RHIZOME DIGEST: 7.17.05

July 16, 2005

Type: discussion

RHIZOME DIGEST: July 17, 2005 Content: +note+ 1. Francis Hwang: Coming next week: A new front page for Rhizome.org +announcement+ 2. Jo-Anne Green: Turbulence Spotlight: "1001 nights cast" by Barbara Campbell 3. Ryan Griffis: Fwd: Invitation / Day-to-Day Data Project Launch 4. matthew fuller: software: OPEN HISTORY TIMELINE v1.1 +opportunity+ 5. Kevin McGarry: FW: Announcement for "Project netarts.org 2005" +interview+ 6. Thomas Petersen: Stars Fading on the Web - An Interview with Olia Lialina +commissioned for Rhizome.org+ 7. Ryan Griffis: Fielding Questions: Notes on the Fieldworks Symposium + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at [email protected] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 7.16.05 From: Francis Hwang <[email protected]> Subject: Coming next week: A new front page for Rhizome.org Hi everyone, Starting next week, you'll be seeing a change in the front page here at Rhizome. Currently the front page features artworks and texts from inside the Rhizome site. But we've added a heavily-modified version of Eyebeam's ReBlog software ( <a rel="nofollow" href="http://www.reblog.org/">http://www.reblog.org/</a> ), so the front page will soon combine great texts from inside Rhizome with the best memes from the internet as a whole. The goal is for the front page to become a quick, easy filter for the entire field of new media arts online–both for our current Rhizome users and Members, and for anybody else who might be interested in the field but not know where to start looking. At the same time, Superusers will continue to enrich the archives by adding metadata to our internal content. (External content will not be added to the archives.) And another note: This new front page will be based on the consumption of RSS feeds. So if you have any sort of new media arts site of your own, and it's got an RSS feed attached to it, make sure to send that my way so I can forward it to all the Superusers. And if you've got a site without RSS, well, what are you waiting for? Francis Hwang Director of Technology Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 7.11.05 From: Jo-Anne Green <[email protected]> Subject: Turbulence Spotlight: "1001 nights cast" by Barbara Campbell July 11, 2005 Turbulence Spotlight: "1001 nights cast" by Barbara Campbell <a rel="nofollow" href="http://turbulence.org/spotlight/1001nights/index.html">http://turbulence.org/spotlight/1001nights/index.html</a> In "1001 nights cast," Barbara Campbell performs a short text-based work for 1001 consecutive nights. The performance is relayed as a live webcast to anyone, anywhere, at sunset. A frame story written by the artist introduces the project?s nightly performances. It is a survival story and it creates the context for subsequent stories generated daily through writer/performer collaborations made possible by the reach of the internet. Each morning Campbell reads journalists? reports covering events in the Middle East. She selects a prompt word or phrase that leaps from the page with generative potential. She renders the prompt in watercolor and posts it in its new pictorial form on the website. Participants are then invited to write a story using that day?s prompt in a submission of up to 1001 words. The writing deadline expires three hours before that night's performance. "1001 nights cast" is a project generated by the forces of that great compendium of Arabian tales, The 1001 Nights also known as The Arabian Nights. The project explores the theatrics of the voiced story, the need for framing devices, the strategies for survival, the allure of the Middle East and its contrasting realities. BIOGRAPHY Barbara Campbell is an Australian artist who works primarily in the medium of performance. Since 1982 she has worked with the specific physical and contextual properties of a given site, be it art gallery, museum, atrium, tower, radio airwaves and now the internet, in developing and presenting her works. After completing undergraduate degrees in fine arts and art history, Campbell was awarded a Master of Visual Arts from Sydney College of the Arts, The University of Sydney in 1998. She has undertaken residencies at Griffith University, Queensland, The University of Melbourne, The University of Sydney and the Australia Council studios in Santa Monica and New York. In 1994 the NSW Ministry for the Arts awarded her the Women and Arts Fellowship and in 2004 she received one of four Fellowship grants awarded by the Visual Arts/Craft Board of the Australia Council for the Arts. For more Turbulence Spotlights please visit <a rel="nofollow" href="http://turbulence.org/spotlight">http://turbulence.org/spotlight</a> <<a rel="nofollow" href="http://turbulence.org/spotlight">http://turbulence.org/spotlight</a>> – Untitled Document Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: <a rel="nofollow" href="http://new-radio.org">http://new-radio.org</a> New York: 917.548.7780 ? Boston: 617.522.3856 Turbulence: <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a> New American Radio: <a rel="nofollow" href="http://somewhere.org">http://somewhere.org</a> Networked_Performance Blog and Conference: <a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions <a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a> Visit the fourth ArtBase Exhibition "City/Observer," curated by Yukie Kamiya of the New Museum of Contemporary Art in New York and designed by T.Whid of MTAA. <a rel="nofollow" href="http://rhizome.org/art/exhibition/city/">http://rhizome.org/art/exhibition/city/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 7.11.05 From: ryan griffis <[email protected]> Subject: Fwd: Invitation / Day-to-Day Data Project Launch Begin forwarded message: > > You are warmly invited to the launch of the Day-to-Day Data project on > Wednesday 20 July from 6 ? 8pm at Angel Row Gallery, Nottingham. > > Day-to-Day Data is a national touring exhibition, publication and > web-based exhibition curated by artist Ellie Harrison. > > It features newly commissioned work by: Abigail Reynolds, Adele > Prince, Anders Bojen & Kristoffer Ørum, Christian Nold, Cleo Broda, > Ellie Harrison, Gabrielle Sharp, Hannah Brown, Helen Frosi, Hywel > Davies, James Coupe, Hedley Roberts & Rob Saunders, Jem Finer, Kevin > Carter, Lucy Kimbell, Mary Yacoob, Richard Dedomenici, Sam Curtis, > Therese Stowell, Tim Taylor and Tony Kemplen. > > If you are unable to make the launch, then you can find out plenty of > information about the project and the artists involved on the > exhibition website: www.daytodaydata.com > > The web-based exhibition featuring new work by Adele Prince, Anders > Bojen & Kristoffer Ørum, Jem Finer and Kevin Carter also launches on > 20 July and will be viewable on the Day-to-Day Data website. > > Angel Row Gallery > Central Library Building > 3 Angel Row > Nottingham > NG1 6HP > > Exhibition Dates: Wednesday 20 July ? Wednesday 7 September 2005 > Launch Event: Wednesday 20 July, 6 ? 8pm > Open: Monday ? Saturday, 10am ? 5pm, Wednesday, 10am ? 7pm + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 7.13.05 From: matthew fuller <[email protected]> Subject: software: OPEN HISTORY TIMELINE v1.1 OPEN HISTORY TIMELINE v1.1 The Open History Timeline v1.1 (OHT) is an open-source content-management system designed to support online community-based history writing. It is a system that can be used to work collaboratively on defining and writing history about any subject you would like. Which questions need to be asked, and which answers are valid? The OHT is designed with the idea in mind that history is a practice - not fixed but alive, and invites users to make history through adding experiences, anecdotes and personal perspectives. The Open History Timeline is now available for download and can be used in your own projects. Built on open-source software, you can run the OHT on any web server with PERL & PHP installed. Read more, see a working example, and download the files at: <a rel="nofollow" href="http://www.designtimeline.org/oht.html">http://www.designtimeline.org/oht.html</a> The OHT and <a rel="nofollow" href="http://www.designtimeline.org/">http://www.designtimeline.org/</a> were built and designed by Femke Snelting and Michael Murtaugh. The project was financially supported by Thuiskopiefonds and Digitale Pioniers. With thanks to Institute for Network Cultures, Amsterdam. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 7.15.05 From: Kevin McGarry <[email protected]> Subject: FW: Announcement for "Project netarts.org 2005" —— Forwarded Message From: Keisuke Oki <[email protected]> Date: Thu, 14 Jul 2005 21:53:26 +0900 (JST) To: Kevin McGarry <[email protected]> Subject: Announcement for "Project netarts.org 2005" "Project netarts.org" 2005 - 1st announcement 1. From "Art on the Net" to the new "Project netarts.org" 2. Call for the nomination 3. The schedule ————————————————————- 1. From "Art on the Net" to the new "Project netarts.org" >From 1995 to 2003, The Machida City Museum of Graphic Arts hosted the " Art on the Net" project promoting the Internet as a space for artistic expression. For nine years, this project had been calling on artists around the world to investigate the relationship between Art, the Internet and the Society. After the years of the "Art on the Net," we launched a new event called the "Project netarts.org" last summer. The " Project netarts.org" consists of an Internet Art exhibition, artist essays, theoretical articles, and an online forum. The Exhibition section of the project will feature recent developments in Internet Art and is open to all forms of creative expression that use the Internet as their primary medium. The essays and articles from artists, critics, curators and other contributors, will be featured in the Writings section. The Online Forum is open to everyone who is interested in Internet Art and other hybridized forms of Digital or Media Art that use network technologies. Although this project is primarily focused on the latest developments in the field of Internet Art, we are also very interested in considering contributions that reflect the influence of Internet Art production on the wider fields of Media-Art, Digital Art, curatorial practice, digital pedagogy, and online publishing. 2. Call for the nomination. This year, the artworks for the exhibition and the "netarts.org 2005 prize" will be chosen by our Selection Committee. The prize fee for the top selection will be 200,000 yen. The members will make their own nominations, but we will accept nominations from the web also. Please send your nomination to us directly at our website <a rel="nofollow" href="http://www.netarts.org/">http://www.netarts.org/</a> . The members of the Selection Committee are: Mark Amerika (<a rel="nofollow" href="http://www.markamerika.com/">http://www.markamerika.com/</a>) Susan Hazen (<a rel="nofollow" href="http://www.imj.org.il/">http://www.imj.org.il/</a>) Akihiro Kubota (<a rel="nofollow" href="http://homepage2.nifty.com/%7Ebota/">http://homepage2.nifty.com/%7Ebota/</a>) keisuke Oki (<a rel="nofollow" href="http://homepage3.nifty.com/oob/">http://homepage3.nifty.com/oob/</a>) Rick Silva (<a rel="nofollow" href="http://ricksilva.net/">http://ricksilva.net/</a>) You Minowa (Curator, MCMOGATK). For further information, please visit <a rel="nofollow" href="http://www.netarts.org/webmuseum.html">http://www.netarts.org/webmuseum.html</a> 3. The schedule We will accept nominations by mail from 15th, July 2005 to 15th, Sept. 2005. The award-winning artwork will be selected by 30th Sept. The exhibition will be launched 1st, Nov. 2005. We will soon announce some physical events to take place in Nov. at the Machida City Museum of Graphic Arts, Tokyo. – You Minowa Curator Machida City Museum of Graphic Arts <a rel="nofollow" href="http://www.netarts.org/">http://www.netarts.org/</a> [email protected] **************************************************************************** * —— End of Forwarded Message + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 7.13.05 From: Thomas Petersen <[email protected]> Subject: Stars Fading on the Web - An Interview with Olia Lialina Stars Fading on the Web - An Interview with Olia Lialina <a rel="nofollow" href="http://www.artificial.dk/articles/olia.htm">http://www.artificial.dk/articles/olia.htm</a> Artificial has previously explored how stars are used in digital artworks (<a rel="nofollow" href="http://www.artificial.dk/articles/netstars_eng.htm">http://www.artificial.dk/articles/netstars_eng.htm</a>). With remarkable frequency, digital artists have used stars as aesthetic elements in their works. Coincidentally, stars on the web also turned out to be a great interest of Russian artist Olia Lialina - especially the outer space backgrounds that once adorned so many pages on the early web. Olia has dealt with these digital stars in both her texts and artworks. Today these stars are fading, as the host pages eventually become redesigned and the stars removed. The disappearing stars are thus poetic examples of the state of transience that web expressions are born into. Thomas Petersen talked to Olia about her peculiar interest, which resulted in a discussion about the ephemeral nature of web expressions and how to archive them. Interview here: <a rel="nofollow" href="http://www.artificial.dk/articles/olia.htm">http://www.artificial.dk/articles/olia.htm</a> ————————– Thomas Petersen +45 2048 2585 www.crossover.dk <<a rel="nofollow" href="http://www.crossover.dk">http://www.crossover.dk</a>> www.artificial.dk <<a rel="nofollow" href="http://www.artificial.dk/">http://www.artificial.dk/</a>> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 7.17.05 From: Subject: Fielding Questions: Notes on the Fieldworks Symposium Fielding Questions: Notes on the Fieldworks Symposium Ryan Griffis In an April broadcast of the radio program "On the Media," ABC News editorialist John Stossel was asked why he had invited well known fiction writer Michael Crichton to appear on one of his programs to discuss science and the global warming debate. The exchange ended like this: On the Media's Brooke Gladstone: "In December, you featured novelist Michael Crichton on 20/20, and you praised him for contradicting something most people believe and fear. You went on to say that environmental organizations are fomenting false fears in order to promote agendas and raise money. Why use a fiction writer to refute the scientific community?". John Stossel: Because he's famous, and he's interesting, and he's smart, and he writes books that lots of people read, and I could interview the scientists for 20/20, but more people will pay attention when this particular smart fiction writer says it. ( <a rel="nofollow" href="http://www.onthemedia.org/transcripts/transcripts_040805_skeptic.html">http://www.onthemedia.org/transcripts/transcripts_040805_skeptic.html</a> ) This particular exchange is interesting to consider in light of debates around all manner of cultural and scientific developments, including stem cell research, evolution, sex education and energy production just to name a few. What makes this interesting to me is the visible and unashamed collision of claims to truth with tactics of representation. Stossel recognizes that the global warming debate is constructed as a "he said, she said" debate, so truth claims are only as valid as the prominence of the person making them, not the verifiability of the claims themselves. Likewise, the "other side" often points to consensus as verification. This discussion was in the back of my mind when I attended the Fieldworks symposium just a month later. Organized through a collaboration between Departments of Art, Art History, Geography and Architecture at the University of California, Los Angeles, Fieldworks was designed to discuss "the emerging relations between geographic sciences and artistic production" found in the work of certain contemporary practitioners. From the preliminary program, it was apparent that the two-day event would attempt this exploration through both creative works and traditional discussion. The first event included a video screening and audio performance within the space of UCLA's Hammer Museum. Heather Frazar, a recent graduate in cultural geography from UCLA and one of the organizers of the conference, presented "Core Matters," a video narrative of the Greenland Ice Sheet Project Two core sample. This sample of ice, the deepest ice core record of the Northern Hemisphere at more than 3000m ( <a rel="nofollow" href="http://arcss.colorado.edu/data/gisp_grip/document/gispinfo.html">http://arcss.colorado.edu/data/gisp_grip/document/gispinfo.html</a> ), was traced from the site of its recovery in remote Greenland to its residency in an archive at the National Ice Core Laboratory in Denver, Colorado, where it is parceled out for research. By focusing on the language, images and instruments through which this object of inquiry is understood as one containing "information," Frazar reveals how scientific knowledge is produced, distributed and differentiated from other kinds of knowledge. The difference, for example, between the way the core sample is treated by the technicians collecting it as a material artifact and those preserving and distributing it as a container of knowledge illuminates the process of transformation that occurs as material becomes information. Following the screening, the LA-based sound artist/activist collective Ultra-Red ( <a rel="nofollow" href="http://www.ultrared.org">http://www.ultrared.org</a> ) performed a site-specific audio intervention. Called "Silent/Listen," the performance began with an interpretation of John Cage's famous silent composition "4'33"," used here to invoke ACT-UP's famous "Silence=Death" slogan, redirecting attention away from the phenomenological experience of the space and toward experiences that may not be seen or heard in the moment, yet are ever present as we move through any space as an HIV positive or negative (or somewhere in between) identity. After the scripted silence, pre-arranged participants were invited to a table to speak of their ongoing battle with the personal and political ramifications of HIV and AIDS. These speakers' stories, both deeply personal and polemic, were recorded and mixed into an increasingly complex montage by the members of Ultra-Red, highlighting key phrases within ambient and discordant soundscapes. This technique has been used by the collective before, especially in their collaborations with activists in LA's fair housing struggles. While it may seem to stretch Fieldwork's thematic to the point of breaking, Ultra-Red's practice has been well defined by the group as site-specific and has consistently tackled perceptual and political conditions as inseparable properties of space. In this context, the performance, perhaps arguably, offers a challenge to a science of geography that does not account for its role in the distribution of housing and health care and especially people. The next day, formal presentations set the stage for discussions about the developing exchange occurring between the sciences and aesthetic production. The presentations ranged from artist and architect Laura Kurgen's analysis of declassified satellite images to examine the political implications of imaging technologies and information networks ( <a rel="nofollow" href="http://www.princeton.edu/~kurgan/">http://www.princeton.edu/~kurgan/</a> ) to Canadian draftsman Juan Geuer's anecdotal narrative of his experience as an artist and researcher among geophysicists ( <a rel="nofollow" href="http://www3.sympatico.ca/fred.mrg/">http://www3.sympatico.ca/fred.mrg/</a> ) and Trevor Paglen's summary of his performative research on the "black world" of the US Military's classified defense programs ( <a rel="nofollow" href="http://www.paglen.com/pages/projects/nowhere/index.htm">http://www.paglen.com/pages/projects/nowhere/index.htm</a> ). One common thread to all of the presenters, aside from the whole geography thing, was their deliberate transgression of recognized academic fields, while still maintaining a rigorous relationship with them. Cross-discipline research, especially between the humanities and technology-based sciences has become something of a holy grail in academia (in the US, at least), as both sides seek to capitalize on new funding sources in an increasingly privatized funding environment. One of the targets of Fieldworks is the accepted definition of the "field" itself, i.e., the boundaries that compartmentalize knowledge into discreet regions that must be defended. University departments now routinely offer joint degrees, and many art programs have dissolved the traditional walls between media. This may seem like an academic problem, and perhaps it largely is, but when Business Journals assert that "the MFA is the new MBA," the paths of commerce and academia don't seem so divergent ( <a rel="nofollow" href="http://www.latimes.com/extras/careereducation/brush_wsuccess.html">http://www.latimes.com/extras/careereducation/brush_wsuccess.html</a> ). In this competitive climate, where notions of a science free from commercial influence have all but disappeared, the distinction between making something of value and merely illustrating or understanding reality has become all-important. The production of illustrations – representations of different phenomena designed to reveal something about them – is now merely one step in the development of commercially viable goods. For the physical sciences, it is a matter of not just reading and interpreting the world, but of making something from interpretations, whether it's a new pharmaceutical product, a faster computer processor, or hydrogen powered cars. While art may not feel the same pressure toward utilitarianism, the historic struggle of the aesthetic avant-garde to move beyond illustration, whether one looks at modernist abstraction or tactical media, is a provocative parallel development. One of the comments made during the open discussion pointed out that as social science moves more towards cultural studies (developing a critical language of its own histories and languages), art seems to be moving toward invention-oriented and empirical methodologies typical of the physical and social sciences. In the work of Paglen, Kurgen, and many of the speakers at Fieldworks, observational instruments that are considered to be within the domain of science - statistics, geology, astronomy, physics - are used toward creative ends not exactly familiar to their origins, but not completely alien to them either. The tools of observation and recording, considered illustrative in the hands of science, become generative in the realm of art, where the "performance" of the instruments is itself a final "product." The comment mentioned above about social sciences moving towards cultural studies, made by a geographer, may be true within high academia, where science is indeed becoming more self-conscious and critical, but perhaps it also has some resonance with the further commercialization of research within universities, where the "scientific method" is applied to test the marketability of a particular research venture. While the geographer most likely intended to reference the growing numbers of science scholars, like Bruno Latour, who are creating a critical theory of science, it could be argued that science and art are becoming complimentary methods of production, both situated in terms of "markets." How does all of this impact upon daily life and cultural contexts broader than museums, classrooms and conferences? Well, Michael Crichton appearing as an "expert" on climate change may be one instance. The example of John Stossel citing Crichton as both an expert and a popular figure, is what Bruno Latour might call iconoclastic. For Latour, iconoclasm - the renunciation of religious iconography - is used to describe the process (in Western society) of destroying and creating images in a cyclical search for truth. In this sense, images can be understood as instruments that point to what is not immediately visible - and understanding that encompasses satellite photography as much as religious icons, despite major differences in how such images relate to notions of information (see: <a rel="nofollow" href="http://www.ensmp.fr/~latour/expositions/001_iconoclash.html">http://www.ensmp.fr/~latour/expositions/001_iconoclash.html</a> ) Crichton can be seen as an iconoclast (or Stossel for using him), as he keeps the distinctions between knowledge production and social conventions intact while destroying images that seem to represent that distinction - namely that of specialized experts. Images that are assumed "empty" vessels of information for scientists, such as photographs of fetuses or of the planet Earth, can become weaponized icons in fierce ideological battles. And representatives of the scientific community, in attempts to keep the distinction between truth and social invention in tact, are finding themselves on the front lines of battles over such images and their constructed meanings. This concern for iconoclasm lay just below the surface of my experience of the discussions framed by Fieldworks. While there was certainly much to celebrate in terms of the diversity of practices and the ability of artists and scientists to blend and stitch together innovative methods for observing and imagining reality, I wondered if this collision could escape the confines of professionalism. In many ways, it appears that these collaborations between disciplines were taking up the role of producing illustrations and questions about our surroundings that was once expected to be played by an "autonomous" science. But, what is to prevent any interdisciplinary effort from become just another, and potentially more obscure, guarded dialogue? The question for me is how to replace the "fielded" expert with interdisciplinary and amateur knowledges–without following an iconoclastic program that seeks to destroy established fields only to replace them with new, interdisciplinary ones, in a search for more accurate and descriptive methodologies. In other words, how can the field be expanded without leaving the position of expert open to Michael Crichton? The Fieldworks Art-Geography Symposium was held at the UCLA Hammer Museum in Los Angeles, May 5-6, 2005 <a rel="nofollow" href="http://www.fieldworks.org/index.html">http://www.fieldworks.org/index.html</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Kevin McGarry ([email protected]). ISSN: 1525-9110. Volume 10, number 29. Article submissions to [email protected] are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. 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