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: 9.13.03
From: digest@rhizome.org (RHIZOME)
Date: Sat, 13 Sep 2003 16:32:03 -0400
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: September 13, 2003

Content:

+announcement+
1. Rob La Frenais: Extremophiles Conference
2. Wilfried Agricola de Cologne: INCD media release: Artists around the
world speak out for cultural diversity at the WTO's 5th ministerial
meeting in Cancun

+opportunity+
3. Liza Sabater: Creative Commons Moving Image Contest

+work+
4. Darrin Martin: Lesson plans: learning net
5. Christina McPhee: Slipstream Konza

+feature+
6. Patrick Lichty, Michael Watson, Curt Cloninger: burning man (tm)

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1.

Date: 9.10.03
From: Rob La Frenais (roblafrenais AT clara.co.uk)
Subject: Extremophiles Conference

Extremophiles - surviving in space

As well as recently being the closest to us for 6000 years, the planet
Mars, glowing red in the night sky, will be invaded by numerous robotic
probes in the next few years. Is it now time for humans to go there, and
if so how will they survive the long journey in zero gravity? Should we
?take gravity with us¹, or augment the body and become space-faring
cyborgs? It¹s a debate that is entering the digital world, the world of
art and performance as well as of course those with the principal
interest: the science world and the space industry.

In a new conference at London, England's Royal Institution,
Extremophiles, (September 19 2003 2pm) various positions will be on
display. Chaired by BBC science correspondent Pallab Ghosh, the
conference will explore issues about the survival of the human body and
the surrounding technological systems journeying with it into space.
Space medic Kevin Fong, who worked on the John Glenn mission for NASA
will outline the difficulties of the long voyage, President of the Mars
Society Bo Maxwell will argue for artificial gravity as well as analogue
earth experiments to accustom us to life on Mars, while media writer,
medic and science fiction writer Rachel Armstrong (The Grays Anatomy-
Serpents Tail) will advocate the ?Stelarc Solution¹- augment and even
adapt the human body , possibly beyond the point of no return. A sense
of reality will be injected by someone who has spent a lot of time in
orbital space, veteran cosmonaut and ISS commander Yuri Gidzenko.

An artist/technologist with a practical solution is Marko Peljhan, who
is co-founding a national space agency ­ the Slovenian Space Agency.
Performance art historian Tracey Warr (The Artists Body - Phaidon) will
explore the extremes to which artists have submitted their bodies and
consider analogous experiences while surviving in space. Finally
roboticist and performer Marcel-li Antunez Roca, fresh from starring at
Ars Electronica in Linz, will perform Transpermia, an artwork
constructed during a zero gravity flight, organised by science-art
agency The Arts Catalyst, who also put together Extremophiles at the
Royal Institution.

www.artscatalyst.org.

extremophiles AT artscatalyst.org
00 44 207 375 3690

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2.

Date: 9.11.03
From: Wilfried Agricola de Cologne (agricola-w AT netcologne.de)
Subject: INCD media release: Artists around the world speak out for
cultural diversity at the WTO's 5th ministerial meeting in Cancun

FOR IMMEDIATE RELEASE

Artists around the world speak out for cultural diversity

".we celebrate and encourage our cultural diversity and embrace and
respect our cultural differences." INCD Artists Letter

Sept 10, 2003 - The International Network for Cultural Diversity (INCD -
www.incd.net) will launch the Artists Letter on Cultural Diversity
during the World Trade Organization's (WTO) 5th Ministerial Meeting in
Cancun, Mexico. Leading Mexican actress Angélica Aragón will release the
letter at a Public Forum being held on September 12th.

The INCD brings together artists and cultural organizations from 70
countries who are working together to counter the negative effects of
globalization on our cultures.

Signed by artists from 15 countries and all of the cultural sectors, the
Artists Letter calls on governments to protect cultures from the
infringements of trade agreements, to work to encourage more balanced
exchanges between cultures and to recognize the unique status of
cultural expression as a reflection of human identity. It is imperative
that culture not be reduced to its economic value as the WTO
negotiations threaten to do. Many governments are under pressure to
bargain away their cultural identity in the race to liberalize all
sectors of the economy.

This is why Harry Belafonte, Ingmar Bergman, Nadine Gordimer, Danny
Glover, Sam Neill and 36 other artists have added their names to the
growing international movement to secure the right of all artists to
practice their craft and share the wealth of the world's cultures. The
artists also support the proposed new Convention on Cultural Diversity,
currently under consideration at UNESCO. This Convention would provide a
permanent legal basis for the promotion and protection of cultural
diversity and ensure that cultures can thrive in the era of
globalization.

The Artists Letter is below with the list of the initial signatories.
For more information on the artists, please go to
www.incd.net/letter/letter.htm

Public Forum:
Friday, Sept 12, 2003, 10:30-12:30
Hotel Best Western Plaze Caribe
Tulum Uxmal Lote 19, Cancun Mexico
www.incd.net/events/seminars.html

Media contacts:
Tammy Ballantyne
Artists Letter Project
tammyb AT artslink.co.za
cell: 27 83 440 4984

Alexis Andrew
INCD Associate Coordinator
Tel: 1 613 238 3561 ext 17
incd AT ccarts.ca

In Cancun:
Garry Neil
INCD Coordinator
Cell: 1 416 518 1256

Rafael Segovia
INCD Steering Committee/Mexico
Cell: 555.413.0306

AN OPEN LETTER FROM ARTISTS

It is time to secure the rights of artists globally. These rights are at
risk because international trade courts are ruling on artistic matters.

We are artists and citizens of the global village. We come from every
community and work in all artistic fields. Through our words, music,
films, dance, paintings and plays, in every language on earth, we
entertain, inform and engage our fellow citizens in the adventure of
being human.

It is an exciting time to be an artist. Technologies can overcome
physical distance and allow our works to be shared more widely than ever
before. We have the potential to exchange and blend our rich diversity
of cultural practices in ways our ancestors could only imagine.

It is also a dangerous time. Many human conflicts arise from a failure
to recognize cultural complexities or from perceived threats to cultural
values. The road to security and prosperity requires that we celebrate
and encourage our cultural diversity and embrace and respect our
cultural differences.

Some believe artistic creations are no different from conventional goods
and services and they deny or ignore the powerful cultural importance of
works of the human imagination. For some of the world's largest
corporations, artistic works are commodities to be bought and sold like
any other. They seek to dominate the world's markets with homogenized
forms of popular culture and thus marginalize artists in many of our
communities.

Our world of unequal economic relationships has created unequal cultural
relationships. We believe governments have a responsibility to resist
the economic push by implementing policies that support diverse local
artists and cultural producers, and ensure pluralism in the media and
the arts. This will create more choice and bring about a greater balance
in exchange between cultures. Governments must also preserve threatened
cultures and languages, especially those of indigenous peoples.

An important struggle between these incompatible visions is underway in
trade negotiations. Trade officials negotiate rules that would hasten a
global monoculture and make it virtually impossible for communities to
support their artists. We oppose these efforts.

At the same time, discussions have started within and outside UNESCO to
develop a new global Convention on Cultural Diversity to provide a legal
foundation for government measures that support cultural diversity and
to encourage governments to use that authority domestically. We support
this initiative.

As artists, we come from different disciplines; as citizens, we come
from different countries. But, we are united in our call to the world's
leaders: · don't bargain away culture in trade talks · implement a
legally binding Convention on Cultural Diversity · use your powers to
support diverse local artists and cultural producers · help those
countries that don't yet have the capacity to bring their stories, music
and other artistic expressions to audiences everywhere.

"I do not want my house to be walled in on all sides and my windows to
be stuffed. I want the cultures of all lands to be blown about my house
as freely as possible. But I refuse to be blown off my feet by any."
Mahatma Gandhi, from the wall of his ashram at Ahmedabad.

SIGNATORIES


Eugenio Aguirre (Mexico, writer)
Bibi Andersson (Sweden, actress)
Angélica Aragón (Mexico, actress)
Homero Aridjis (Mexcio, writer)
Gillian Armstrong A.M. (Australia, Film Director)
Margaret Atwood (Canada, writer)
Ingmar Bergman (Sweden, film maker)
Harry Belafonte (USA, actor/ musician)
Michael Boyd (UK, Head, Royal Shakespeare Company)
Agricola de Cologne (Germany, New Media artist)
Bec Dean (Australia, Exhibition Coordinator/Visual arts)
Salvador Elizondo (Mexico, writer)
Karel Glastra van Loon (Netherlands, writer)
Danny Glover (USA, Actor)
Nadine Gordimer (South Africa, writer)
Sin Cha Hong (Korea, Dancer/writer)
Byungki Hwang (Korea, Composer/Musician)
Kwon Taek Im (Korea, Film director)
Jung Rae Jo (Korea, Writer)
Sumi Jo (Korea, Vocalist - Opera)
Tom Keneally (Australia, writer)
Chiha Kim (Korea, Poet/Writer)
Pierre Larauza (France, Architect videographer)
Youn Taek Lee (Korea, Drama producer)
Robert Lepage (Canada, Film/theatre director)
Igor Marinkovic (Serbia, Visual artist)
Carlos Monsivais (Mexico, writer)
Carlos Montemayor (Mexico, writer)
Sam Neill (New Zealand, Actor)
Abraham Oceranski (Mexico, theatre director)
Michael Ondaatje (Canada, writer)
Victor Hugo Rascón (Mexico, writer)
María Rojo (Mexico, actress)
Volker Schlöndorff (Germany, Film director)
Tomás Segovia (Mexico, writer)
Tang Shu-wing (Hong Kong, Theatre director)
Danis Tanovic (Croatia, film director )
RH Thomson (Canada, Actor)
Antonio Traverso (Australia, Academic, media and video artist)
Roger Von Gunten (Mexico, painter)

ends

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3.

Date: 9.11.03
From: Liza Sabater (liza AT culturekitchen.com)
Subject: Creative Commons Moving Image Contest

http://creativecommons.org/contest/

Creative Commons Moving Image Contest

A contest to create a 2-minute moving image that describes Creative
Commons' mission.

With " Get Creative ", our Flash movie, we took a shot at explaining
Creative Commons' mission. We're fond of it, but we think you could do
an even better job. We now invite you to enter the Creative Commons
Moving Image Contest , a competition to create a 2-minute moving image
that articulates the Creative Commons mission.

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4.

Date: 9.08.2003
From: Darrin Martin (martind AT alfred.edu)
Subject: Lesson plans: learning net

http://www.eai.org/lessons

In Burns and Martin's recent organic-exchange workshops, the psychic has
moved onto the realm of the corporeal, opening the potentially new field
of paraphysiology. Exhausting the performative possibilities of
psychological inquiry via media therapy, electroshock treatments and
paranormal intervention, their hybrid methods guided by other worldly
beings have evolved into promising new treatments via physicality
amalgamation and post-sexual fission. Begun in underwater think tanks
and laid out on plasma screen syllabi, the professors of dynamic group
learning are preparing to open mobility schools where willing
participants free themselves from the conventions of everyday bodily
activities as part of an alternative learning process. However, due to
the popularity of airport and wireless communication these new corporeal
identities of psychic phenomena may in fact become entangled within net
manifestation. Through on-line resources, participants are guided
through therapeutic conversions developed to dissolve psi-plasmic
blockage in order to reap the harvest of accelerated information
exchange.

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5.

Date: 9.12.03
From: Christina McPhee (christina112 AT earthlink.net)
Subject: Slipstream Konza

:SLIPSTREAM KONZA: Digital Prints in a Data Landscape

Slipstream Konza is an art/science collaborative project that addresses
aesthetics of digital data expression of land as a breathing ecosystem.
Slipstream Konza uses the time based data stream of carbon flux as a
basis for a generative, rhythmic, virtual expression of sound and image
in net based and spatial installation.

(http://christinamcphee.net)

(http://christinamcphee.net/texts/konzasuite.asp)

Slipstream Konza is complemented by a group of digital prints based on
medium format photography shot on location at the Konza Prairie
Biological Field Station, a UNESCO World Heritage Site. The digital
prints of the KONZA series are created from photographs shot at sites of
scientific experimentation and instrumentation on the prairie.

Remnants of tallgrass prairie in North America are concentrated in an
area east of the Rockies where the dry, prevailing winds from the
Pacific over the Rockies collides with the moist, warmer air rising
north from the Gulf of Mexico. Annual rainfall is around 35 to 40 inches
in an area immediately east of the arid high plains (about 10 -15 inches
per year). Thanks to the frequent lightening storms as well as human
intervention, the tallgrass prairie is a fire based ecosystem: its
grasslands are created and perpetuated by frequent intervals of fire,
much like the chaparral of California. Without fire, the grassland
reverts to a cedar and oak savannah. Intensive biological study of
tallgrass prairie has characterized the last thirty years as its range
has receded. The prairie is of global interest for research on immediate
and long-term climate change.

Konza is the Osage term for ½south wind.? Like breath on a mirror, konza
is an evanescent imprint of an invisible dynamic. Prairies worldwide
capture and release carbon in a waveform breath. At the threshold of the
exchange between atmosphere and surface is the life of the planet; the
Konza prairie suggests the layered digital metaphor available in the
digital print medium. The KONZA series takes its point of origin from
this allegory of the digital as a form of landscape data expression.

The overall thrust of the research surrounding Slipstream Konza is to
measure carbon flux between the atmosphere and the surface of the
grassland ecosystem, on a continuous basis, both in terms of diurnal and
annual patterns. Photosynthesis, during the daylight hours, takes carbon
from the atmosphere, and at night, the prairie respires carbon from the
surface into the atmosphere. There are sites around the globe measuring
carbon flux in a variety of ecosystems. The only grassland ecosystem in
North America under study in this global research occurs at 4 sites on
or near the Konza Prairie Biological Field Station, a UNESCO World
Heritage site in northeastern Kansas. The research is funded by the
Department of Energy and other federal agencies. Data implementation
goals include implications for biological, environmental and land
management.

Global warming, implicates the increasing atmospheric level of carbon as
a primary agent. Nonetheless, the total worldwide carbon budget, which
takes into account all known petrochemical usage on an annual basis,
shows that terrestrial systems must be absorbing more carbon than we
realize. According to the carbon budget mathematical models, carbon
concentrations should be increasing faster than they actually are. The
hypothesis is that the carbon flux patterns of selected microsystems
worldwide may reveal conditions under which more carbon is been absorbed
than is being released. On and near Konza Prairie, since 1997, diurnal
and annual data are collected as "eddy correlation" or "eddy covariant"
flux measurements. From two of the sites, a located on the Rannels Ranch
next to the Konza field station, wireless net carries the live data
online for collection and analysis.

Slipstream Konza does not engage in the conventions of data emulation,
or scientific visualization, in order to better understand the data.
Yet, the encounter between the human response and the landscape's self
expression as data, is of prime importance. The KONZA prints live at
that digital intersection. I am interested in the relationship, or
dynamic, between the data and the human imagination. The carbon flux on
the prairie is a kind of breathing, and it is both useful and powerful
to realize that the prairie ecosystem is in itself a living
organization.

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6.

Date: 9.03.03-9.09.03
From: Patrick Lichty (voyd AT voyd.com), Michael Watson
(michaelw AT eleanorrigby.net), Curt Cloninger (curt AT lab404.com)
Subject: burning man (tm)

Patrick Lichty (voyd AT voyd.com) posted:

Yes!
Let's brand the Burning Man experience!
Let's have Burning Man Do-It-Yourself kits!
Let's have Burning Man stores in the malls!
Let's have a Burning Man line of hiking shoes and survival gear!
Burning Man regional film fests!
Burning Man Clif Bars!

Burning Man-> shark -> jump.

I, for one am more than a little disgusted.
Sorry for being an old-school purist.

"Subject: RHIZOME_RAW: Burning Man counterculture seeks social,
political influence

) Two full-time employees of Black Rock City LLC are helping develop
) regional spinoffs beyond those already growing in places like New
) York, Seattle, Minneapolis-St. Paul and Austin, Tex., -- and making
) sure they adhere to the philosophy of the original.

)Black Rock Arts Foundation, meanwhile, has been set up to raise
)money and to bring radical art to communities nationwide.
)Organizers also just distributed what they call a "Burning Man film
)festival in a box," a do-it-yourself kit that they expect will
)promote avant-garde cinematography.

) "Many people will have the Burning Man experience and feel a part
) of Burning Man without ever coming here," said Harvey, serially
) smoking cigarettes and sipping iced coffee as his aviator
) sunglasses turned opaque in the swirling dust. "We are growing at
) an exponential rate -- just not here."

+ + +

Michael Watson (michaelw AT eleanorrigby.net) replied:

This was my first time. It was a very multi-faceted/multi-channeled
experiece. I guess it depends on which channels you tune into. Most
media and about half the attendees seem to focus on the sex, drugs, rock
n' roll, and the danger of falling off an art car and getting run over
(not suprisingly, these people express concern that the fair is not
organized and regulated enough -- missing the point completely.) I
notice a lot of old timers longing for the good old days (meaningless to
me, but good for them.)

I choose to tune into the art, the caring and giving community, the idea
of living creatively instead of passively, and the possibility of
bringing all to a wider audience (why not?)

Here are my unpolished descriptions of the projects I saw, mostly with
lasers shooting over my head under the waxing moon while mars receded
from earth. This thread can be found at
http://eplaya.burningman.com/viewtopic.php?t=97. I am waiting for more
information on these projects. Maybe I found it more impressive because
I went alone, camped away from the crowds, took only water and energy
bars, did not have adequate shelter and did not take mind alterning
chemicals; it was a sort of desert vision quest for me. After 4 days of
sun, dust, and dehydration I was in an altered state.

#1) I can not adequately describe this project but will try: a 15 foot
high plate steel sculpture, carved with welders tools, with various arms
and other projections. Inside is a small gas turbine jet engine which
powers flames out the top and through the arm projections. There are
many high pressure air valves controlled by computer. Also controlled by
computer are various nozzles to inject chemicals into the jet turbine
exhaust at various points to produce multi-colored flames. The sound is
deafening up close and can be heard from a mile away. It is not pure
sound of a jet engine, but a pulsing stacatto sound driven by turning
high pressure air and flamable liqued injection valves on and off. What
you see is a steel sculpture with intense flames and sound pouring out
in a ever-changing pattern, musical in its quality. At one point it
looks like the thing goes haywire and flamable liqued pours onto the
desert floor and catches fire.

#2) In the desert stood a teacher's podium. In front of the podium were
arrayed 10 students benches. I came upon this installation at night so
it was quiet and dark and I was the only one looking at it. On the
teacher's podium was a large TV. The student benches were filled with
small TVs facing the large TV. A continuous video loop was playing of
Scrooge McDuck, reveling in a large pile of gold, talking about all the
things he was going to do for himself with this large amount of money.
The McDuck kids were jumping with joy as well in an orgy of greed. This
video was also playing on the small TVs, the large TV teaching the small
TVs.

#3) a video camera and video projection system that turned my live image
into an impressionistic painting. Then as I flapped my arms I became
covered with feathers, then my whole body became built out of rotating
gears.

#4) Mona Lisa -- A 6 foot high pole with a single row of RGB LED's
representing one scan line of a video output. An image of the Mona Lisa
is output to the pole one scan line at a time. I didn't see anything
except white until I turned my head. The motion of my eyes across the
pole paints a picture of the Mona Lisa on back of my eyes very briefly.
When I first approached the project I thought I might be hallucinating
the subliminal image of the Mona Lisa.

#5) The Irrational Geographic Society http://superdeluxe.com/igs/ did
the amazing wall of LEDs. The wall of 12 by 12 RGB LED panels, about 28
across and 20 panels high, is about 10 ft wide and 6 ft high. The
patterns and light from the wall move with music through flowing,
sometimes sharply angular, or strobing patterns color patterns. One
effect was to make all the red LEDs light up, really bright, as I stood
about 6 ft away, then suddenly strobe all. The effect put me in a slight
trance. My favorite moment came just after sunrise when I stood in front
of the wall dancing listening to X.Press 2 featuring David Bryne in
"Lazy," all of us early risers swaying in the new sun and LED flow.

#6) A series of doors in frames only, lined up in the middle of the
expanse of the desert. Each door was labeled "Trust," "Doubt," "Love,"
etc. Start at Doubt and walk through each door. The Love door was wired
shut and said "Under Development", no doubt intentionally.

+ + +

Patrick Lichty replied:

Sure, I understand the desire for taking the Burning Man philosophy and
spreading it across the world. That's definitely not the point I make.
It's as if City Lights opened up a chain of alternative bookstores and
coffeeshops designed to give the 'beat' experience.

Make no bones about it; CL has made its dime, for sure. But is the
logical progression to the success of a project to franchise/brand it? I
think that there are times in which the iconic nature of an experience
of a place or event lies in the singular nature of it, either
geographically, temporally, or otherwise. Woodstock proved this - it
couldn't work out of the context of its time.

What you wind up with is an exhaustion of the symbol. WIth the
propagation of the signal it loses strength. Perhaps Burning Man can
become a movement, but I think that so much of it is tied to the
experience of the place that this is unlikely. Having been there a few
years ago, I feel this quite strongly.

For instance, there's a New Orleans BM correspondant who I believe is
trying to transfer it to Mardi Gras, which to me is really strange.

IMO, if you have BM outside of Black Rock, it isn't really Burning Man,
it's something else. BM can't exist as they want it (I believe) outside
of its locational context.

+ + +

Michael Watson replied:

It seems to me we are both asking if it is possible to influence
mainstream society itself or if Burning Man should be kept to ourselves,
lest it get further corrupted.

On the other hand, I wonder if that is really what my goal is. I have
been tuning into the artist channels during the last two years, coming
from a programming/engineering background, and this has been really
eye-opening for me.

No, I am not really interested in the mainstream, but connecting with
more people on the fringe outside I am interested in how the new
communications technolgies are allowing the fringe have a greater idea
exchanges and cross-pollination effects.

It is appropriate that you bring up the beatnik experiment since we are
living in similar times of conservative extremism, fear, and paranoia.
It is appropriate to revist that movement and ask where they went wrong.
My own opinion is that the beatnik/hippie movement was destroyed by hard
drugs and alcohol, but that is just my opinion.

+ + +

Patrick Lichty replied:

) It seems to me we are both asking if it is possible to influence
) mainstream society itself or if Burning Man should be kept to
) ourselves, lest it get further corrupted.

No, not at all. Burning Man was never 'pure', ever. It was what it was.

The problem as I see it is that Burning Man out of its context isn't
really Burning Man, to export it diminishes the power of the originating
source, and franchising is is just so cheesy. Why go to Black Rock when
you can go to Austin? Hell of a lot easier. I'd go to Austin and have
dinner at Jovita's after romping in Circleville for a while.

Forgive my harshness here, but it just seems sort of stupid. I could see
having one in Eastern Colorado...

) It is appropriate that you bring up the beatnik experiment since we
) are living in similar times of conservative extremism, fear, and
) paranoia.

On the surface - but the times now are totally different, and IMO, much
less innocent.

) It is appropriate to revist that movement and ask where they went
wrong.
) My own opinion is that the beatnik/hippie movement was
) destroyed by hard drugs and alcohol, but that is just my
> opinion.

Much more than that, but that's another conversation.

+ + +

Curt Cloninger (curt AT lab404.com) added:

"I was organizing this boss techno-art project called 'Off The Grid.'
We were going to set up computer terminals in various parts of the
playa and have people use them. Then we'd feed the binary data from
those terminals into this fractals program that [Silver Lake, CA
software designer] Ricky [Thomas-Slater] wrote. Those fractals would
be sent, on the fly, to a group of exiled Buddhist monks I befriended
online. The monks would transform the fractals into a temporal sand
painting, the making of which we would webcast live to everyone on
the playa. But I had to stop working on the monk thing to finish up
this 'Pam's Country Crafts' web site I'm working on. I really need
the money."

http://www.theonion.com/previous_top_story.html

+ + +

Michael Watson replied:

Curt, your idea sounds interesting and I may want to talk to you about.
It's a bummer that you had to put it off for Pam but I am sure it was
worth it. I took a quick look at The Onion story but frankly, I think
they make things up, because I was there and there were 30,000
attendees! They have must have a few Jason Blairs on their staff calling
stories in and having a good laugh at our expense. The Weekly World News
rarely makes these kinds of gross errors. I spoke to the officer
involved in this story after I was pulled over for doing 15 in a 70 mph
zone on the way out of Burning Man, and he told me that not only was the
alien drunk, he wasn't even wearing pants!

www.weeklyworldnews.com/features/aliens_story.cfm?instanceid=59134

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Rhizome Digest is filtered by Rachel Greene (rachel AT rhizome.org). ISSN:
1525-9110. Volume 8, number 37. Article submissions to list AT rhizome.org
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