzysztof Wodiczko have produced cautionary images of technology's body integration by ignoring the expressive and aesthetic potential of wearable technology. Today, within the interstices of fashion, technology, and art, artist/designer hybrids are developing work that challenges disciplinary boundaries, blurs the borders between virtual and physical, and seeks to expand our communicative capabilities. Taking a cross-disciplinary approach to wearables, Claudia Güdel, founder of Basel Switzerland's Co-Lab, sees collaboration as the key. "I launch workshops and events in the context of art, fashion and new technology in order to find inspiring distinctions between these fields," explains Güdel. Co-Lab's latest project, "Fab: Filters and Blockers" is a series of fashion and technology workshops focusing on redefining protective clothing for contemporary society. As an art and technology collective Co-Lab produces installations, clothing, and wearable devices. Some examples are "Paul" a skirt with built in display capabilities and "Magic Eye", a light object that reacts to movement and sounds in space. Here, fashion and technology contribute to a constellation of artistic activity and output. Working with fashion as a system for interaction, Elise Co investigates the conceptual and aesthetic potential of computational clothing. "I am interested in multiple-body garments or networks of garments behaving in some related way even though they are worn by different people in different places," explains Co, Professor of New Media at Basel School of Art and Design in Switzerland. Focusing on the exertion of data across corporeal mass, Co's thesis from the MIT Media Lab was titled, "Computation and Technology as Expressive Elements in Fashion." Her projects include "Perforation", which uses fiber optics to challenge the materiality of the body, and "Halo", a system for reconfigurable and programmable garments. "They are designed to provoke thinking," she explains. With a background in architecture, Elise's work treats the body and computational data as actors within relational structures. The results are hauntingly beautiful mergers between physical and ethereal selves. While Co prompts critical thinking, Despina Papadopolous, founder of 5050 limited, encourages action. A philosopher and technologist, Papadopolous collaborates with fashion designers and researchers to explore the "maximum radius possibilities" of fashion and technology. Her projects include "Courtly Bags", in collaboration with NYC designers As Four, and "M-Bracelet", funded by NCR Knowledge Lab. 5050's latest project, "Moi" is based on the idea of "staple technology" that starts with a simple bright light. Through it's simplicity, "Moi" encourages individuals to "imagine and transform an experience on their own terms". "[Moi is] the most basic element turned into the most complex device once it is worn," explains Papadopolous. Human, not technological interaction is the focus. So far wearable computers have failed to gain public acceptance. Nobody wants to walk around looking like a character from Star Trek. Institutions like Interaction Design Institute IVREA, Italy and Parsons School of Design, in New York City are taking note. They now offer courses which investigate the expressive potential of wearables. In the artist's case, the best approach would be greater cross-disciplinary communication through the hybridization between art, fashion, technology, and design. With the upcoming launch of "Moi", Papadopoulus bucks the current trends by trading technological hype for common sense design. "The idea of a jacket with email projected on its sleeve, or a t-shirt that reads all your vital signs is so radically foreign to our perception of what it is to be a person, " she laments. "It is also quite divorced from the aesthetics, social and political nuances of clothing. If we get our way it will be about imagination, self-expression, and most importantly, inspiration." -Katherine Moriwaki (kaki@kakirine.com) Related Links: Claudia Güdel <a rel="nofollow" href="http://www.co-lab.ch">http://www.co-lab.ch</a> <a rel="nofollow" href="http://www.co-lab.ch/fab">http://www.co-lab.ch/fab</a> Elise Co <a rel="nofollow" href="http://acg.media.mit.edu/people/elise">http://acg.media.mit.edu/people/elise</a> <a rel="nofollow" href="http://www.unibas.ch/sfg/vis_com0102/beyond">http://www.unibas.ch/sfg/vis_com0102/beyond</a> Despina Papadopoulos <a rel="nofollow" href="http://www.moinewyork.com/">http://www.moinewyork.com/</a> <a rel="nofollow" href="http://www.5050ltd.com/">http://www.5050ltd.com/</a> Interaction Design Institute IVREA <a rel="nofollow" href="http://www.interaction-ivrea.it">http://www.interaction-ivrea.it</a> <a rel="nofollow" href="http://www.interaction-ivrea.it/en/learningresearch/events/featuredevent/200">http://www.interaction-ivrea.it/en/learningresearch/events/featuredevent/200</a> 20508.asp Parsons School of Design <a rel="nofollow" href="http://www.parsons.edu">http://www.parsons.edu</a> <a rel="nofollow" href="http://a.parsons.edu/~fashiontech">http://a.parsons.edu/~fashiontech</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 7.25.02 From: are flagan (areflagan@mac.com) Subject: Read_Me: H2K2 HOPE Conference, Part 3 (of 3) Read_Me H2K2 HOPE Conference, July 12-14, Hotel Pennsylvania, NYC, New York Sida Vaidhyanathan, a cultural historian and media scholar moonlighting as a professor at New York University, called his keynote crack at this equation ³Life in a Distributed Age.² After collecting the usual cheers for lamenting the loss of free speech and progressive scholarship due to copyright and technical anti-circumvention provisions, Vaidhyanathan returned to the roots of western civilization in ancient Greece to outline an alternative social model based on cynicism. Derived from the philosophy of Diogenes, cynicism maintains that virtue is the only good and its essence lies in self-control and independence. This freedom from convention coupled with moral zeal would, according to Diogenes, allow for a highly practical politics that finds its expression in a borderless polis, a decentralized, self-regulating, informed and competent political body-at-large. Our projected cyberspace fits this revolutionary corpus, but its realization in the Internet has of course led to limitations that force the negotiation of more modest goals than those inspired by the cynical mold. Returning to what brought him the first accolade, Vaidhyanathan quoted numerous sources that seek to limit the vast hospitality of the Internet as a decentralized and responsible space with demonizing rhetoric. The goal is to persuade the public that the Internet, and technology in general, is dangerous unless it is used with the proper level of supervision and control. Statements like: ³Our enemies are prepared to use our technologies against us,² which was made by Richard Clarke, President Bush¹s Office of Cyber Security Director (also known for his ³electronic Pearl Harbor² analogy), in relation to the 9/11 tragedy are both hopelessly vague and frighteningly encompassing. They raise the usual questions of who ³we² are and how ³technologies² became ³our.² Furthermore, Vaidhyanathan contested, if the Internet helped the terrorists buy airline tickets it was box cutters that initially performed and aided their gruesome deed. Legislation limiting sales of sharp or pointed utensils should according to this logic be forthcoming, but it is of course more likely to concentrate on areas that may limit the power and profits of the few, such as open computing and democratic networks. A similar demonizing was noted by author Doug Rushkoff in his ³Human Autonomous Zones: The Real Role of Hackers.² After the dot-com pyramid schemes failed so miserably (for some) and the Internet mercifully shrugged off business, corporations and mainstream media have increasingly started to load it with negativity. Symptoms abound and Rushkoff noted that as early as the Atlanta Olympics we were subjected to what the media termed an ³Internet-style² bomb. Obviously quite misleading from a technical point of view (the bomb was presumably not modeled after the Internet but its construction may have been available on the Internet, and no doubt elsewhere), the language and context thrives on ignorance and lack of contestation to support the reporting media¹s role in bringing ³accurate² and ³truthful² stories. Storytelling consequently formed the locus of his talk. Stories compete for believers and those that control the stories we live by essentially shape our reality. Rushkoff quoted numerous examples of proprietary oral traditions and Walter Cronkite¹s signature byline at the end of his newscasts, ³that¹s the way it is,² summarizes most of them. Within this closed and one-directional economy of exchanges, hackers emerged as autonomous voices in a climate where independence was outlawed. By breaking the spell of programming and feeding broadcasts into a feedback loop, they demystified technology through shareware and made it available for uses and contexts that were not supported by the hierarchical structure whereby stories were, and still are, disseminated. Current attempts at legislating the Internet and the airwaves, and even hardware (see notes on the Microsoft Palladium standard above), seek to restore the bullhorn mentality that hackers passionately resist. As computer interfaces and operating systems have become increasingly opaque to produce more end-users with entertainment terminals rather than computing platforms, hackers have maintained knowledge of computing and not lost sight of the broader social interaction that encodes choices and spread information. Here rests the autonomous zone that remains the real role and function of hackers. Another panel presenting the Indymedia network of Independent Media Centers (IMC) brought some of this philosophy to a practical solution. Indymedia was developed as a continuation and expansion of an online newsroom offered during the pro-democracy protests in Seattle. It revolves around an evolving open source code that is distributed by participating Indymedia Web sites in many countries. The code supports the upload of rich media content such as images, and the sites consequently offer users the ability to post their own news stories with a local and personal flavor. Some translation and cross-posting takes place. Links to sites on the global IMC network are available at www.indymedia.org. But pockets like the Indymedia network are unfortunately becoming increasingly rare on the Internet as licensing restrictions and fees limit Web casting and the forceful influx of corporate interests are seeking to silence and dominate it. Several talks dwelled on these developments and although the topics were different, the methods encountered displayed a clear pattern where lawyers are replacing individual policing of copyright and trademarks for federal legislation intended to represent their interests. How a democratic body can become the executive branch of select corporations has of course already been answered by the recent revelations surrounding White House ties to industry. The panel titled ³Bullies on the Net,² featuring Emmanuel Goldstein, Eric Grimm and Uzi Nissan, first covered the 30 lawsuits brought by Ford Motor Company against virtually every domain name that could in some way be associated with any of its own or subsidiary car models or brand names. A Swede selling used spare parts for classic Volvo vehicles (a company part own by Ford) was consequently sued for pursuing a modest and entrepreneurial livelihood under www.classicvolvo.com. Likewise, fans of the endangered jaguar at www.jaguarcenter.com (currently featuring a nice big-cat drawing by Amanda, age 13) were slapped with a suit to avoid confusion between things that purr and things that rev. Uzi Nissan, who by the merits of his own last name claimed Nissan.com in 1994 to advertise a computer business, Nissan Computers, which he started in 1991, talked about his own collision with the car industry. Five years later after his entry in the domain name root, Nissan Motor Company, also known as Datsun (unlike Nissan who has always been known as Nissan), sued him for 10 million dollars. The legal back and forth is still ongoing and Nissan, the man, is 2.2 million dollars in the red as a result. Due process in this type of litigation involves intimidation followed by an attempt to exhaust the opponent¹s resources, and it has obviously established precedents that have little to do with basic fairness under the law. For those interested in subversive uses of media and still remain somewhat puzzled by the contention last year that bin Laden was inserting hidden messages in his video broadcasts (rather than straightforward arguments that Americans should not hear), would have enjoyed the talk Peter Wayner (www.wayner.org) gave on steganography, which translates as the art and science of hiding information in digital data. Although he was hard pressed to define ³hidden,² and was shrewdly hiding his lack of a definition behind Goedel¹s theorem that prevents us from being logical about detection, the methods outlined were elucidating enough to bypass such premises. Generally, to hide data in data means that it must be inserted in places where it will not be detectable unless you know where and how to look for it. In some respects (and just to confuse matters further), you essentially need to know what has taken place to describe what has happened. The Catch-22 can look like this: in a standard image file data can be replaced up to a threshold without affecting how the image appears to the viewer. Examining the distribution of tones, however, may indicate certain levels of suspicious patterns, but this is not a guarantee that something secret or evil has been embedded; it may be the work of a benign compression algorithm, for example. Of the methods covered, the least technical from a non-computer science point of view was the replacement of digital noise, or redundant information, with a message. Wayner showed illustrations of how he had written algorithms to perform such tasks for image files. It basically involves replacing the least significant bit in the bit plane with one that belongs to the ³hidden² message; i.e if a value of 255 is changed to 254 in a binary notation the result goes from 11111111 to 11111110, where the last digit signifies the alteration of data. Without direct references or a comparative analysis that point to this manipulation, the conundrums of detection discussed above are obviously haunting any claims about secret transmissions (for example in relation to the aforementioned video tapes). Interestingly, researchers looking to embed digital watermarks in copyrighted content have embraced steganography to turn the copying of digital files into an ally in their protection schemes. One not-so-secret message here is that any unauthorized use of images, for example, can be successfully contested in a court of law, as the steganographic content, once unveiled, can be submitted as evidence that the offending file is indeed controlled and owned by the prosecuting party. Uses of the same science have essentially gone from being banned to becoming highly desirable once the rights to secrecy are reversed. An emerging term that borrows from its hacker roots is hacktivism. Broadly it covers activities that primarily use the Internet, although it arguably covers technology in any form, to stage demonstrations. Treating cyberspace as a public arena, activists turned hacktivists seek to engage issues over the network, just like people have assembled and marched in the streets to voice their opinions or misgivings. In a presentation entitled ³Digital Demonstrations: DDoS attack or Cyber Sit-in?,² Maximillian Dornseif offered a thoughtful and balanced overview of this kind of action. The benefits of moving protest online, as he presented them, were the increased visibility of the protest to a larger number of people; the lack of a physical presence (anyone with the inclination and an Internet connection can take part); increased anonymity for those involved; and a reduced investment with regards to time and money. Although ³demonstrators² are not easily counted online, advertising the actions in advance can compensate for this shortcoming, and consequently attract hungry-for-novelty media attention to these new forms of protest. The agenda is inadvertently reported even if the format feeds the story. Many online demonstrations have already taken place. Dornseif gave technical beta on how demos have occurred in the past (mainly through service overloads generated by reloading Web sites repeatedly or seeking processing that quickly exhausts the system resources), but he stressed that the future of online protests should take other users into account and avoid denial of service attacks. The point is to forcefully make a case, not to damage it. Of the technical scenarios he offered, the prospects of ³communicating slowly² (as he named the self-explanatory method) seemed the most promising. By communicating with the server one character at a time, the system resources are slowed to a painful crawl. Comparing the plan to one where, for example, office workers ³strike² by doing their duties in slow motion (the analogy is not applicable to certain bureaucracies, as time will cease to exist), these protests could be explained legally within already existing guidelines and in keeping with more traditional forms of demonstration. Protesters would less likely become victims of persecution and prosecution as a result. No hacker conference is of course complete without a set of presentations dealing with the art and craft of hacking itself. These were usually high on entertainment value and quite intriguing with regards to the science, but they were outnumbered by talks addressing social and political issues concerning the hacker community. A couple of presentations dealing with computer viruses and the security of wireless networks are worth mentioning to expose precisely how futile ant-virus software can be and how networking through 802.11b can, almost, be equated with public broadcasting. Robert Lupo, with the you-guessed-it handle of Virus, gave a PowerPoint overview of what viruses are, i.e. self-replicating code that attaches to a host, and how viruses may be defined, as malicious code that executes on behalf of the user but without his or her knowledge or approval. The number of viruses eventually accumulated in this talk and their various methods of implementation (some spoken of with open admiration) were enough to make any computer user feel like a hypochondriac. Adding to the earliest virus discovered in 1981, there are now about 71,000 known viruses (currently increasing with about 1000 ³official² viruses per year), but only a handful have reached any kind of notoriety in the wild. Working as an anti-virus programmer, Lupo reported that the anti-virus companies receive about 400-800 viruses per month that they have to neutralize. The offshoot of all this is that your anti-virus software always works retroactively; it provides a cure for an already known virus that rarely remains in circulation for very long. Or in common cold terms: the epidemic has passed by the time you have paid for and received your flu shot. Of course, stray strands may still be around, but the risk of infection is dramatically reduced. The most advanced anti-virus applications actually update their protection files continually to reduce the risk of exposure. For common users, such practices are of course impractical, but they are reflected in how desktop software is starting to link their applications to servers that update files of known viruses regularly. As for more drastic improvements, Lupo discussed software that detects any hostile activity in a system and alerts the user before it is able to execute. Unlike the applications used today, this will provide more general security against malicious code. The best protection of all, however, it to leave the anonymous messages that say ³I love You² or ³How would you like a million dollars?² alone before you remove them. As far as hands-on hacking without entry goes, the ³Fun with 802.11b² panel was a live performance with plenty of part numbers and DIY gadgets. Pointing a network sniffer in the general direction of Midtown Manhattan, Dragorn, Porkchop and StAtIc FuSiOn projected the findings behind them as a streaming backdrop of data packets from hundreds of networks in the area. Only about half actually encrypted their traffic, and quite incredulously a quarter had maintained the default factory settings for access (the consequences of which were not explored but remain clear). Fun and games were also at the presenting hackers own expense, however, as the sniffer was picking up local traffic from the conference network and this did, of course, not go unnoticed for long by the equipped crowd. Soon messages communicating room numbers for explicit purposes dominated the packets. But somewhere in the audience someone brilliantly mixed up accepted file path syntax with language and cleverly pitted it against the crazed paranoia of secrecy, monitored networks and criminalized hacker activity by forwarding usr/local/bin/laden. That action appropriately and succinctly sums up HOPE. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 rel="nofollow" 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 rel="nofollow" href="http://rhizome.org/info/10.php3">http://rhizome.org/info/10.php3</a>. 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 Rachel Greene (rachel@rhizome.org). ISSN: 1525-9110. Volume 7, number 32. 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.rhiz">http://rhizome.org/subscribe.rhiz</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.php3">http://rhizome.org/info/29.php3</a>.