R: RHIZOME_RAW: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty

Dear Salvatore
This might be a good question.
I must say I do like "Tabula Viusum a lot" and I have also seen more
work in this vein (maybe yours)
It could be something about the context of presentation that makes you
think, react to it in a certain way.
I guess for me it's the relation to film, the time element that makes
the difference.

Could you please send us the url of your work doing this stuff?

thanks
AA

On 11/18/06, [email protected]
<[email protected]> wrote:
> i know i don't have all the "titles" and that it might sound a foolish
> question:
>
> but haven't loads of folks been doing this stuff?
>
> even i've been doing this stuff, and i'm the laaaaaast little meaningless one
> of a crowd…
>
> yes, yes, i know, you/we all grab stuff and attach meanings to it. we all do.
> and blablabla…
>
> but isn't there something more interesting to "Spotlight"? :)
>
> this is meant to be a constructive criticism.
>
>
> >—-Messaggio originale—-
> >Dal: [email protected]
> >Data: 17/11/2006 23.59
> >A: "Jo-Anne Green"<[email protected]>
> >Ogg: RHIZOME_RAW: Turbulence Spotlight: &quot;Tabula Visum: Tabular Vision
> &amp; HTML Cinema&quot; by Patrick Lichty
> >
> >November 17, 2006
> >Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by
> >Patrick Lichty
> >http://turbulence.org/spotlight/lichty
> >
> >Both static and dynamic digital images have often been represented as
> >'translated' images, reinterpreted from an intermediate image file stored on
> >the web. Beginning with these files, Lichty has translated the images and
> >videos to pure HTML code. As such, they represent a very 'direct' method of
> >representation in the browser. In addition, there is a time-based element
> >that occurs when the tables load into the browser. Thus, "HTML Cinema" has
> >two dimensions; the time of the load, and the time of the serial.
> >
> >Many of these images are excerpts from Lichty's wristcam photography and
> >video works. After conversion to pure code, several of the pages were
> >unmanageable; therefore, they are a hybrid of code and console handicraft by
> >the artist.
> >
> >BIOGRAPHY
> >
> >Patrick Lichty is a technologically-based conceptual artist, writer,
> >independent curator, animator for the activist group "The Yes Men," and
> >Executive Editor of Intelligent Agent Magazine. His work spans over 15
> >years, dealing with media narrative/criticism and information aesthetics, in
> >many different contexts. He works in diverse technological media, including
> >painting, mobile media, printmaking, kinetics, video, VR, generative music,
> >and neon. Venues in which Lichty has been involved with solo and
> >collaborative works include the Whitney Biennial and the International
> >Symposium on the Electronic Arts (ISEA). Lichty is a faculty member in the
> >Interactive Arts and Media Department at Columbia College Chicago.
> >
> >For more Turbulence Spotlights please visit http://turbulence.org/spotlight/
> >
> >Jo-Anne Green, Co-Director
> >New Radio and Performing Arts, Inc.: http://new-radio.org
> >New York: 917.548.7780 . Boston: 617.522.3856
> >Turbulence: http://turbulence.org
> >New American Radio: http://somewhere.org
> >Networked_Performance Blog: http://turbulence.org/blog
> >Upgrade! Boston: http://turbulence.org/upgrade
> >
> >
> >
> >
> >+
> >-> post: [email protected]
> >-> questions: [email protected]
> >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set out in the
> >Membership Agreement available online at http://rhizome.org/info/29.php
> >
>
>
>
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>


–

"FearingS" Participate in creating a collective voice about "fear".
Help revealing it's actual tendencies. http://bram.org/peur/fear/
"Peurs" Participez a la creation d'une voix collective autour de la
"peur". Aidez a en reveler les tendances actuelles.
http://bram.org/peur/fear/indexfr.htm

Hi Salvatore
I don't see why things always have to be new.
Sometimes the most interesting art is that which
consolidates rather than makes technical or even
aesthetic breakthroughs.
Schoenberg made a breakthrough in 20th century art
music but his pupils Berg and Webern are much the more
interesting and durable composers.
I realy like this work by Patrick.
It is elegant in the extreme - it appeals to our
appreciation & understanding of his technical skill &
of his own sense of where he lies in an ongoing
tradition ( both of his and others' making -he is
truly the *Prince of the Pixel*), but the end result
is also somehow touching (not in a weak sentimental
sense, but in the sense of reaching us emotionally in
a complex way). So complex stuff to chew on but to an
affective end…enough to make an excellent start in
my book..
I would like to ask three questions of Patrick:
(1)Is there some software that automates pixel by
pixel or small chunk by small chunk colour analysis of
the images, or did you have to do it by hand with the
eye dropper thing ( forgive me if there *is* &
everyone but me knows it!)
(2) Why a width of 5 or 3 and not single pixels -does
the html page become impossibly big at 1?
(3) Why is the refresh rate on the movies set so long?
–10 secs, I think–was it trial and error to do with
load time? I longed for pseudo cinematic motion,
[which can, in fact, be achieved by the viewer, once
the images have cycled through once, by using the
browser forward & back buttons]
best
michael

— [email protected] wrote:

> i know i don't have all the "titles" and that it
> might sound a foolish
> question:
>
> but haven't loads of folks been doing this stuff?
>
> even i've been doing this stuff, and i'm the
> laaaaaast little meaningless one
> of a crowd…
>
> yes, yes, i know, you/we all grab stuff and attach
> meanings to it. we all do.
> and blablabla…
>
> but isn't there something more interesting to
> "Spotlight"? :)
>
> this is meant to be a constructive criticism.
>
>
> >—-Messaggio originale—-
> >Dal: [email protected]
> >Data: 17/11/2006 23.59
> >A: "Jo-Anne Green"<[email protected]>
> >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> "Tabula Visum: Tabular Vision
> & HTML Cinema" by Patrick Lichty
> >
> >November 17, 2006
> >Turbulence Spotlight: "Tabula Visum: Tabular Vision
> & HTML Cinema" by
> >Patrick Lichty
> >http://turbulence.org/spotlight/lichty
> >
> >Both static and dynamic digital images have often
> been represented as
> >'translated' images, reinterpreted from an
> intermediate image file stored on
> >the web. Beginning with these files, Lichty has
> translated the images and
> >videos to pure HTML code. As such, they represent a
> very 'direct' method of
> >representation in the browser. In addition, there
> is a time-based element
> >that occurs when the tables load into the browser.
> Thus, "HTML Cinema" has
> >two dimensions; the time of the load, and the time
> of the serial.
> >
> >Many of these images are excerpts from Lichty's
> wristcam photography and
> >video works. After conversion to pure code, several
> of the pages were
> >unmanageable; therefore, they are a hybrid of code
> and console handicraft by
> >the artist.
> >
> >BIOGRAPHY
> >
> >Patrick Lichty is a technologically-based
> conceptual artist, writer,
> >independent curator, animator for the activist
> group "The Yes Men," and
> >Executive Editor of Intelligent Agent Magazine. His
> work spans over 15
> >years, dealing with media narrative/criticism and
> information aesthetics, in
> >many different contexts. He works in diverse
> technological media, including
> >painting, mobile media, printmaking, kinetics,
> video, VR, generative music,
> >and neon. Venues in which Lichty has been involved
> with solo and
> >collaborative works include the Whitney Biennial
> and the International
> >Symposium on the Electronic Arts (ISEA). Lichty is
> a faculty member in the
> >Interactive Arts and Media Department at Columbia
> College Chicago.
> >
> >For more Turbulence Spotlights please visit
> http://turbulence.org/spotlight/
> >
> >Jo-Anne Green, Co-Director
> >New Radio and Performing Arts, Inc.:
> http://new-radio.org
> >New York: 917.548.7780 . Boston: 617.522.3856
> >Turbulence: http://turbulence.org
> >New American Radio: http://somewhere.org
> >Networked_Performance Blog:
> http://turbulence.org/blog
> >Upgrade! Boston: http://turbulence.org/upgrade
> >
> >
> >
> >
> >+
> >-> post: [email protected]
> >-> questions: [email protected]
> >-> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set
> out in the
> >Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
>
>
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>

Thanks for the discussion, everyone…
It's getting close to end of semester, and I'm a little ebaked, so I'll
be pretty brief.

(1)Is there some software that automates pixel by
pixel or small chunk by small chunk colour analysis of
the images, or did you have to do it by hand with the
eye dropper thing ( forgive me if there *is* &
everyone but me knows it!)

I could, but I got started with some of the images with Don Relyea's
Reductionizer software, now mentioned on the page. The thing is that it
doesn't give you centering, background color, and the files are too
large to deal with any WYSIWYG editor, so I have to reformat them in
Notepad.

(2) Why a width of 5 or 3 and not single pixels -does
the html page become impossibly big at 1?

Not really - the images get small. What you see is the original
resolution of many of the files. Many of them are wristcams (120x120).
So, I wanted them to be larger.

(3) Why is the refresh rate on the movies set so long?
–10 secs, I think–was it trial and error to do with
load time? I longed for pseudo cinematic motion,
[which can, in fact, be achieved by the viewer, once
the images have cycled through once, by using the
browser forward & back buttons]

OK, here's where it gets complex.

I was looking for a negotiation between 'browser time' and "gallery
time'.
What I mean by this is that installation (gallery) time is something
that privileges slower changes (read: Viola/Aitken). Browser time is
much faster as it refers to near-straight download time for the
unfolding of a work.

The BIG problem here is that If I adhered to browser time, I would not
be able to load the images quickly enough on slower bandwidth to
accommodate for the refresh statement. Therefore, the morphology of the
piece is also dependent on the bandwidth of the user.

In addition, the piece is designed for gallery installation as well as
browser viewing. For example, loops of the digital shadow puppets would
allow for gallery goers to have a sip of their chardonnay and see a
change after a minute of chat. Gallery time is a much more 'Lush' time
than that of the browser, and ten seconds seemed like a good
negotiation.

Would it be appropriate to post a "5 second flavour" and a "1 Second
Flavour" (playfully referring to denotation of variation within Eastern
Media?")


Patrick Lichty
- Interactive Arts & Media
Columbia College, Chicago
- Editor-In-Chief
Intelligent Agent Magazine
http://www.intelligentagent.com
225 288 5813
[email protected]

"It is better to die on your feet
than to live on your knees."


I realy like this work by Patrick.
It is elegant in the extreme - it appeals to our
appreciation & understanding of his technical skill &
of his own sense of where he lies in an ongoing
tradition ( both of his and others' making -he is
truly the *Prince of the Pixel*), but the end result
is also somehow touching (not in a weak sentimental
sense, but in the sense of reaching us emotionally in
a complex way). So complex stuff to chew on but to an
affective end…enough to make an excellent start in
my book..
I would like to ask three questions of Patrick:
(1)Is there some software that automates pixel by
pixel or small chunk by small chunk colour analysis of
the images, or did you have to do it by hand with the
eye dropper thing ( forgive me if there *is* &
everyone but me knows it!)
(2) Why a width of 5 or 3 and not single pixels -does
the html page become impossibly big at 1?
(3) Why is the refresh rate on the movies set so long?
–10 secs, I think–was it trial and error to do with
load time? I longed for pseudo cinematic motion,
[which can, in fact, be achieved by the viewer, once
the images have cycled through once, by using the
browser forward & back buttons]
best
michael

— [email protected] wrote:

> i know i don't have all the "titles" and that it
> might sound a foolish
> question:
>
> but haven't loads of folks been doing this stuff?
>
> even i've been doing this stuff, and i'm the
> laaaaaast little meaningless one
> of a crowd…
>
> yes, yes, i know, you/we all grab stuff and attach
> meanings to it. we all do.
> and blablabla…
>
> but isn't there something more interesting to
> "Spotlight"? :)
>
> this is meant to be a constructive criticism.
>
>
> >—-Messaggio originale—-
> >Dal: [email protected]
> >Data: 17/11/2006 23.59
> >A: "Jo-Anne Green"<[email protected]>
> >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> "Tabula Visum: Tabular Vision
> & HTML Cinema" by Patrick Lichty
> >
> >November 17, 2006
> >Turbulence Spotlight: "Tabula Visum: Tabular Vision
> & HTML Cinema" by
> >Patrick Lichty
> >http://turbulence.org/spotlight/lichty
> >
> >Both static and dynamic digital images have often
> been represented as
> >'translated' images, reinterpreted from an
> intermediate image file stored on
> >the web. Beginning with these files, Lichty has
> translated the images and
> >videos to pure HTML code. As such, they represent a
> very 'direct' method of
> >representation in the browser. In addition, there
> is a time-based element
> >that occurs when the tables load into the browser.
> Thus, "HTML Cinema" has
> >two dimensions; the time of the load, and the time
> of the serial.
> >
> >Many of these images are excerpts from Lichty's
> wristcam photography and
> >video works. After conversion to pure code, several
> of the pages were
> >unmanageable; therefore, they are a hybrid of code
> and console handicraft by
> >the artist.
> >
> >BIOGRAPHY
> >
> >Patrick Lichty is a technologically-based
> conceptual artist, writer,
> >independent curator, animator for the activist
> group "The Yes Men," and
> >Executive Editor of Intelligent Agent Magazine. His
> work spans over 15
> >years, dealing with media narrative/criticism and
> information aesthetics, in
> >many different contexts. He works in diverse
> technological media, including
> >painting, mobile media, printmaking, kinetics,
> video, VR, generative music,
> >and neon. Venues in which Lichty has been involved
> with solo and
> >collaborative works include the Whitney Biennial
> and the International
> >Symposium on the Electronic Arts (ISEA). Lichty is
> a faculty member in the
> >Interactive Arts and Media Department at Columbia
> College Chicago.
> >
> >For more Turbulence Spotlights please visit
> http://turbulence.org/spotlight/
> >
> >Jo-Anne Green, Co-Director
> >New Radio and Performing Arts, Inc.:
> http://new-radio.org
> >New York: 917.548.7780 . Boston: 617.522.3856
> >Turbulence: http://turbulence.org
> >New American Radio: http://somewhere.org
> >Networked_Performance Blog:
> http://turbulence.org/blog
> >Upgrade! Boston: http://turbulence.org/upgrade
> >
> >
> >
> >
> >+
> >-> post: [email protected]
> >-> questions: [email protected]
> >-> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set
> out in the
> >Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
>
>
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>



+
-> post: [email protected]
-> questions: [email protected]
-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
-> give: http://rhizome.org/support
+
Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php

thanks Patrick! - very clear! - personally I think it
might be nice to have different "flavours", but I
entirely see your reasoning behind the current
set-up..
michael
— patrick lichty <[email protected]> wrote:

> Thanks for the discussion, everyone…
> It's getting close to end of semester, and I'm a
> little ebaked, so I'll
> be pretty brief.
>
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
>
> I could, but I got started with some of the images
> with Don Relyea's
> Reductionizer software, now mentioned on the page.
> The thing is that it
> doesn't give you centering, background color, and
> the files are too
> large to deal with any WYSIWYG editor, so I have to
> reformat them in
> Notepad.
>
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
>
> Not really - the images get small. What you see is
> the original
> resolution of many of the files. Many of them are
> wristcams (120x120).
> So, I wanted them to be larger.
>
> (3) Why is the refresh rate on the movies set so
> long?
> –10 secs, I think–was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
>
> OK, here's where it gets complex.
>
> I was looking for a negotiation between 'browser
> time' and "gallery
> time'.
> What I mean by this is that installation (gallery)
> time is something
> that privileges slower changes (read: Viola/Aitken).
> Browser time is
> much faster as it refers to near-straight download
> time for the
> unfolding of a work.
>
> The BIG problem here is that If I adhered to browser
> time, I would not
> be able to load the images quickly enough on slower
> bandwidth to
> accommodate for the refresh statement. Therefore,
> the morphology of the
> piece is also dependent on the bandwidth of the
> user.
>
> In addition, the piece is designed for gallery
> installation as well as
> browser viewing. For example, loops of the digital
> shadow puppets would
> allow for gallery goers to have a sip of their
> chardonnay and see a
> change after a minute of chat. Gallery time is a
> much more 'Lush' time
> than that of the browser, and ten seconds seemed
> like a good
> negotiation.
>
> Would it be appropriate to post a "5 second flavour"
> and a "1 Second
> Flavour" (playfully referring to denotation of
> variation within Eastern
> Media?")
>
>
> Patrick Lichty
> - Interactive Arts & Media
> Columbia College, Chicago
> - Editor-In-Chief
> Intelligent Agent Magazine
> http://www.intelligentagent.com
> 225 288 5813
> [email protected]
>
> "It is better to die on your feet
> than to live on your knees."
>
>
> I realy like this work by Patrick.
> It is elegant in the extreme - it appeals to our
> appreciation & understanding of his technical skill
> &
> of his own sense of where he lies in an ongoing
> tradition ( both of his and others' making -he is
> truly the *Prince of the Pixel*), but the end result
> is also somehow touching (not in a weak sentimental
> sense, but in the sense of reaching us emotionally
> in
> a complex way). So complex stuff to chew on but to
> an
> affective end…enough to make an excellent start in
> my book..
> I would like to ask three questions of Patrick:
> (1)Is there some software that automates pixel by
> pixel or small chunk by small chunk colour analysis
> of
> the images, or did you have to do it by hand with
> the
> eye dropper thing ( forgive me if there *is* &
> everyone but me knows it!)
> (2) Why a width of 5 or 3 and not single pixels
> -does
> the html page become impossibly big at 1?
> (3) Why is the refresh rate on the movies set so
> long?
> –10 secs, I think–was it trial and error to do
> with
> load time? I longed for pseudo cinematic motion,
> [which can, in fact, be achieved by the viewer, once
> the images have cycled through once, by using the
> browser forward & back buttons]
> best
> michael
>
> — [email protected] wrote:
>
> > i know i don't have all the "titles" and that it
> > might sound a foolish
> > question:
> >
> > but haven't loads of folks been doing this stuff?
> >
> > even i've been doing this stuff, and i'm the
> > laaaaaast little meaningless one
> > of a crowd…
> >
> > yes, yes, i know, you/we all grab stuff and attach
> > meanings to it. we all do.
> > and blablabla…
> >
> > but isn't there something more interesting to
> > "Spotlight"? :)
> >
> > this is meant to be a constructive criticism.
> >
> >
> > >—-Messaggio originale—-
> > >Dal: [email protected]
> > >Data: 17/11/2006 23.59
> > >A: "Jo-Anne Green"<[email protected]>
> > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
> > "Tabula Visum: Tabular Vision
> > & HTML Cinema" by Patrick Lichty
> > >
> > >November 17, 2006
> > >Turbulence Spotlight: "Tabula Visum: Tabular
> Vision
> > & HTML Cinema" by
> > >Patrick Lichty
> > >http://turbulence.org/spotlight/lichty
> > >
> > >Both static and dynamic digital images have often
> > been represented as
> > >'translated' images, reinterpreted from an
> > intermediate image file stored on
> > >the web. Beginning with these files, Lichty has
> > translated the images and
> > >videos to pure HTML code. As such, they represent
> a
> > very 'direct' method of
> > >representation in the browser. In addition, there
> > is a time-based element
> > >that occurs when the tables load into the
> browser.
> > Thus, "HTML Cinema" has
> > >two dimensions; the time of the load, and the
> time
> > of the serial.
> > >
> > >Many of these images are excerpts from Lichty's
> > wristcam photography and
> > >video works. After conversion to pure code,
> several
> > of the pages were
> > >unmanageable; therefore, they are a hybrid of
> code
> > and console handicraft by
> > >the artist.
> > >
> > >BIOGRAPHY
> > >
> > >Patrick Lichty is a technologically-based
> > conceptual artist, writer,
> > >independent curator, animator for the activist
> > group "The Yes Men," and
> > >Executive Editor of Intelligent Agent Magazine.
> His
> > work spans over 15
> > >years, dealing with media narrative/criticism and
> > information aesthetics, in
> > >many different contexts. He works in diverse
> > technological media, including
> > >painting, mobile media, printmaking, kinetics,
> > video, VR, generative music,
> > >and neon. Venues in which Lichty has been
> involved
> > with solo and
> > >collaborative works include the Whitney Biennial
> > and the International
> > >Symposium on the Electronic Arts (ISEA). Lichty
> is
> > a faculty member in the
> > >Interactive Arts and Media Department at Columbia
> > College Chicago.
> > >
> > >For more Turbulence Spotlights please visit
> > http://turbulence.org/spotlight/
> > >
> > >Jo-Anne Green, Co-Director
> > >New Radio and Performing Arts, Inc.:
> > http://new-radio.org
> > >New York: 917.548.7780 . Boston: 617.522.3856
> > >Turbulence: http://turbulence.org
> > >New American Radio: http://somewhere.org
> > >Networked_Performance Blog:
> > http://turbulence.org/blog
> > >Upgrade! Boston: http://turbulence.org/upgrade
> > >
> > >
> > >
> > >
> > >+
> > >-> post: [email protected]
> > >-> questions: [email protected]
> > >-> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > >-> give: http://rhizome.org/support
> > >+
> > >Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > >Membership Agreement available online at
> > http://rhizome.org/info/29.php
> > >
> >
> >
> >
> >
> > +
> > -> post: [email protected]
> > -> questions: [email protected]
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > +
> > Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > Membership Agreement available online at
> > http://rhizome.org/info/29.php
> >
>
>
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>