RHIZOME DIGEST: 10.10.03

Oct. 9, 2003

Type: discussion

RHIZOME DIGEST: October 10, 2003 Content: +announcement+ 1. Joy Garnett: Future of War Conference Proceedings Archive 2. Nat Muller: Argosfestival: Coded Interference 3. Honor: an exhibition of critical games by artists 4. Rafael Lozano-Hemmer: Amodal Suspension @ YCAM +comment+ 5. Dyske Suematsu: Unique Visits +feature+ 6. Trebor Scholz: New Media Education and Its Discontent + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 10.06.03 From: Joy Garnett ([email protected]) Subject: Future of War Conference Proceedings Archive THE FUTURE OF WAR - May 2003 Coference Proceedings Transcripts of all panel + media presentations, images, links and streamed recordings are now archived on the Thundergulch [LMCC] site: <a rel="nofollow" href="http://www.lmcc.net/futureofwar/index.html">http://www.lmcc.net/futureofwar/index.html</a> <a rel="nofollow" href="http://www.lmcc.net/futureofwar/proceedings.html">http://www.lmcc.net/futureofwar/proceedings.html</a> Participants: Matt Adams Kadambari Baxi Benjamin Bratton James Der Derian Peter J. Dombrowski Keller Easterling Allen Feldman Alex Galloway Joy Garnett J. C. Herz Natalie Jeremijenko Thomas Keenan John Klima Laura Kurgan Thomas Y. Levin Helen Nissenbaum Michael Shapiro Carl Skelton Eddo Stern Kenzie Wark Eyal Weizman Lebbeus Woods … The Future of War was organized by Wayne Ashley, LMCC's curator of New Media and public programs. +++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 10.09.03 From: Nat Muller ([email protected]) Subject: Argosfestival: Coded Interference Each year the argos festival offers a stage forms of artistic expression within the domain of audio-visual media. In 2003 the festival will unravel its web throughout the Belgian capital once again. Seven cultural locations in the city - Cinema Nova, the Filmmuseum, Recyclart, Kaaitheaterstudio's, ?tablissements d'en face projects, Kanal 20 -/FoAM/tmp/ and argos - offer room to film and video, concerts, exhibitions, lectures and debates, performances and encounters. Coded Interference More than a mere sequence of ones and zeroes, new media and electronic arts garble the conventional codes - a generic term for various forms of prearranged expressions - into a new mode of producing and reading artworks. The new media segment of the argosfestival Coded Interference, curated by Nat Muller, investigates, through discourse as well as through presentation, precisely those moments when something goes wrong with that 'code', when the system is inhibited by (external) circumstances. This area of tension is elucidated by artists, scientists and designers with a symposium in the Kaaitheaterstudio's. Navigating between being committed and keeping critical distance, they discuss, refute and question theory as well as practice. With the audio-visual Life's A User Manual by Michelle Teran and the performance installation Little Solar System by Icelandic Haraldur Karlsson, Coded Interference comprises multimedia performances as well. In conclusion Dutch Edwin van der Heide presents his new installation Sound Modulated Light #1 at Kanal 20 - /foam/tmp/, a monumental interactive audiovisual work consisting of, among other things, dozens of (fluorescent) lights and a seething soundscape. Kaaitheaterstudio's, 25 October: symposium Coded Interference (with Edwin van der Heide, Kristina Andersen, Mark Hansen, Michelle Teran, Nat Muller) Recyclart, 23 and 24 October: performances with Michelle Teran en Haraldur Karlsson Kanal 20 - /foam/tmp/, 17 October - 2 November: installation Edwin van der Heide Kanal 20 - /foam/tmp/, 24 October: Code 31, Code Communication's Camp Information about the interdisciplinary program, dates, venues and much more can be found on <a rel="nofollow" href="http://www.argosarts.org/festival">http://www.argosarts.org/festival</a> argos, werfstraat 13 rue du chantier, b-1000 brussels t +32 2 229 00 03 f +32 2 223 73 31 (<a rel="nofollow" href="mailto:[email protected]">mailto:[email protected]</a>) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 10.08.03 From: Honor ([email protected])/fwd by Rachel Greene ([email protected]) Subject: an exhibition of critical games by artists hi rhizomes, i wanted to let you know about the exhibition r a d i o q u a l i a have put together in cape town, south africa. it is about political computer games made by artists and is called (re:Play). hope this is of interest to some of you. best honor ———————————————————————- r a d i o q u a l i a + the Institute for Contemporary Art, Cape Town announce: an exhibition of critical games by artists: (re:Play) <a rel="nofollow" href="http://www.radioqualia.net/replay">http://www.radioqualia.net/replay</a> WHEN 08.10.03 - 01.11.03 WHERE L/B's The Lounge at Jo'Burg Bar 222 Long Street Cape Town 8001 South Africa START (re:Play) explores the world of the computer game. It features an exhibition of artists' computer games and a programme of workshops and lectures, given by the curators and artists in the exhibition. One of the most popular forms of entertainment in contemporary culture is the computer game. (re:Play) considers how gaming has affected the development of new forms of technological creativity and new modes of interaction and communication between people. It introduces techniques and strategies employed by artists and technicians working with games, and asks how can the hardware and software used to distribute and present games be subverted, re-purposed or even enriched through the intervention of artists or maverick technicians. (re:Play) presents projects created by artists which use game formats to make political observations. While some of the games presented are entirely new creations (such as Antiwargame by Josh On + Futurefarmers), others are ironic, often slightly humourous recreations of existing lo-fi arcade games (such as Space Invaders Act 1732 by Andy Deck). While the original arcade games such as Space Invaders, Quick Draw and Backlash encouraged users to engage in acts of violence, the artistic recreations of these games are infused with a political dimension that critiques the original violent character of the games, and also invites a slightly more meditative approach to the subject matter being presented in the games. PLAY <a rel="nofollow" href="http://www.radioqualia.net/replay">http://www.radioqualia.net/replay</a> The games in the exhibition are: Space Invaders Act 1732 by Andy Deck Blacklash by Mongrel Antiwargame by Josh On + Futurefarmers The Intruder by Natalie Bookchin Escape from Woomera by selectparks NationStates by Max Barry These games have a strong political dimension, and explore how play, interaction and competition can be utilised in an artistic context. CONTINUE The advent of digital technology is arguably the most important recent development in contemporary art. Computers, the internet, digital video and audio, as well as other technological tools, have become as integral to artistic expression as they have to other fields of human activity. As a result new forms of artistic practice are emerging. Although computers, the internet, and interactive games technologies have the potential to level the playing fields within culture, and offers previously marginalised artists the opportunity to participate equally within a global mainstream, the unequal distribution of technology and a continuing lack of access to knowledge pools has led to a situation where only a small number of artists in South Africa are ready and able to use digital technology effectively as a form and medium of expression. This exhibition and related education programmes will offer South African audiences and people interested in visual culture, the opportunity to experience current practices within art which exists on the internet or within computer games. LEARN The project includes a programme of workshops and lectures (<a rel="nofollow" href="http://www.radioqualia.net/replay/continue.html">http://www.radioqualia.net/replay/continue.html</a>) The workshops will be lead by Graham Harwood from Mongrel, and will introduce people to the technologies and concepts used by artists who work with digital media. CREDITS A collaboration between the Institute for Contemporary Art, Cape Town and r a d i o q u a l i a and realised with the support of the the British Council, the Swiss Agency for Development and Cooperation, Pro Helvetia, digicape and Jo'burg Bar. CONTACT r a d i o q u a l i a Email: [email protected] URL: <a rel="nofollow" href="http://www.radioqualia.net">http://www.radioqualia.net</a> <a rel="nofollow" href="http://www.radioqualia.net/replay">http://www.radioqualia.net/replay</a> Institute for Contemporary Art, Cape Town Email: [email protected] L/B's: the lounge at Jo'burg Bar Address: 222 Long Street, Cape Town, 8001 Ph: +27 21 422 0142 Email: [email protected] URL: <a rel="nofollow" href="http://www.lb-lounge.co.za/">http://www.lb-lounge.co.za/</a> [email protected] r a d i o q u a l i a: <a rel="nofollow" href="http://www.radioqualia.net">http://www.radioqualia.net</a> * present location: cape town, .za * current research: <a rel="nofollow" href="http://www.radioqualia.net/replay/">http://www.radioqualia.net/replay/</a> <a rel="nofollow" href="http://www.radioqualia.net/real/frame.html">http://www.radioqualia.net/real/frame.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 10.09.03 From: Rafael Lozano-Hemmer ([email protected]) Subject: Amodal Suspension @ YCAM ::::::::::: Please excuse cross-postings ::::::::::::: YAMAGUCHI CENTER FOR ARTS AND MEDIA (YCAM) WILL OPEN WITH "AMODAL SUSPENSION", A NEW INTERACTIVE INSTALLATION BY RAFAEL LOZANO-HEMMER >From the 1st to the 24th of November 2003, short text messages sent by people over the Internet or by cell phone will be converted into patterns of flashing lights in the sky, turning the Japanese city of Yamaguchi into a giant communication switchboard. The piece will be located in the public space around the new YCAM Center and will be accessible through address <a rel="nofollow" href="http://www.amodal.net">http://www.amodal.net</a> PROJECT OVERVIEW "Amodal Suspension" will be a large-scale interactive installation where people may send short text messages to each other using a cell phone or web browser connected to address www.amodal.net. However, rather than being sent directly, the messages will be encoded as unique sequences of flashes and sent to the sky with a network of robotically-controlled lights. The signaling will be similar to Morse code or the flashing of fireflies, –the lights will modulate their intensity to represent different Japanese and Western characters. Each message, once encoded, will be "suspended" in the sky of Yamaguchi, bouncing around the center of the city, relayed from one searchlight to another. Each light sequence will continue to circulate until somebody "catches" the message and reads it. To catch a text, participants must again use the cell phone or computer programs provided at www.amodal.net. To highlight the irony of globalization, the piece will use an automatic translation engine between Japanese and English, –this will produce inaccurate but charming results. "Amodal Suspension" will create an interactive mesh of light over the city, a floating cloud of data that can be written on and read. The piece will provide a connective platform in which local residents and remote participants from different regions and countries can establish ad hoc relationships. While visualizing the traffic of information on an urban scale, the piece is also intended as a deviation from the assumed transparency of electronic communication. "AMODAL SUSPENSION - RELATIONAL ARCHITECTURE 8" PERIOD: November 1-24, 2003 every night from dusk to dawn VENUE: YCAM and the central park of Yamaguchi-city ACCESS: Computers, mobile phones and local access kiosks connected to the web address www.amodal.net. Special ³Access Pods² will be installed in several Art and Science centers around the world, these Pods will feature an enhanced experience and documentation on the project. AMODAL EVENTS Amodal Suspension will open at 19:00 Japanese time (10:00 GMT) on November 1st, 2003 with a message sent by astronauts from the International Space Station. A symposium on the project will take place on the 2nd of November at 18:30, featuring philosopher and author Brian Massumi, Cultural Studies theorist Yoshitaka Mori, project curators Yukiko Shikata and Kazunao Abe and artist Rafael Lozano-Hemmer. Three additional lectures will be presented at YCAM to frame the project: local researcher Shimgo Hirano on fireflies, Prof. Akira Suzuki (Kobe Design University) on "Soft Shelter: electronic networks in the city and hand-drawn maps", and Dr. Jun Tanaka (University of Tokyo), on "Light as a symbol - On the history of light in the city". FOR MORE INFORMATION The web site contains information and preliminary images <a rel="nofollow" href="http://www.amodal.net">http://www.amodal.net</a> For information on YCAM <a rel="nofollow" href="http://www.ycam.jp">http://www.ycam.jp</a> For information on Lozano-Hemmer <a rel="nofollow" href="http://www.lozano-hemmer.com">http://www.lozano-hemmer.com</a> Inquiry [email protected] ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 10.09.03 From: Dyske Suematsu ([email protected]) Subject: Unique Visits Oddly, I had just written an essay about Website traffic a day before. I was fascinated by the fact that no one seems to have a clear picture of how web traffic is distributed along the percentile of all websites. For instance, if you get 50 visitors a day, what percentile are you in? Is your site above, below, or around the average? When you hear that some sites like Instapundit.com are getting over 80,000 visitors a day, you think that your site which is getting, say, 100 visitors a day seems to be very low in the ranks. Well, you are not. According to my study, 100 visitors a day would place you around the top 35 percentile. So, you wonder, when does it jump from 100 to 80,000? You can see it on my graph. It happens around top 1 percentile. Compared to what happens once you reach that top 1 percentile, any increase in visitors before that is miniscule. I conclude that this is how fame works. The vest majority of us are nobody. The difference between the top 2 percentile and the very bottom percentile is negligible compared to the popularity of the top 1 percentile. Here is my essay: <a rel="nofollow" href="http://www.dyske.com/default.asp?view_id=789">http://www.dyske.com/default.asp?view_id=789</a> Dyske + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 10.04.03 From: Trebor Scholz ([email protected])/fwd by Marisa Olson ([email protected]) Subject: Trebor Scholz: New Media Education and Its Discontent hi, all. trebor scholz posted this interesting piece to the sarai reader list. thought some here might be interested… i'm particularly interested in the discussion of "the apparent tension between teaching theory and production." it does seem (given my own experiences as a perpetual phd student) that so many of the programs have this polarized, alienating curricular dichotomy going and i have found myself frustrated at the lack of middle ground. when i was in the uk, it impressed me that art practice programs had theoretical research components built into their degrees, whereas the two are so separated in the US. in the context of the media arts, there seems to be a bit more of an impetus to "present" both, but my sense is that many of the people steering the programs are doing so under the mark of intimidation by the so-called "new" media and, also–more importantly, that there is a general lack of synthesis between criticism/theory and practice. so that courses will focus on the "right" new media readings, and possibly introducing critical theory vets (jameson, baudrillard, foucault, etc.) in this light, but without engaging with an application of those ideas to a reading of any real art work. and, on the other hand, there are nuts & bolts practice courses that (perhaps sprouting out of the anti-intellectualism scholz mentions) snub theory as divorced from their engagement with director or perl, and focus simply on production. the rapid development of the technologies (hard and soft) associated with "new media" is a bittersweet thing. book production timelines do not jive with software upgrades. this we know. but, still, it would be great if the "production" (and hiring!) of scholars equally engaged in practice and criticism (not that i don't seem criticism as a sort of practice, and vice-versa!) and comfortable merging the two would catch up to the work. my two cents… ~marisa Date: Sat, 04 Oct 2003 16:41:17 -0400 From: trebor scholz ([email protected]) To: Sarai List ([email protected]) New Media Education and Its Discontent "? home are the people for whom I take responsibility." ————–Vilem Flusser in "The Freedom of the Migrant" The Brazilian philosopher Vilem Flusser wrote much about the exile freely taking responsibility. I am in the fortunate position to enjoy teaching in a technology-based university department in the United States. I chose to take responsibility for the (new media) education of my students. And yet I experience conflicts among which student anti-intellectualism ranks first. A few anecdotal examples: one student reports how her high school teachers incessantly lied to her in their "interpretation" of world history and how that stirred up suspicion of "the intellectual." Another student claims that because of the availability of material online he feels less inclined to study the conclusions that other people draw from these texts as he himself can make up his mind. A graduate student recounts experiences he had as a critical technical practitioner in the early 90s when intellectuals applied the knowledge in their field to what he calls his own and quickly received a lot of visibility while not really understanding the issues due to a lack of technical insight. Students ask what it means to be intelligent and raise concerns that the class overlooks the type of knowledge that their grandmothers have, a very local and emotional insight. Maybe not surprisingly most distrust intellectuals in this country, calling them elitist, out of touch with this world, and view them as irrelevant. Completely quiet until then, one graduate student suddenly erupts in a candid impromptu lecture about the history of anti-intellectualism in the United States (he surely was trained to defend his position throughout his high school years). He traces it back to President Andrew Jackson, who received "sporadic education," wiped out Indian tribes and did not hesitate to shoot verbal contenders. Jackson hated people who knew more than he did. Coincidentally they were the Jews, homosexuals and immigrants of the time. John Quincy Adams, the sixth US president said of Jackson that he "cannot spell more than one word in four." The brave student then linked Jackson's presidency to the history of the extreme right in the United States and the prevalence of anti-intellectualism in this country up to this day. The California recall-election is a good example in which the candidate with the most "personality" may win over those with intellect and experience in politics. The last presidential elections also proved this point. The debate about anti-intellectualism has become more vocal in classrooms across America for the past 10 years. "Anti-intellectualism," in my encyclopedia, is described as "hostility towards, or a mistrust of intellectuals, and their intellectual pursuits. This may be expressed in various ways, such as an attack on the merits of science, education, or literature." The definition continues: "In another sense, anti-intellectualism reflects an attitude that simply takes 'intellectualism' with a grain of salt–inasmuch as intellectuals may be vain or narcissistic in their self-image, so too may they be understood by 'common people.'" And let's add some more from this source (leaving aside how problematic the term 'common people' obviously is): "Anti-intellectualism is found in every nation on earth, but has become associated in particular with the United States of America. It existed in the US before the nation itself; the New England Puritan writer John Cotton wrote in 1642 that 'The more learned and witty you bee, the more fit to act for Satan will you bee.' Anti-intellectual folklore values the self-reliant and 'self-made man,' schooled by society and by experience, over the intellectual whose learning was acquired through books and formal study." Concretely, anti-intellectualism manifests itself in the class room by not reading assignments, not contributing to class discussion, complaining about a high work load, skipping class, giving low evaluations to instructors with high standards, not bothering to do extra work, by dispassionately condemning intellectual debate as "boring." Incidents of racism and xenophobia in the classroom can be seen as part of the same problem. bell hooks describes the "pleasure of teaching" as an "act of resistance countering the overwhelming boredom, uninterest, and apathy…" In her book, "Teaching to Transgress," hooks describes teaching as a site for resistance, a place where the teacher must practice being vulnerable, and wholly present. I agree with her- the teacher's vulnerability brings a sense of a real, conflictual person to the classroom that encourages students to develop a similarly genuine expression of their position, free of sarcasm and false irony. This approach is more about learning than teaching- it is a process full of productive conflict in which the instructor is also transformed. Isn't it more fulfilling to be skilled than unskilled, to know than to not know, to inquire than to be self-satisfied, to strive than to be apathetic? What does learning mean? What does it mean to be in a place like a university where you have the opportunity of knowledge being presented to you, and time to reflect and navigate your own orientation? Media Study Departments bring together the most relevant sources of knowledge– from cultural theory, and literature to technical skill, from the vocational to the conceptual. It is important to create an understanding of the importance of conceptual work in students. New media education faces other issues like the apparent tension between teaching theory and production, between those who "think for a living" and others who are on the "cutting edge" of technological innovation. In my classroom I experience much careerism, which I see both, as a result and a cause of student anti-intellectualism. Increasingly, career-minded students see college as an imposition between high school and the good life. The focus for many undergraduate students is on acquiring software and programming skills, which they value as the only stepping-stones to a corporate job. At the same time new media educators all over the country find it increasingly painful to prepare the next generation for their career as HTML slaves. In this "tech prep" atmosphere, emphasizing employability, art becomes increasingly "applied art." On the other hand, there is a severe problem for those talented graduates who decide not to seek shelter in the "industry." They become new media artists and apart from hard-to-get positions in academia there are few places that will finance them. In the North of Europe the situation differs somewhat as grants may cover the new media artist's livelihood. Career-minded students often think that the cutting edge medium will get them "that job," with the "new and hip" constantly being in transition. "I don't know why we look at work in the Internet- it is already 10 years old." Students make similar demands of texts: "I don't know why we read this, it's written in 1995- that's dated now." And universities often buy into this perceived industry standard instead of focusing on general skills such as independent critical thinking that get students much further. How could we develop a curiosity for (art) history that then leads to, for example- web based art or graphics programming? The pure application of software programs or programming creates the most boring people says John Hopkins, quoted by Geert Lovink in his recent book "My First Recession"– "it's like amateur photo-club members comparing the length of their telephoto lenses…" Many in the programming communities are distrustful of the humanities because in their view they have little to contribute to their field. In addition it is an almost impossible challenge for a single human being to keep up with the development of all those tools. Lovink writes, "universities still consider the computer/ new media industries as somehow emulating a film-industry model, with a stable set of skills each person goes out into the world with after graduation." He suggests that instead, the most important task is to loosen up to a transient world of employment/ work/ play and disabusing students of the notion that there is an "industry." It needs problematic, off-track courses, Lovink argues, because they usually provide skills that last much longer than the software applications or programming languages of the day. What is in the long-term interest of students may not be immediately clear to them and it takes courage on the side of the instructor to insist on their vision. I have been asked about the difference between European and US American academia. Comparing teaching at the Bauhaus in Weimar, Germany with my teaching in American universities I see indeed vast differences. The German educational system is heavily based on student's initiative. In Britain, where I studied for an M.F.A., most of learning took place within the student group. English tutors contributed inspiring cross-disciplinary anecdotes and encouraged a spirit of self-criticism. I taught art history, new media art practices and critical theory at universities in the North and South West of the United States and now on the East Coast. I experienced American students as often not willing to overcome the initial hindrances that are needed to make discourse joyful. Reading a text is like entering a room of people talking and unless we learn about their previous exchanges we will never be in the know but instead get frustrated. Knowledge is nothing innate, nothing we are born with or which we inherited. Often mistakenly introduced into this debate are the likes of Albert Einstein and Thomas Edison who had little schooling yet high intellectual achievements. All too often students judge texts based on their unwillingness to do the initial work that is necessary to enjoy theory. Rather than talking about building self-esteem (enough already) we need to talk about hard work and discipline (even if that may sound Protestant). How useful are Paulo Freire's notions of a pedagogy of dialogue and informal teaching in the context of today's US new media education that already is quite informal and horizontal? I see the disinterest in study caused by a widespread delegitimization of reading and print culture, and partially by popular culture that glorifies triviality, and mindlessness. Stanley Aranowitz in "Education and Cultural Studies" (ed. Henry A. Giroux) writes: "School should be a place where the virtues of learning are extolled (a) for their own sake and (b) for the purpose of helping students to become more active participants in the civic life of their neighborhoods, their cities, and the larger world." It is hard to bring everyday political events home, to make students realize how deeply linked our lives are to those of the people at the other side of town, or in Rwanda, Kosovo, Srebrenica, Afghanistan or Iraq. The trivial, localized focus of TV news reporting certainly does not help in internationalizing students, in opening up their views to a larger horizon. This false localism stops students from aiming with their artworks at larger international (new media) art audiences. By the same token this localism or regionalism should not prevent new media departments from developing international relationships. In the American consumer-driven educational system, mainly part time or untenured faculty's academic careers rely on student evaluations, which is where the system in itself is deeply at fault. How can an instructor be courageous under these constraints? The meaning of teaching can be found in the Latin word "professio," which means declaration. To be a professor means to declare your beliefs, which may not by any means go down well with students. This stance purposefully creates tension, which comprises true learning, a friction that makes it clearer for a student where s/he stands. Teaching, in the sense of Edward Said's notion of the public intellectual, cannot mean to please, it cannot aim at consumer sovereignty, and it cannot mean that the customer is easily and completely satisfied. The consumer model implies that the university offers "services." Courses are shaped to satisfy students who think of themselves as consumers who conveniently with next to no effort (as in shopping), graduate. If this is what teaching is about, it fails its mission. Students should open themselves up to successful learning. And the "success" in "successful learning," according to Bertold Brecht stands for being educational, creating change in the real live world. Students should get "electrified" by the widely unexplored field of new media. Trebor Scholz — Net Cultures: Art, Politics, and the Everyday <a rel="nofollow" href="http://molodiez.org/net/syllabus.html">http://molodiez.org/net/syllabus.html</a> Fibre Culture New Media Education <a rel="nofollow" href="http://www.fibreculture.org/newmediaed/index.html">http://www.fibreculture.org/newmediaed/index.html</a> Geert Lovink "The Battle over New Media Art Education. Experiences and Models." in "My First Recession. Critical Internet Culture in Transition" V2_/NAi Publishers, 2003 _________________________________________ reader-list: an open discussion list on media and the city. Critiques & Collaborations To subscribe: send an email to [email protected] with subscribe in the subject header. List archive: (<a rel="nofollow" href="https://mail.sarai.net/pipermail/reader-list/">https://mail.sarai.net/pipermail/reader-list/</a>) _________________ Marisa S. Olson Associate Director SF Camerawork 415. 863. 1001 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. . 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