The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.

Subject: RHIZOME DIGEST: 12.06.02
From: digest@rhizome.org (RHIZOME)
Date: Fri, 6 Dec 2002 23:09:24 -0500
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: December 6, 2002

Content:

+announcement+
1. Melissa Haye: Art History Student Seeks Help With Project
2. juha huuskonen: pikseliÄHKY 2003 - Call for proposals
3. Alena Williams: Preserving the Rhizome ArtBase: A Report by Richard
Rinehart

+work+
4. Michael Mandiberg: CriticalDiscourse.net -- "Total Überzogen" -- -- Edith
Russ Site
5. joy garnett:THE BOMB PROJECT: Announcing new sections on \'Atomic Art\'
6. Reinhold Grether: 1800 Net Art Links
7. turnermm AT shaw.ca: Re-Reading the News

+feature+
8. eric deis: As Logic of Assembly

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1.

Date: 11.30.02
From: Melissa Hayes (makubesu AT aol.com)
Subject: Art History Student Seeks Help With Project

Hello. I am a student at Westminster Choir College/Rider University and I am
currently taking a class called "Art in the News" with Dr. Richard Swain.
This class delves into current events in the art world. For my project for
this class, I am covering digital/internet art and the Rhizome community in
particular. I am seeking artists who have experience with Rhizome to be
interviewed and have their art featured in my project. If you are
interested, please e-mail me. Thank you for your time!

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2.

Date: 12.06.02
From: juha huuskonen (juhuu AT juhuu.nu)
Subject: pikseliÄHKY 2003 - Call for proposals

pikseliÄHKY Call for proposals >> www.pixelache.ac


pikseliÄHKY 2003
audiovisual laboratory - Kiasma Theatre, Helsinki 10-13 April 2003
www.pixelache.ac

# audiovisual experiments and creative misuse of technology
# DIY lo-fi/hi-fi performances and installations

The second pikseliÄHKY temporary audiovisual lab will be set up
in Kiasma, Museum of Contemporary Art in Helsinki. The event will
feature 4 days of shows, screenings, workshops and panel discussions.

pikseliÄHKY 2003 concentrates on two themes:

'VIDEOJUKKA' : We explore the art of VJ'ing, the act of mixing
and creating video material in a live situation in connection with
the music. International and local VJ stars will perform and give
workshops on VJ tools and technologies. Panel discussions and talks
will analyse the background and future of VJ'ing, as seen from
the perspective of visual arts, film making and other relevant contexts.

Audiovisual architecture : Experimental projects combining media
and architectural design. Interactive art installations, robots
and sensors, projected environments and living surfaces. pikseliÄHKY
artists will create projects or prototypes around the city and give
practical workshops.

Call for proposals

We are searching for existing work but also prototypes and ideas
of new work to be included in the pikseliÄHKY program. DIY lo-fi
experiments and completely strange stuff is absolutely welcome!
We are especially looking for people who are also willing to share
their knowledge in the form of public presentations and/or
workshops. Send short information about you and your work to
proposals AT pixelache.ac before 31 Dec 2002!!

A special selection of pikseliÄHKY program will travel to Bratislava
in February (as a part of New Media Nation event) and to New York
and Montreal in June. The work featured in pikseliÄHKY 2003 will
be compiled to a catalogue, due to be released in October 2003.

pikseliÄHKY program will be announced in January 2003 at pikseliÄHKY
website www.pixelache.ac. For any questions, please send e-mail to
info AT pixelache.ac (send you e-mail address here if you want to
receive regular updates on pikseliÄHKY activities).

pikseliÄHKY 2003 organizers:

Olento (olento.fi) + Amfibio (amfibio.org) together with
Kiasma Theatre (kiasma.fi).

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+ad+

Mute, issue 25, is out this week. Conceptually and volumetrically
expanded, (involves more cartographic & artists' projects & has doubled
the pages), this new bi-annual volume is phat. Articles on: WarChalking,
the Artists' Placement Group and Ambient Culture and more.
http://www.metamute.com

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3.

Date: 12.03.02
From: Alena Williams (alena AT rhizome.org)
Subject: Preserving the Rhizome ArtBase: A Report by Richard Rinehart

Hello Rhizomers:

We are pleased to announce the availability of Richard Rinehart's new
report, "Preserving the Rhizome ArtBase," a research agenda which outlines
Rhizome's long-term strategies for preserving the net art, software, games,
and web-based documentation of new media installation and performance works
in our archive.

An excellent introduction into the emerging field of new media art
preservation, Rinehart's report describes some of the initiatives already
underway at Rhizome, in addition to detailing the practices we hope to
implement in the future.

You can find this document online at:

http://rhizome.org/artbase/report.htm

Please feel free to distribute this announcement to interested individuals
and organizations in the field. If you would like further information about
new media art preservation at Rhizome, contact us at artbase AT rhizome.org.

Warm regards,
Alena

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Alena Williams
ArtBase Coordinator
Rhizome.org

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4.

Date: 11.30.02
From: Michael Mandiberg (lists AT mandiberg.com)
Subject: CriticalDiscourse.net -- "Total Überzogen" -- -- Edith Russ Site

just a short note to announce that i just launched a site called "Critical
Discourse" (http://CriticalDiscourse.net) as part of the "Total Überzogen"
group exhibition at the Edith Russ Site for Media Art in Oldenburg Germany.
in response the exhibitions' theme, the site i have created is a
hypothetical literary agency that promotes the work of art critics and
writers. there are seventeen other artists/collectives in the show as well.
i've included the official release below. hope you enjoy. michael

Total Überzogen (Completely Covered/Totally Overdone)
Opening Reception: Friday, 29. November 2002, 8 pm
30. November 2002 ? 9. February 2003


Adbusters (CAN), Banner Art Collective (USA), Urs Breitenstein (CH), Candice
Breitz (ZA), Deporatation Class (D), Johan Grimonprez (B), Lise Harlev (DK),
Swetlana Heger (CZ), Jenny Holzer (USA), Inventory (GB), Adria Julia (E),
Dagmar Keller/Martin Wittwer (D/CH), Michael Mandiberg (USA), Julian Opie
(GB), Peter Roehr (D), Daniel Pflumm (D), Johannes Wohnseifer (D), Florian
Zeyfang (D)

For this exhibition, the outside of the Edith Russ Site for Media Art?s
building is covered with designs by artists as well as the funders? logos:
in the form of banners, window transparen-cies and illuminated lettering.
Inside, the exhibition hall also features works that employ a variety of the
forms of advertising as it is used by the media such as Internet banners,
video, magazines, posters and flyers, and audio jingles: The media art space
will be completely covered inside and out: ?total überzogen?.

The goal is to create a thought-provoking visual platform on the subject of
representation in the cultural sphere ? between artists, activists, patrons
and the cultural institution itself.
A one-sided critique of current concepts for cultural funding is not the
intention. Rather, the Edith Russ Site for Media Art will create a strong
visual impression in order to start a vital discussion. Conveying the
message ? equally the goal of good advertising ? has also taken top priority
in cultural institutions.

Sponsors and public funders increasing demands for representation has been
the source of much discussion in past years and has had a great influence on
the arts. This development is a double edged sword: it ties art to
particular image campaigns, consequently encouraging art that can be easily
consumed by mass culture. At the same time, a ?creative class? of
indi-viduals in business who lend strategies from the artworld has become a
large economic force. In turn, many artists have been inspired to integrate
advertising aesthetics and strate-gies into their own artistic practices,
creating very fruitful works: from the artistic appropriation of radio
jingles in the 60s to anti-globalization activists turning entire ad
campaigns inside-out.

A series of events will take place during the exhibition in order to create
a space in which the public can watch and participate. Further information
will follow.

The exhibition will be presented in the format of a newspaper publication
(January release, 5 Euro).

For the duration of 11 weeks, the building will be covered in colorful
banners and dominate its environment. The Edith Russ Site for Media Art will
also chase away the cold and uphold the German Christmas atmosphere with
outdoor tours that offer a traditional spiced wine.

This exhibition is funded by our own budget (City of Oldenburg), the
Beauftrage der Bundes-regierung für Kultur und Medien (National Funds) and
the State of Niedersachsen.

We thank the company Kleinhempel as well as the Foundation of Lower Saxony
for their support.

Admission: 2,50 / 1,50 Euro

Press images (also hi-resolution for print) can be found at:
www.edith-russ-haus.de/presse/total

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+ad+

Virtual reality has been a recurrent theme throughout art history, from
trompe l'oeil to Smell-o-vision. Oliver Grau's forthcoming book Virtual
Art:From Illusion to Immersion traces virtual reality from ancient Rome
to contemporary art. To order your copy visit our website AT
http://mitpress2.mit.edu/e-journals/Leonardo/isast/leobooks.html

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5.

Date: 12.05.02
From: joy garnett (joyeria AT walrus.com)
Subject: THE BOMB PROJECT: Announcing new sections on \'Atomic Art\'

The Bomb Project
http://www.thebombproject.org
+++++++++++++++++++++++

Announcing the following new sections relating to the contemporary
history of art and the Bomb:

Exhibitions: Contemporary Art - from 2000
Artists / Works: from 2000

Exhibitions: 20th Century Art c.1946-1999
Artists / Works: c.1946-1999

Exhibitions: Historical / Memorial / Documentary
Museums / Parks

Agitprop
Art by Hibakusha (A-bomb survivors)

Vernacular + Pop Culture
Movements

Cinema
Miscellaneous articles + abstracts

+++++++++++++++++++++++
http://www.thebombproject.org

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+ad+

David Byrne on northern european Blip Hop music and others in
LEONARDO MUSIC JOURNAL special issue no 12. on PLEASURE.
Orders from journals-orders AT mit.edu for Table of Contents see
http://www.leonardo.info/lmj. CD features experimental music from
EASTERN EUROPE curated by Christian Scheib and Susanna Niedermayr.

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6.

Date: 12.03.02
From: Reinhold Grether (Reinhold.Grether AT netzwissenschaft.de)
Subject: 1800 Net Art Links

1800 Net Art Links

One of the most respected link lists to Net Art
--managed by agent.NASDAQ aka Reinhold Grether--
has been completely revised as of december 2002.

http://www.netzwissenschaft.de/kuenst.htm

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7.

Date: 12.02.02
From: turnermm AT shaw.ca
Subject: Re-Reading the News

http//www.room535.org/news/reading.html

"Re-reading" downloads the front page of newspapers as essentially raw
data, enabling users to reformat it to their own specifications. The raw
data appears in one browser window, reformatting occurs in a second. It
sees the newspaper's format as a tendentious metaphor, an interface for
controlling our responses. "Re-reading" interrupts with this effort at
control, offering the raw data out which we can form our
own patterns, placing us back at the center of confusion from which
the desire for metaphor (and interface) springs. The project
makes extensive use of the W3C Document Object Model.

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8.

Date: 12.05.02
From: eric deis (newsgroups AT anemone.cx)
Subject: As Logic of Assembly

AS LOGIC OF ASSEMBLY
Eric Deis
http://anemone.cx/writing
e-mail: ericdeis[at]anemone.cx

"New media objects assure users that their choices - and therefore, their
underlying thoughts and desires - are unique, rather than pre-programmed and
shared with others. As though trying to compensate for their earlier role in
making us all the same, today descendants of the Jacquard's loom, the
Hollerith tabulator and Zuse's cinema-computer are now working to convince
us that we are all unique."[1] - Lev Manovich,

LOGIC OF DIGITAL MEDIA
In his book Language of New Media, Manovich theorizes variability as the
epitome of digital media and consequently the reflected logic of
post-industrial society. He equates historical changes in media technologies
to be correlated to changes in industrial mass society as a philosophy of
conformity brought about by mass production, and thus deducing the logic of
digital media as governed by variability to be reflected in central values
of individuality within post-industrial society. [2] In contrast, I will
argue that the logic of assembly governs digital media and mass production,
and is intrinsic to the social logic of industrial and post-industrial
society, where variability along with numerical representation and
modularity exponentially enhance the means of assembly. Both digital media
and the assembly line rely on two main principles, the standardization of
parts (Binary, CPU, Hard Drive, Operating system) and discrete units
performing specific repetitive and sequential tasks (in essence
programmable) without having to comprehend the totality of the process,

THE COMPUTER AS ASSEMBLY
At the core of digital media lays a simple rule that governs all
processes, on and off. This method of on and off is called Binary, and is
constructed by an electronic device called the transistor. The state of on
and off of the transistor constructs one Bit of data (1 or 0). On its own,
one Bit of data has very little significance in terms of conveying
information. It is through the assembly of multiple Bits where the totality
of these states of on and off constructs significant value. By assembling
Bits such as - 01001000 01100101 01101100 01101100 01101111 01110111
01101111 01110010 01101100 01100100 00100001 - the phrase "Hello World!" is
created. When a computer is turned on the microprocessor begins by executing
a series of repetitive and sequential tasks from instructions stored in a
microchip of read-only memory containing information on how to interface
with different hardware devices called the basic input/output system (BIOS).
The instructions on this microchip are written in a language called
Assembly. An assembler translates word commands written by human programmers
into sequences of Bits, and then the output of the assembler is placed in
memory for the microprocessor to execute. From the BIOS the computer is able
to locate the hard drive and fetches data from the boot sector of the drive,
where it is then stored in random access memory (RAM) after reading it off
the disk. The microprocessor then begins executing the boot sector's
instruction set from RAM. The microprocessor continues to fetch data and
execute commands from the boot sector until the entire operating system is
loaded.

Computers are constructed with a combination of standardized
interchangeable parts, each of which performs a specific task. On average,
personal computers running in homes around the world today have processors
ranging in speed from 100Mhz to 3Ghz, and hard drives of sizes from 200mb to
200GB. There are thousands of different manufactures, and thousands of
different variations for each part, ranging from details such as capacity,
speed, or materials. At any given time a consumer can add an additional
part, remove a part, or replace a part. The list of parts that can be
assembled within the computer keeps growing day by day as technology
evolves. Through all of the possible combination of computer parts each
computer has the potential to be unique.

The application program interface (API) of the operating systems allows
software developers to write applications for different computers, even if
they are unique. The main principle of the operating system is to manage the
system resources of the computer (processor, device drivers, memory
management, hard drive, etc), to provide a consistent way for applications
to deal with the hardware without having to know all the details of the
system, such as all the instruction codes, data types, and response codes
for every possible hard disk on the market.


IDENTITY AS ASSEMBLY
"New media follows, or actually, runs ahead of a quite different logic
of post-industrial society - that of individual customization, rather that
of mass standardization."[3] "In a post-industrial society, every citizen
can construct her own custom lifestyle and "select" her ideology from a
large (but not infinite) number of choices. Rather than pushing the same
objects/information to a mass audience, marketing now tries to target each
individual separately. The logic of new media technology reflects this new
social logic. Every visitor to a Web site automatically gets her own custom
version of the site created on the fly from a database."[4] - Manovich

The means of a custom interchangeable practice suited for unique individuals
developed out of the invention of C. de Dunin's mechanical tailor's dummy.
The mechanical dummy was fitted with over 6979 standardized parts, all of
which were "dedicated to adjustments away from perfection toward the
peculiarities of form of any individual"[5]. Once the dummies were
mass-produced "with several [dummies], boasted Dunin, you could fit uniforms
to an army of several hundred thousand men,"[6] How does a custom version of
a website aid to construct a unique individual in post-industrial society?
The method of customization in post-industrial society embodies the
contradictions of made to measure individuality brought forth by the dummy
in industrial society. A custom version of a website does not constitute
individuality or uniqueness. It is method of integrating control over a user
to integrate her within the system. Soldiers are fitted with custom uniforms
set to the particularities of their body like users fitted with a custom
website set to their demographics and personal interests. Here digital media
employs the logic of mass standardization and conformity of an industrial
society, in contrast to Manovich's claim that digital media has moved beyond
conformity and constructs uniqueness. In this case, Individuality is that of
a marketing ploy to try to push their objects/information to a mass
audience. Uniqueness hence "freedom [comes] without interference,
manipulation or supervision from anyone, especially from any large
organization."[7] It is the assembly of thousands and thousands of choices
consciously and subconsciously within one's daily life that defines an
individual's ideology, rather than a single choice garnished from a source
dictated by another entity.

It is in the realm of mass production and mass culture where ideologies as
subcultures emerge as a response to the dominant cultural environment as a
means of constructing an identifiable functional unity. In relation to their
cultural surroundings the visual ensembles of subcultures are obviously
fabricated. It is the way that mass-produced items are used in the
construction of a subculture, which distinguishes it from more common
cultural formations. As a means of making themselves distinct from the
dominant culture the subculture takes "the rubbish available within a
preconstituted market .[to] generate viable cultures, and through their work
on received commodities and categories, actually formulate a living, lived
out and concretized critique of the society which produces these distorted,
insulting, often meaningless things."[8] It is through a system of
connections between assembled elements, which allows for the construction of
meaning. "Together, object and meaning constitute a sign, and, within any
one culture, such signs are assembled, repeatedly, into characteristic forms
of discourse. However, when the bricoleur re-locates the significant object
in a different position within that discourse, using the same overall
repertoire of signs, or when that object is placed within a different total
ensemble, a new discourse is constituted, a different message conveyed".[9]
It is through the selection and arrangement of objects were the values of
the group are reflected. An ensemble thoroughly ordered from a plastic
clothes peg, safety-pin, pogo, swastika, ripped T-shirt, and bin-liner
served as a point of identification and unity of relations, situations, and
experience for a group, and chaos, danger, and rebellion to those outside
it. Once constructed, the subculture as an assembly is recuperated by the
dominate culture in the form of commodity, then becomes codified and
returned to the public sphere where they can be used in yet another
construction.


ASSEMBLY AS THE STRUCTURE OF THE MIND
"When data of any sort are placed in storage, they are filed
alphabetically or numerically, and information is found (when it is) by
tracing it down from subclass to subclass. It can be in only one place,
unless duplicates are used; one has to have rules as to which path will
locate it, and the rules are cumbersome. Having found one item, moreover,
one has to emerge from the system and re-enter on a new path."[10] -
Vannevar Bush

Vannevar Bush believed that their must be a better answer to "how
information would be gathered, stored, and accessed in an increasingly
information-saturated world" than filing and searching through layers of
classification, for as far as the act of combining records is concerned,
"the creative aspect of thinking is concerned only with the selection of the
data and the process to be employed and the manipulation thereafter is
repetitive in nature and hence a fit matter to be relegated to a machine"
.[11] In 1963 Ted Nelson, who was greatly influenced by Bush's article "As
We May Think", coined the term Hypertext.[12] The hypertext "exist[s] as
part of a much larger system in which the totality might count more than the
individual document".[13] The process of assembling information via
hypertext mirrors the structure of the mind by operating by association.
"With one item in its grasp, it snaps instantly to the next that is
suggested by the association of thoughts, in accordance with some intricate
web of trails carried by the cells of the brain. It has other
characteristics, of course; trails that are not frequently followed are
prone to fade, items are not fully permanent, memory is transitory. Yet the
speed of action, the intricacy of trails, the detail of mental pictures, is
awe-inspiring beyond all else in nature." [14] Hypertext possesses an almost
unlimited power to manipulate texts through its ability to constantly shift
meaning by assembling networks of text into new contexts and juxtapositions.


ASSEMBLY WITHIN CONTEMPORARY CULTURE
The notion of assembly is at the forefront of net.art with Josh On's
prestigious PrixArs award winning project "They Rule".[15] The work is an
interactive visualization of a database containing information on the board
members of the most influential corporations in America. The hidden
structures of social power are made visible by allowing the user to assemble
visual maps of the different companies and their board members (Figure 1).
The work reveals the magnitude of elitism among the most powerful people
within the USA by openly illustrating visual linkages such as the domination
26 companies within the Fortune 100 by six men and one woman, and networks
of power among so called competitors Coca-Cola and Pepsi Co. This visual
interactive form of assembly allows for the otherwise unapparent or obscure
to become visible in a comprehensible form.

http://anemone.cx/writing/figure1.jpg
Figure 1.

In Flow My Blood the DJ Said, contemporary artist/writer/musician Paul D.
Miller (aka DJ Spooky) postulates that "To [Miller], assembly is the
invisible language of our time, and DJ'ing is the forefront art form of the
late 20th century".[16] His DJ'ing performances instigate the convergence
and melding of the construction and re-mixing of discrete samples of sounds,
text, and image to create a unique space which "mirrors the modern macrocosm
of cyberspace where different voices and visions constantly collide and
cross fertilize one another."[17] The process of assembly holds a strong
foothold in contemporary culture due to its enhancement by the development
of digital media and its mirrored logic of post-industrial society. Like
their counterparts; Bits of data, workers of the assembly line, or
mass-produced items, audio samples construct meaning only when assembled
within the mix. Through digital media, the audio sample breaks from its
physical bonds of tape and vinyl into a liquidous form of numerical
encoding. The ability for samples to be copied without degradation, modified
and assembled mathematically by algorithmic manipulation and automated
processes - all the while retaining its original structure, and distributed
across vast digital networks idealizes the sample as the ultimate element of
assembly. The sample now knows no bounds, and the musician is now free to
explore her process of assembly as assembly to infinite means. "[Miller]
doesn't need an orchestra; [He] can simulate one just fine..Technology
hasn't changed [Miller's] compositional process, it's just extended it into
new realms."[18]

CONCLUSION
Assembly is the fundamental logic of post-industrial and industrial
society, whether particular elements are manually assembled by a human
author in a fixed sequence or automatically assembled in infinite
arrangements by a programmatic software application; the process and
consequence is of assembly. Digital Media enhances and reinforces the
dominant social logic of assembly from the basic level of assembling Bits of
data in order to execute rudimentary electronic commands, to assembling
samples of contemporary culture to form a new and unique voice. The process
of assembly is freed of virtually any limitations through digital media's
ability to encoding discrete elements numerically, which can then be
infinitely copied; distributed, arranged, and manipulated. Digital media
exponentially expands the means of assembly by its ability to digitize
virtual anything from DNA sequences, census data, orchestras, the ancient
city of Pompeii, to entire galaxies; constructing an infinite databank of
elements of which human machines alike can put together in infinite
combinations to construct meaning of unlimited magnitude.

----------------------------------------------------------------------------

[1] Manovich, Lev, The Language of New Media. MIT Press, Cambridge, 2001.
p.61.

[2] p.60.

[3] Manovich, p.51.

[4] p.60.

[5] Schwartz, Hillel, The Culture of the Copy, Zone Books, New York, 1996.
p.111.

[6] Ibid.

[7] Kaczynski, Theodore John, The Unabomer Manifesto: Industrial Society and
Its Future, Jolly Roger Press, Berkeley, 1995.p.30.

[8] Willis, Paul E., Profane Culture, Routledge, Great Britian, 1978, p.3.

[9] Hebdige, Dick, "Subculture: The Meaning of Style", in The Subcultures
Reader. Eds.Ken Gelder and Sarah Thornton, Routledge, London, 1997. p.136.

[10] Bush, Vannevar, "As We May Think", in Multimedia: From Wagner to
Virtual Reality, Eds. Packer, Randall & Jordan, Ken, Norton, New York, 2001.
p.148

[11] p.144 & p.136

[12] Nelson, Ted, "Computer Lib/Dream Machines", in Multimedia: From Wagner
to Virtual Reality, Eds. Packer, Randall & Jordan, Ken, Norton, New York,
2001. p.155

[13] Landow, George & Delany, Paul, "Hypertext, Hypermedia and Literary
Studies: The State of the Art", in Multimedia: From Wagner to Virtual
Reality, Eds.
Packer, Randall & Jordan, Ken, Norton, New York, 2001. p.210.

[14] Bush, p.148.

[15] http://www.theyrule.net

[16] Mariotti, Francesco, El pensamiento es un jardín híbrido, Venezuela.
http://av.celarg.org.ve/enlamira/articulos/pensamiento.htm

[17] Miller, Paul D., Songs of a Dead Dreamer (CD inlay), Asphodel Records,
1996.

[18] Glass, Philip, Music and Technology: A Roundtable Discussion, Andante
Corp., 2002. http://www.andante.com/article/article.cfm?id=17375
BIOGRAPHY

Eric Deis is an interdisciplinary artist from Vancouver, Canada. Deis
received a B.F.A in Visual Arts from Emily Carr Institute of Art and Design.
He is currently a Master of Fine Arts candidate at the University of
California, San Diego, where he is studying under the guidance of New Media
theorist Lev Manovich. Deis is also a graduate student researcher for Centre
for Research in Computing and the Arts at UCSD and a research fellow for the
California Institute for Telecommunications and Information Technology. His
work has been exhibited in Canada, USA, Denmark, Ireland, Brazil, and
Germany where he most recently won the City of Stuttgart Award for New Media
(2002).

http://anemone.cx/writing <http://anemone.cx/writing>
e-mail: ericdeis[at]anemone.cx

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Rhizome.org is a 501(c)(3) nonprofit organization. If you value this
free publication, please consider making a contribution within your
means at http://rhizome.org/support. Checks and money orders may be sent
to Rhizome.org, 115 Mercer Street, New York, NY 10012. Contributions are
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is available upon request.

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.

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Rhizome Digest is filtered by Rachel Greene (rachel AT rhizome.org). ISSN:
1525-9110. Volume 7, number 49. Article submissions to list AT rhizome.org
are encouraged. Submissions should relate to the theme of new media art
and be less than 1500 words. For information on advertising in Rhizome
Digest, please contact info AT rhizome.org.

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