RHIZOME DIGEST: 9.6.02
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Type: discussion
<br />RHIZOME DIGEST: September 6, 2002<br /><br />Content:<br /><br />+announcement+<br />1. yukiko shikata: Kingdom of Piracy (KOP)<br />2. Joseph Nechvatal:Space - Villette Numerique<br /><br />+opportunity+<br />3. Francis Hwang: Design & Production Intern<br /><br />+thread+<br />4. [email protected] and Lee Wells: looking for a studioxx like organization<br />in the states<br /><br />+report+<br />5. Jonah Brucker-Cohen: Space- The New Frontier for Art?<br /><br />+feature+<br />6. Lev Manovich: Spatial Montage, Spatial Imaging, and the Archeology of<br />Windows - a Response to Marc Lafia<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />Date: 9.3.2<br />From: yukiko shikata ([email protected])<br />Subject: Kingdom of Piracy (KOP)<br /><br />===========================================<br />http:// 211.73.224.150<br />Kingdom of Piracy (KOP)<br />Online Project<br />Premiere: Ars Electronica, September 7-12,2002.<br /><a rel="nofollow" href="http://www.aec.at/kop">http://www.aec.at/kop</a><br /><br />Joint Curation: Shu Lea Cheang, Armin Medosch, Yukiko Shikata<br />–>to <br />Kingdom of Piracy (KOP)is an online, open work space to explore the free<br />sharing of digital content - often condemned as piracy - as the net's<br />ultimate art form. Commissioned by the Acer Digital Art Center [ADAC]<br />in Taiwan for ArtFuture 2002, <KOP> was designed to include links,<br />objects, ideas, software, commissioned artists' projects, critical<br />writing and online streaming media events. Hailed as the first<br />international online exhibition sponsored by Taiwan's computer giant<br />Acer Group, a pilot website <kop.adac.com.tw> was launched in December<br />2001 and presented with a press conference at the Museum of Contemporary<br />Art in Taipai, Taiwan.<br /><br />In April 2002 the leadership and direction of ADAC changed. At about the<br />same time a major anti-piracy initiative was launched in Taiwan. <KOP><br />became a politically sensitive issue in Taiwan and by May, the<br />curatorial and artists' FTP access to the (KOP) server was denied. By<br />mid-June, <kop.adac.com.tw> was taken offline. ADAC demanded editorial<br />rights to artists' links and requested a change of the title, Kingdom of<br />Piracy. The joint curatorial team rejected this demand and sought ways<br />of preserving the project as both a Taiwanese initiative and an<br />International online art project. Through the efforts of ADAC's former<br />director Ray Wang, (KOP) server access at ADAC was resumed. However, an<br />IP address 211.73.224.150 was assigned, the use of the domain name is<br />denied.<br /><br />(KOP) will now be premiered at Ars Electronica, September 7-12,2002.<br /><br />[Artists' projects] -Low Level_All_Stars (BEIGE vs. RSG) -Global Village<br />Health Manual v.1 (Raqs Media Collective + Joy Chatterjee), -Stealth<br />Waltz (Mukul Patel & Manu Luksch) -injunction generator(ubermorgen.com)<br />-The File That Wouldn't Leave(0100101110101101.org) -ResourceHanger+<br />(doubleNegatives) -I love you, world (Vladimir Radisic) -Explorer 98<br />game (EASTWOOD - Real Time Strategy Group) -HIGH BALL (exonemo)<br />-Warriors of Perception: Search and Manifest (Agnese Trocchi) -i_Biology<br />Patent Engine: (i-BPE)(Diane Ludin) -All Universe for heike, dragan and<br />internet explorer (Olia Lialina) -Top 100 Net Blockers (Dragan<br />Espenschied, Alvar Freude).<br /><br />[Writers' projects] -The Right to Copy: Local study on piracy as an art<br />form (Whiteg weng) -Distributed Media -> Digital Abundance: Property<br />Decay in C21? (J.J. King) -Culture Without Commodities:From Dada to Open<br />Source and Beyond (Felix Stalder).<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />+ad+<br /><br />Cover the realm of art, science and technology by subscribing to<br />Leonardo Electronic Almanac (LEA). Published by LEONARDO, LEA is the<br />leading monthly on-line peer-reviewed journal and web archive in its<br />field. Subscribe now for $35 per year at<br /><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>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />Date: 9.1.02<br />From: Joseph Nechvatal ([email protected])<br />Subject: Space: Villette Numerique<br /><br />www.villette-numerique.com<br /><br />" Villette Numerique " is the first biennial festival devoted to digital<br />creation. Installations, shows, concerts, cinema, games, clubbing,<br />workshops, lectures, La Villette hosts artists from all over the world<br />and invites the audience to share multiple experiences between<br />discoveries and sensations.<br /><br />Grande Halle de la Villette - Cité des Sciences et de l'Industrie - Cité<br />de la Musique - Paris<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />Date: 9.5.02<br />From: Francis Hwang ([email protected])<br />Subject: Design & Production Intern<br /><br />Rhizome is looking for a Design and Production Intern for the Fall 2002<br />session. The intern will assist the Director of Technology with<br />production tasks, including editing HTML pages and graphics production.<br />In addition, there will also be opportunities to do self-directed work<br />in fields such as website design, information architecture, and<br />usability.<br /><br />We are looking for a responsible individual who can handle large<br />independent projects. She/he will have a strong interest in new media<br />and new media art, and an eagerness to learn about cutting-edge<br />technologies and ideas by putting them into practice. Experience with<br />the basics of web production (HTML, FTP, Photoshop) required.<br /><br />To apply, email your detailed cover letter and resume to Francis Hwang<br />at [email protected].<br /><br />Hours: 10 hours per week, scheduling flexible<br />Dates: September 15 - December 15, 2002<br />Notes: On-site, unpaid<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />+ad+<br /><br />**MUTE MAGAZINE NO. 24 OUT NOW** 'Knocking Holes in Fortress Europe',<br />Florian Schneider on no-border activism in the EU; Brian Holmes on<br />resistance to networked individualism; Alvaro de los Angeles on<br />e-Valencia.org and Andrew Goffey on the politics of immunology. More @<br /><a rel="nofollow" href="http://www.metamute.com/">http://www.metamute.com/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />Date: 9.5.02<br />From: [email protected] and Lee Wells ([email protected])<br />Subject: looking for a studioxx like organization in the states<br /><br />[email protected] asked:<br />Hi all,<br /><br />I was looking for a media arts and multimedia center for women, but in<br />the States. If anyone knows of an organization pls fwd. the link.<br />Lee Wells replied:<br />Two orgs out of Chicago I dont have the URLS<br /><br />Women in the Directors Chair and WebGurls Collective<br /><br />You should be able to find them online<br /><br />Cheers<br />Lee<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />Date: 8.29.02<br />From: Jonah Brucker-Cohen ([email protected])<br />Subject: Space: The New Frontier for Art?<br /><br />As technology speeds into the 21st century, it's inevitable new spaces<br />to experience art will materialize. From the virtual Guggenheim to the<br />Whitney's Artport, major institutions are taking notice and creating<br />hybrid physical / online worlds where artists can exhibit their work.<br />These new platforms for both artist and audience allow for mainstream<br />access to commissioned work and a global avenue for audience interaction<br />in the art making process through online participation. But what lies<br />beyond the terrestrial and digital horizon for art? What new territories<br />are left for exploration?<br /><br />Joining the venue-pioneering mission, London's Tate Gallery is taking<br />one "giant leap" into a new frontier for the art world: Space. Tate in<br />Space (www.tate.org.uk) has commissioned artist Susan Collins to create<br />a fictional venture by the museum meant to provoke dialog about the<br />possibilities of intergalactic art. "Tate in Space is really more<br />involved with examining the (primarily western) cultural ambitions of an<br />institution and cultural production rather than space art per se,"<br />explains Collins who worked with the Mullard Space Science Laboratory,<br />University College London on the feasibility of launching a Tate<br />Satellite "[Tate in Space] seeks to provide a thorough examination,<br />history and discussion into issues surrounding space art and is intended<br />to raise questions, provoke thought and encourage discourse in relation<br />to ourselves and our own ambitions." The online gallery includes<br />pictures of earth from the orbiting satellite, programs for audience<br />participation, and a submission form to send designs of your own model<br />for the orbiting gallery.<br /><br />Although anti-gravity museum gift-shops might be a world away, artists<br />are beginning to embrace the potential of this new landscape. Arthur<br />Wood's "Cosmic Dancer" (1993) (www.cosmicdancer.com), an aluminum<br />snake-like sculpture that inhabited the MIR space station was built<br />specifically for a weightless environment as an art piece that would<br />enliven the drab conditions inside the vessel. His focus in creating the<br />work was to exploit the physiological, philosophical and new sensory<br />experiences of space travel. Similarly, artist Richard Clar's<br />(www.arttechnologies.com) project "Earth Star" (1997) features a ceramic<br />artwork created in space and comprised of rock samples that react to<br />heat generated by the spacecraft's re-entry. Other past space projects<br />including Frank Pietronigro's "Research Project Number 33" focus on<br />performance in weightless environments such as dancing, "action<br />painting", and video documentation.<br /><br />Recently, Dublin-based artist Anna Hill's (www.annahill.net) project,<br />"Space Synapse" highlights the interactive possibilities between<br />space-based art and earth-based installation. The work is an autonomous<br />communications device developed in cooperation with the European Space<br />Agency that will blast into orbit and be deployed inside the<br />International Space Station (ISS). Despite Tate in Space's emphasis on<br />space functioning as a separate entity for art experience, Hill, a<br />graduate of RCA's Interaction Design program, asks how connections<br />between the two realms can augment new forms of creative expression.<br /><br />In her case, Space Synapse will interact with art projects in gallery<br />and site-specific locations across the planet. For instance, her<br />earth-based work "An Eye Open to the Night" reacts to Space Synapse's<br />orbit and consists of a beehive-like structure visitors can enter.<br />"Copper windpipes directed at the sea will utilize solar energy to power<br />an interactive device triggered by frequencies from the ISS and Space<br />Synapse during hours of daylight," Hill explains. "An antenna will pick<br />up broadcast frequencies (when the ISS orbit appears on the horizon)<br />that will open the pipes allowing wind music to play within the<br />shelter."<br /><br />As we explore new areas of artistic expression beyond earthly realms,<br />possibilities seem limitless. Projects like Tate in Space, Space<br />Synapse, and Earth Star are merely starting points for interpreting not<br />only the physical and psychological impacts of space travel, but also<br />the interactive relationship between planet and space. "Twentieth<br />century culture with all its specialist knowledge and material concerns<br />is, I think, in crisis, " Hill admits. "Yet we rely on the natural world<br />and need a sense of the spiritual implicit within it." If that's the<br />case, the answers might actually be in the stars.<br /><br />Related Space Art Links:<br /><br />Tate in Space<br /><a rel="nofollow" href="http://www.tate.org.uk">http://www.tate.org.uk</a><br />Anna Hill - Space Synapse -<br /><a rel="nofollow" href="http://www.annahill.net">http://www.annahill.net</a><br />Ars Astronautica - Space Art Web Project -<br /><a rel="nofollow" href="http://www.spaceart.net/">http://www.spaceart.net/</a><br />Arthur Woods - Cosmic Dancer on Mir<br />-<a rel="nofollow" href="http://www.cosmicdancer.com/">http://www.cosmicdancer.com/</a><br />Arts Catalyst - the science-art agency<br /><a rel="nofollow" href="http://www.artscatalyst.org/">http://www.artscatalyst.org/</a><br />International Association of Astronomical<br />Art <a rel="nofollow" href="http://www.iaaa.org/">http://www.iaaa.org/</a><br />KEO <a rel="nofollow" href="http://www.keo.org/">http://www.keo.org/</a><br />Leonardo On-Line Space Art Special Project<br /><a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/space.html">http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/space.html</a><br />Leonardo Space Art Working Group<br /><a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/spaceartproject.html">http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/spaceartproject.html</a><br />Richard Clar - Art Techologies ® <a rel="nofollow" href="http://www.arttechnologies.com/">http://www.arttechnologies.com/</a><br />Space Art: Research Project Number 33<br /><a rel="nofollow" href="http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/NASAproj33/">http://mitpress2.mit.edu/e-journals/Leonardo/spaceart/NASAproj33/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />Date: 9.2.02<br />From: Lev Manovich ([email protected])<br />Subject: Spatial Montage, Spatial Imaging, and the Archeology of<br />Windows: a Response to Marc Lafia<br /><br />Spatial Montage, Spatial Imaging, and the Arheology of Windows: a<br />Responce to Marc Lafia<br /><br />1. Montage vs. Co-Presence.<br /><br />My apologies for responding to Marc's exellent text so late - however,<br />now that some of you had a chance to visit Documeta 11 and to see the<br />works he discusses, this maybe a good moment to pick up the thread. (For<br />those who will not be going to Documenta, note that the Documenta<br />installations of Isaac Julian and Eija-Lisa Ahtila would be also<br />included in ZKM's Cinema Future exhibition which opens on November 15.)<br /><br />I think that Marc's observations arevery perceptive and that his overall<br />paradigm of "the spatialization of the image" is a productive way to<br />start thinking about various recent practices of a time-based (and now,<br />"space-based" as well) moving image. I agree with Marc that "new spatial<br />cinema or spatial imaging" often bypasses the logic of montage (i.e.,<br />juxtaposition as the source of meaning and effect) in favor of other<br />logics - which Marc started to map out.<br /><br />Yet I also think that Marc's proposal that "the whole concept and<br />project of montage or cinema as the place from which to speak of these<br />new forms, new regimes of image is wholly inadequate and a looking at<br />the moment in a backwards fashion" is being underminded by his own<br />examples. He does admit that some of the key practioners of "spatial<br />cinema" - Sherin Neshat, Eija-Lisa Ahtila, and Isaac Julian - all rely<br />on the cinematic montage. And while I agree with Marc that a number of<br />other "spatial imaging" installations included in the Documenta 11, or<br />show elsewhere, do not operate within the cinematic montage paradigm<br />(works by Chantal Ackerman, Lorna Simpson, Fiona Tan, Bruce Nauman at<br />DIA), I still think that the montage paradigm can be a useful starting<br />point to understand how these works function diffirently.<br /><br />Eloborating what the new paradigms of spatial image are would require at<br />least a few articles but let me very briefly comment on one of these<br />paradigms. Marc writes: "the distribution of images spatially<br />complicates the intensity of such [montage] strategies and grammars as<br />they are deployed in parallel. A parallel that at times is not<br />necessarily juxtaposition, and may be even be thought of as a-parallel."<br />I have the same feeling that many "spatial imaging" works also do not<br />rely on juxtaposition. The terms I would use to talk about their logic<br />is "co-existience," and "simultaneity." Documenta installations of Lorna<br />Simpson and Chantal Ackerman, as well as Doug Aitkens's "Electric<br />Earth," work not by juxtaposing images but by adding them next to each<br />other. In contrast to montage, where juxtaposition of images is used to<br />built one single whole narrative world, in these works diffirent times<br />and/or spaces presented in diffirent images simply co-exist. They do not<br />"talk" to each other as in cinematic montage - instead they simply<br />ignore each other. There is no single space and time they add up to. In<br />rhetorical terms, this is the logic of metonomy.<br /><br />In "The Language of New Media" I used the quote from Foucault' lecture<br />"?Of Other Spaces" as a justification for the approprietness of spatial<br />montage today - but I now think that this quote better describes this<br />new sense of "co-existence" (or ³co-presence) where co-existing elements<br />simply ignore each other, and a considerable mental and emotional effort<br />is needed to connect them to each other at all. Here is the quote: "We<br />are now in the epoch of simultaneity: we are in epoch of juxtaposition,<br />the epoch of near and far, of the side-by-side, of the dispersed…" Of<br />course, since Foucault (or rather, his translator), places "simulaneity"<br />next to "juxtaposition," which may suggest that we keep trying to<br />"montage" together whatever "dispersed" and "simultaneous" elements we<br />encounter. ((think of driving through Los Angeles's neighboorhoods and<br />trying to find some common denominator between them - a futuile exercise<br />I engage in periodically since I moved to Southern California seven<br />years ago.)<br /><br />I am looking forward to part 3 of Marc's text. Meanwhile, I would like<br />to clarify some of my earlier statements about "spatial montage" in<br />relation to Marc's discussion of them.<br />2. Montage and GUI Windows.<br />Marc writes: " Lev describes windows as a collection of various kinds of<br />data that form a block that graphic designers are accustomed to<br />arranging or seeing as elements that make up a page. In other words, as<br />described by Lev, these windows don¹t represent coexisting events<br />happening in different durations of time, the varied windows form the<br />semblance of a whole."<br /><br />While visually windows of GUI can be be connected to film montage, it<br />may appear at first that, ultimately, GUI and cinema obey two diffirent<br />logics. Cinema indeed often presents us with the juxtaposition of times<br />and/or spaces belonging to the same fictional world; in GUI the<br />"signifieds" of diffirent windows typically have no connection to each<br />other (for instance, a document opened in a Word, the spreadsheet opened<br />in Exel, music tracks shown in a MP3 player, etc.)<br /><br />However, it actually turns out that the two logics are much closer to<br />each other than we may expect. According to Alan Kay (the lecture at<br />UCSB, April 2002), when in the late 1960s he conceived of twindows as<br />general interface technique, he was thinking of Ivan Sutheralnd¹s<br />Sketchpad (1962) ­ which itself followed the standard convention of<br />engineering and architectural drawings to present multiple views of the<br />same 3D object / 3Dspace in diffirent windows. Sutherland's used this<br />convention for his computer CAD program; Kay and others generalised this<br />technique, extending it from VISUAL domain to other domains. In GUI,<br />multiple windows not only show diffirent views of a 3D object / space<br />but of ANY data (for instance multiple views of the same document in<br />Word). And while an engineer or an architect were typically working with<br />one object / space at a time (i.e., dealing with 4 views of one<br />object/space), GUI allowed a the user to work with a few projects at<br />once, easily switching from windows belonging to one project to windows<br />belonging to another project (within one application), as well as<br />between diffirent "work desks" (i.e., diffirent applications).<br /><br />The fact that windows paradigm was derived from the conventions of using<br />multiple windows to look at the VISIBLE world is very relevant to our<br />discussions of montage. It means the following. While today multiple<br />windows of GUI showing diffirent views of the same data or diffirent<br />data generally do not refer to spatial dimension at all (with the<br />obvious exeption of CAD or 3D animation software), originally (i.e., in<br />the case of Sutherland's Sketchpad) they did. Therefore it becomes<br />possible to think of GUI windows in terms of diffirent SPACES<br />co-existing on the screen - not a "mental space" but the actual physical<br />3D spaces.<br /><br />Following this argument further we realise that GUI windows are related<br />to film montage in substance, and not just in apperance. Cinema presents<br />us with various windows onto a single physical (and fictional) space.<br />In the case of montage, these multiple views are juxtaposed with each<br />other - think of a chase scene where a film repetedaly switches back and<br />forth between two locations ­ or, the more extreme example of<br />"Kuleshov's Effect" according to which a viewer has a tendency to<br />construct a single coherent physical/fictional from an arbitrary image<br />sequence. But of course cinema often avoids such extreme juxtapositiona<br />in favor of a "peaceful co-existence" of diffirent views of a<br />physical/fictional world of a film (note that this "co-existence" is<br />quite diffirent from "co-existence" as descibed above where diffirent<br />images do not form a single coherent world.) This "peaceful<br />co-existence" is what we also found in GUI: diffirent windows showing<br />one document; diffirent windows showing diffirent documents but still<br />belonging to a single application; finally, diffirent applications each<br />with its own set of windows running on a computer in the same time, some<br />not doing anything and waiting until the user input, others engaged in<br />some computation and/or monitoring. And while today the sense of a<br />single world behind all these windows is gone, recalling the connection<br />between GUI and "Sketchpad" (and the convention of engineering/drafting<br />graphic communication which it followed), helps us to see connection to<br />cinema as well.<br /><br />3. Montage and Compositing.<br /><br />Marc writes:<br /><br />"Lev puts forward the notion of spatial montage as a way to get a grasp<br />on and understand the new aesthetics of compositing, the procedure that<br />takes us to spatial montage. Spatial montage for him refers to layering,<br />this smooth layering referred to above. … The term spatial does not<br />refer to the spatialization or distribution of image as seen in many art<br />and film works today but a post renaissance deep space of layers and<br />smoothness."<br /><br />Although this point does not have bearings on Marc's subsequent original<br />discussion of spatial imaging, I think he does not correctly represent<br />here. Therefore I would like to clarify the relationship between my<br />concept of spatial montage and compositing, so we can adequately use<br />them in subsequent discussions.<br /><br />I see compositing and spatial montage are two diffirent phenomena. For<br />me "spatial montage" means meaningful juxtaposition of more than one<br />image stream within a single screen. In the book I discuss the works by<br />Boussier and Lialina to develop this concept further. Both works<br />juxtapose multiple images within a single screen, creating both a visual<br />and semantic contrast ­ which for me justifies talking about them as a<br />type of montage:<br /><br />³In general, spatial montage would involve a number of images,<br />potentially of different sizes and proportions, appearing on the screen<br />at the same time. This by itself of course does not result in montage;<br />it up to the filmmaker to construct a logic which drives which images<br />appear together, when they appear and what kind of relationships they<br />enter with each other.² (section ³Spatial Montage² in The Language of<br />New Media).<br /><br />When I was finishing the book in 1999, I could not find any examples of<br />spatial montage in contemporary cinema, and this is why I use as my<br />examples a net project (Lialiana) and a CD-ROM multimedia project<br />(Boissier). In the next couple of years, the spatial montage gradually<br />become more present in in film and television, from Mike Figgis¹s<br />Timecode (2000) to a TV series "24 hours" and many music videos and<br />commercials.<br /><br />The new layered space achieved through diffirent types of compositing<br />(discussed in the earlier section ³Compositing and New Types of Montage)<br />is a diffirent phenomenon. It refers to the ³technical² or ³material²<br />shifts in the organisation of a moving image. If traditional cinema<br />privelleges the temporal relationship between a particular image and<br />other images which come before and atter, computer cinema brings in a<br />set of new relationships which can be described by terms ³spatial² and<br />³simultaneous²: the relationships between diffirent layers ina 2D or 3D<br />composite, the relationship between a frame of a movie and other<br />information which can be hyperlinked to this frame, etc. These new<br />³techniques² of a moving image can be used to achieve ³spatial montage²<br />­ but as the examples of Boissier, Lialina (and numerous works from the<br />history of art) show, spatial montage can be created without them.<br /><br />—————————————————————————-<br />Dr. Lev Manovich | www.manovich.net | [email protected]<br />Associate Professor of New Media, UCSD<br />2002-03 Guggenheim Fellow<br />2002 Digital Culture Fellow, UCSB<br />2002 Fellow, The Zentrum für Literaturforschung, Berlin<br /><br />Address:<br />University of California San Diego, Visual Arts Department, 0084,<br />9500 Gilman Drive, La Jolla, CA 92093-0084, U.S.A<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization. If you value this<br />free publication, please consider making a contribution within your<br />means at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks and money orders may be sent<br />to Rhizome.org, 115 Mercer Street, New York, NY 10012. Contributions are<br />tax-deductible to the extent allowed by law and are gratefully<br />acknowledged at <a rel="nofollow" href="http://rhizome.org/info/10.php">http://rhizome.org/info/10.php</a>. Our financial statement<br />is available upon request.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for<br />the Visual Arts, and with public funds from the New York State Council<br />on the Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Rachel Greene ([email protected]). ISSN:<br />1525-9110. Volume 7, number 36. Article submissions to [email protected]<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 [email protected].<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br /><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 />