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: 11.21.03
From: digest@rhizome.org (RHIZOME)
Date: Sat, 22 Nov 2003 15:17:26 -0500
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: November 21, 2003

Content:

+IMPORTANT+
1. Rachel Greene: From Rhizome

+announcement+
2. Mariam Ghani: www.kabul-reconstructions.net/ask - open for questions

+opportunity+
3. Feisal Ahmad: Rhizome Net Art Commissions-CALL FOR PROPOSALS
4. Vicente Matallana: ARANEUM Jury Announced - NET ART PROPOSALS WANTED
5. Rachel Greene: Digital Arts/Media Senior Position
6. Aidan Rowe: Research Professor in Digital Media

+comment+
7. Myron Turner: Gupta's Blessedbandwidth, Guardian Angel, etc.

+feature+
8. Valerie Lamontagne: FCMM Review

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1.

Date: 11.21.03
From: Rachel Greene (rachel AT rhizome.org
Subject: From Rhizome

Since I haven't said so before, allow me to begin by sharing with you
what an honor it is to be Rhizome.org's new Executive Director. I have a
lot of respect for Rhizome's commitment to new media art, its discourse
and expression.

Since 1996, Rhizome has come to stand for the creativity and particular
innovation that new technologies make possible. The achievements of the
last few years -- bringing 4,500 members from over 100 countries
important information and opportunities in the field (such as the job
opprtunities listed below), archiving and preserving over 1000 works of
internet art in the ArtBase, and commissioning new works of internet art
(also see below!) -- demonstrate the significant role Rhizome plays in
the lives of so many new media artists and enthusiasts.

None of these achievements would have been possible without support such
as yours. Thank you. It is people like you who will allow us to move
forward with new programs such as improving our search engine, web site,
and archives; as well as continuing to provide important editorial and
information services like Rhizome Digest.

As you consider year-end giving, please add Rhizome to your list with a
contribution of $15. It will help us reach our goal of raising $37K by
February 1: so far we've received almost $10K. Your support will enable
Rhizome to continue serving a wide audience celebrating and engaging the
complexity and diversity of new media art. We accept donations via check
(send to Rhizome, New Museum, 583 Broadway, New York, NY 10012), online
credit cards or Pay Pal. Give securely and quickly online:

http://www.rhizome.org/support/?dig2

On behalf of the Board of Rhizome.org and our staff, I thank you for
considering this request. We look forward to seeing you logged on to
Rhizome!


Sincerely,

Rachel Greene


p.s. In recognition of gifts of $15 or more, Rhizome can offer you a
10-20% discount at the Bookstore and Online Store of the New Museum of
Contemporary Art. This can be redeemed on purchases made online at
http://www.newmuseum.org/comersus/store/comersus_dynamicIndex.asp or in
person at the New Museum of Contemporary Art, 583 Broadway, New York,
New York 10012. Those who give $50 or more can receive a Rhizome T-SHIRT
designed by artist Cary Peppermint.

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2.

Date: 11.17.03
From: Mariam Ghani (ghanimariam AT hotmail.com)
Subject: www.kabul-reconstructions.net/ask ) open for questions

Announcing the launch of Kabul: Reconstructions version 2.0, with the
new feature ASK A QUESTION.

Anyone with a question about the reconstruction of Kabul or its context
in the current situation or history of Afghanistan is invited to submit
their question online.  Your question will then be transmitted to Kabul
by me and the other weblog participants, who will do our best to bring
your answer back to the site within two weeks.

Questions submitted before December 10th, 2003 will also help determine
what video footage I will shoot and then add to the site during my trip
to Kabul this winter, one year after my first visit.

To submit your question, just go to

http://www.kabul-reconstructions.net

and click on ASK A QUESTION.

Note that you can continue to access the audiovisual blog and discussion
forum section of the site -- which is updated regularly, with new
participants coming soon -- by clicking on FOLLOW THE INFORMATION on the
main page.

Please forward this invitation to anyone who might have an unanswered
question about reconstruction.

Thanks,
Mariam

)))

Kabul: Reconstructions is a project by media artist Mariam Ghani with
the collaboration of programmer Ed Potter, the AINA Afghan Media Center
in Kabul, and Exit Art in New York.

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3.

Date: 11.20.03
From: Feisal Ahmad (feisal AT rhizome.org)
Subject: Rhizome Net Art Commissions-CALL FOR PROPOSALS

RHIZOME.ORG NET ART COMMISSIONS

CALL FOR PROPOSALS

+Deadline for proposals: February 15, 2004+

Rhizome.org is pleased to announce that with support from The Jerome
Foundation and the Greenwall Foundation, five new net art projects
(works of art that are made to be experienced online) will be
commissioned in 2004.

The fee for each commission will range from $1,500 - $3,500.

Rhizome.org is an online platform for the global new media art
community. We are committed to supporting the creation, presentation,
discussion and preservation of art that engages new technologies in
significant ways. We emphasize innovation and inclusiveness in all of
our programs and activities.

Artists are invited to submit proposals for works of art that focus on
the theme of games.


+Games+

For the last several decades, computer-based games, through their
ubiquity, economic influence, and innovative use of new technologies,
have become a significant cultural force, surpassing Hollywood films in
total revenues.

For a number of years, new media artists have been exploring the
possibilities of gaming platforms and creating art games that mix the
best qualities of commercial games - accessibility, interactivity,
user-engagement - with critical and progressive approaches to narrative
and aesthetics.

Artists seeking a Rhizome.org 2004 commission should propose projects
that will contribute to the art game genre, or reflect in some way on
the following broad interpretations of "game" found at Dictionary.com,
http://dictionary.reference.com/search?q=game.

Viewers/players should be able to access the projects online, whether by
playing them through a web browser, downloading software, or some other
use of internet technologies.

When evaluating proposals, the jury will consider artistic merit,
technical feasibility, and technical accessibility.

Although we will provide some technical assistance with final
integration into the Rhizome.org web site, artists are expected to
develop game-related projects independently and without significant
technical assistance from Rhizome.org. Commissioned projects will be
listed on the main Rhizome Commission page and included in the Rhizome
ArtBase.


+ How to Submit a Proposal +

The jury will only consider proposals from members of Rhizome.org. To
sign up for Rhizome membership, please visit:
http://www.rhizome.org/preferences/user.rhiz?action=1&new=user

There are two parts to proposal submission:

1. You must create a proposal in the form of a web site that includes
the following key elements:

+ Project description (500 words maximum) that discusses your project's
core concept, how you will realize your project and your project's
feasibility. If you plan to work with assistants, consultants or
collaborators, their roles and (if possible) names should be included.

+ You are encouraged, but not required, to include a production timeline
and a project budget, which should include your own fee. If you have
other funding sources for your project, please indicate this in your
budget.

+ Your resume or Curriculum Vitae. For collaborative groups, provide
either a collective CV or the CV?s of all participants.

+ Up to 10 work samples. Note: More is not necessarily better. You
should include only work samples that are relevant to your proposal. If
your proposal has nothing to do with photography, don?t include images
from your photography portfolio. Please provide contextualizing
information (title, date, medium, perhaps a brief description) to help
the jury understand what they are looking at. The work sample can take
any form, as long as it is accessible via the web.

When designing your web-based proposal, please note that the jury will
have limited time for evaluations, so try to make your site clear and
concise.

When your web-based proposal is complete, you are ready for Part Two of
the proposal process:

2. Submit your proposal for a Rhizome.org Net Art Commission via an
online form at http://rhizome.org/commissions/submit_2004.rhiz. We do
not accept proposals via email, snail mail or other means. Proposals
will be accepted until 5:00pm EST (that?s New York time) on Friday,
February 15, 2004. The form at
http://rhizome.org/commissions/submit_2004.rhiz requires the following
information:

+ Name of artist or collaborative group + Email address + Place of
residence (city, state/province, country) + Title of the project (this
can be tentative) + Brief description of project (50 words maximum) +
URL of web-based proposal


+ Jury +

Proposals will be reviewed by a jury consisting of German critic Tilman
Baumgartel, artist Natalie Bookchin of CalArts, Rachel Greene of
Rhizome.org, Francis Hwang of Rhizome.org, and Japanese curator Yukiko
Shikata. Rhizome.org members will also participate in the evaluation and
awarding process through secure web-based forms.

Winners will be contacted on or after March 15, 2004. Each winner will
be asked to sign an agreement with Rhizome.org governing the terms of
the commission.


+ Winners +

Winners will be announced on March 29, 2004. Commissioned projects must
be completed by October 1, 2004.


+ Questions +

If you have any questions about the Rhizome.org Net Art Commissions,
please contact Feisal Ahmad at feisal AT rhizome.org or 212.219.1288.

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4.

Date: 11.21.03
From: Vicente Matallana (vicente AT laagencia.org)
Subject: ARANEUM Jury Announced - NET ART PROPOSALS WANTED

Rachel Greene (rachel AT rhizome.org)
list AT rhizome.org
Feisal Ahmad (feisal AT rhizome.org)

ARANEUM Jury Announced

The organization of the ARANEUM prize for artistic and research Internet
creativity is pleased to announce the members of the jury for the prize.

The jury is composed of José Luis Brea, Rachel Greene, Olia Lialina and
two institutional representatives; one from the Spanish Ministry of
Science and Technology another from the Spanish Ministry of Culture.

20,000 Euros will be awarded towards the realization of a net- art
project.

10,000 Euros will be awarded towards the development of a research
project.

The application deadline is December 15th, 2003.

For more information: http://araneum.es


José Luis Brea. Professor of Aesthetics and Contemporary Art Theory at
the Universidad de Castilla-La Mancha, and Editor-in-Chief of the
magazine Estudios Visuales. Founder and director of the net-art magazine
and server Aleph. He is the Director of the 1st International Visual
Studies Conference, to be held during ARCO?04, and a consultant to
public and private institutions including Spain?s Ministry of Science
and Technology and Fundación Telefónica. As a freelance critic, he has
written many articles and books, and is currently ARTFORUM?s Spanish
correspondent.

Rachel Greene. Executive Director of Rhizome.org and a Curatorial Fellow
of the New Museum of Contemporary Art, New York. Greene rejoined
Rhizome.org in June 2002 as Editorial Coordinator, having spent a couple
of years writing freelance and serving on the boards of Rhizome.org and
PARTICIPANT Inc,. while developing television properties at Funny
Garbage. Prior to Funny Garbage, she worked at America Online while
attending the Whitney Independent Study Program as a Helena Rubinstein
Critical Studies Fellow. Rachel was Editor at Rhizome.org from 1997
through 1999 and has written about art for publications including
ArtForum, Frieze and Bomb. She was educated at the University of
Pennsylvania and the University of Sussex. Rachel's book on Internet Art
for Thames & Hudson's World of Art series will be out in Spring 2004.

Olia Lialina. Net Artist & Curator. Finished Journalism Department of
Moscow State University in 1993. Director from 1995 to 1998 of Moscow
experimental film club CINE FANTOM. Director of the First Real Net Art
Gallery, Last Real Net Art Museum. Author of The Most Beautiful Web
Page, co-author of Zombie&Mummy episodes. Since 1999 Professor for
Electronic Media Design at Merz Akademie, Stuttgart.

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5.

Date: 11.21.03
From: Rachel Greene (rachel AT rhizome.org)
Subject: Digital Arts/Media Senior Position

Senior Position in Digital Media and Digital Arts

The College of Humanities, Arts, and Social Sciences at the University
of California (CHASS), Riverside (), invites applications for a senior
(associate or full) professorship in Digital Media and Digital Arts. The
position will be available July 1, 2004. The successful candidate will
be central to shaping the development of undergraduate and graduate
programs for the study of digital art/media technique, execution, and
critical analysis in collaboration with the UCR Bourns College of
Engineering. A shared appointment between the colleges is possible.
Ph.D. preferred. Salary is commensurate with education and experience.

The candidate should have a deep understanding of both the creative
processes of media and digital art as well as the technical means and
issues related to its production. They should be conversant in the
languages of both digital artists and programmers. A strong record of
productivity in content provision is essential. Work in the areas of
computer graphics and/or interactive design (such as game development,
applied virtual environments, interface design) is particularly
desirable. Preferably the candidate should also have background and
interest in new media theory, critical theory, and new media research.

Applicants should provide a letter of interest, vita, examples of work
and three letters of recommendation. Review of applications will begin
on January 2, 2004 and continue until the position is filled. For more
information, and to submit applications, contact:

Professor Robert Hanneman
Associate Dean
College of Humanities, Arts, and Social Sciences
3415 Humanities and Social Sciences Bldg.
University of California
Riverside, CA 92521


UCR (http://www.ucr.edu/) is an equal employment
opportunity/affirmative action employer. For more information: .

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6.

Date: 11.21.03
From: Aidan Rowe (arowe AT surrart.ac.uk)
Subject: Research Professor in Digital Media

A Research Professor in Digital Media is sought by the Surrey Institute
of Art and Design, University College, which is located in Epsom in the
UK.

£38 - £41k per annum

With over 3,000 further education, undergraduate and postgraduate
students, The Surrey Institute of Art & Design, University College is
one of Europe's largest specialist centres for higher education in art,
design, media and communications.

The Faculty has a large and highly successful undergraduate provision in
graphic design and digital media and a growing reputation for
postgraduate study in new media. There is an active and dynamic group of
academic staff whose research interests is in both the practice and
theory of communication and digital media. On behalf of the Dean, the
Faculty Research Professor will promote the further development of the
research culture within the Faculty of Fashion & Communication. The
professor will be expected to support the academic staff in securing
research outcomes of national and international quality. An individual
reputation as a researcher, with a record of public output compatible
with an RAE 5 rating, is essential for this post.

With a degree in an area of art, design or communication, you will be
experienced in research degree supervision and examination relevant to
art and design and communication practice. You should have experience of
managing budgets and staff and have worked on funded research projects.
Previous involvement in bidding for external funding and a good
knowledge of research funding mechanisms and RAE processes are
essential. With excellent interpersonal skills and strong academic
leadership qualities you should have strong professional and academic
links with other universities.

You should fulfil the Institute's criteria for conferment of the title
of Professor (available on request of application pack).

For an informal discussion about the post, please contact the Dean of
Faculty, Christine Percy on 01372 722407.

For an application form and further details about any of the above posts
please contact the Personnel Department on 01252 892681 (24 hrs) or
e-mail personnel AT surrart.ac.uk, quoting reference F&C Res 3-098

Closing date for receipt of applications is Friday 5th December 2003.

Interviews will be held on Friday 9th January 2004.

More information about the Institute can be found at
http://www.surrart.ac.uk

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7.

Date: 11.15.03
From: Myron Turner (turnermm AT shaw.ca)
Subject: Gupta's Blessedbandwidth, Guardian Angel, etc.

The latest Rhizome Digest just came across the screen with
recommendations to look at two sites, Gupta's blessedbandwidth at the
Tate and Guardian Angel by one of Curt Cloninger's students.

http://www.tate.org.uk/netart/blessedbandwidth/
http://mmas.unca.edu/~amallen/guardianangel.html

Guardian Angel is what it is, a student project, the kind of thing you
take seriously in the classroom. Gupta's piece, by virtue of its Tate
cache and her history of previous work, asks for more: an international
audience, thoughtful consideration, a place in contemporary art
practice. But like so much net art, it is essentially a one-liner in
which the labor of production far exceeds its cultural or intellectual
or aesthetic value. It comes supplied with essays which attempt to
place it in contemporary political and aesthetic contexts. But works of
art can't stay afloat on the the life-jackets of the texts that surround
them. Yet this is so often the practice in contemporary net art and
often-- though not in this case--the essays have more interest than the
works themselves.

The question of labor exceeding value is of central importance to the
discussion of net art. Anyone who has ever put together a complex web
site or programmed a complex piece of software art knows how much work
goes into the production. But despite this labor the result for the
viewer is often minimal--some programmed twists of image manipulation or
repetitive sets of images and/or texts in a database, where the viewer
soon tires of looking at yet another of the same, or as here, in Gupta's
case, an extended interactive site built around a one-liner, also
repeated various times over.

Where, in fact, is the primary value of such works? The value is in the
artist-- in the personal experience of the artist in the process of
creating the work, a that value is not sufficiently reflected back
outward to the viewer. This is a significant alteration of the centers
of value that we normally associate with art. And it's my feeling that
until this changes, net art will remain peripheral-- insititutions like
the Walker will feel no compunction in shedding free of it and its
audience will remain largely one of "experts".


Myron Turner | http://www.room535.org |
--land safely in cyberspace--

*Editor's note: referred thread link:
http://rhizome.org/thread.rhiz?thread=10995&text=21281#21281

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8.

Date: 11.21.03
From: Valerie Lamontagne (valerie AT mobilegaze.com)
Subject: Valerie Lamontagne: FCMM Review

FCMM:

Montreal?s recent FCMM (Festival International Nouveau Cinéma Nouveaux
Médias Montréal-http://www.fcmm.com) is an annual showcase for film,
video and new media. Occurring from October 09?19, this year?s event was
funded in part by the Fondation Daniel Langlois
(http://www.fondation-langlois.org) and took place in both the
Ex-centris multi-media centre (http://www.ex-centris.com) and the
Société des arts technologiques, or SAT (http://www.sat.qc.ca). The
FCMM distinguishes itself from other festivals by striving to mix
mainstream work with experimental genres and media, and the new media
selection this year was an eclectic grouping of local and international
work loosely tied around the theme of public works and community.

The main exhibition site, the SAT, was recently relocated (Summer 2003)
to a former slaughterhouse building in the lower St-Laurent district ?
the strip-club and peep show sector of the city. The new SAT features a
large bar/gallery, a main performance area, and a rough basement space.
A location well suited to performances with exceptional equipment for
sound and audio, the building is nevertheless short of space to present
installation works in a "pure" (white cube) style. That said, the
bar/gallery ambiance is fortuitous in that it permits festival-goers to
mingle, drink, and view art all in one place.

Exhibitions:

The installation component of the FCMM focused primarily on public
interaction and real time, input-based works. Notable installations
included Saoirse Higgins? (Ireland) "Doom Machine"
(http://web.media.mit.edu/~saoirse/doom.html) which announces on an
hourly-basis the current doom level as regulated by the public via a
website. Interestingly, the doom level plummeted to 0 while in Montreal,
something the artist noted has rarely happened in previous exhibitions
in the USA. Perhaps as Canadians, and more specifically
French-Canadians, we do not feel particularly targeted during these
politically volatile times?

Another work, "Alpha Wolf," by Bill Tomlinson, featured a screen-based
animation of wolves reacting to the public?s own "wolf"-like actions
such as howling, growling, whimpering, or barking. Not surprisingly, the
most interesting aspect of this work was watching the users try and
interact with the work, especially in the later hours when blood alcohol
levels were high.

"Memory of Space" (http://www.inoutsite.de) by Ursula Damm, Matthias
Weber, and Thomas Kulessa (Germany), linked the local and geographic
dimensions of the SAT through real time video capture, resulting in the
formation of a grid system of coordinates. Depending on activity at the
SAT, this coordinate system was transformed and positioned over a
three-dimensional graphics map.

Perfectly integrated into the ethos of the neighborhood was Cécile
Babiole?s (France) "Circulez y'a rien à voir," or "Keep Moving, There?s
Nothing to See" (http://www.babiole.net). Located in one of the SAT?s
main windows, the screen installation captured the movements of
passersby via a live camera?interpreting these in real time, and
converting them into graphic/sonic patterns. Serving as an invitation to
dance, run, or simply to move and discover a world of invention, this
installation proved to be a popular work.

The in-situ citywide installation [murmure] (http://www.murmure.ca) by
Shawn Micallef, Gabe Sawhney, and James Roussel (Canada) was an audio
project connecting people with Montreal?s meta-history through wireless
telephonic, location-based storytelling. Pedestrians walking past sites
marked with the [murmur] sign (a large ear) were invited to telephone a
number and hear stories anchored in that geographical location. The
installation revealed secret histories of the city, such as that of the
former Café Mélies at 3684 St-Laurent, where in 1981 the exquisite
French writer Marguerite Duras spent ten historical days drinking,
surrounded by her entourage.

Performances:

The opening night of FCMM featured ambient VJ /DJ Franklin Joyce (USA)
and his "Cinema Remix," a playful exploration of various cinematic
sampling?from Europe?s sexy 60?s to Bollywood and Kung-Fu flicks.

A local favorite, [The User] (http://www.silophone.net)--Thomas McIntosh
and Emmanuel Madan (Canada), followed by presenting a new performance in
its series of silo-driven events. For several years now [The User] has
had one of the former grain elevator silos of old Montreal networked via
digital telephone, in order to both capture and broadcast sound.
"Mass/Volume" featured the artists taking a minimalist approach to sound
performance by broadcasting a series of wired slates live to the silo
and then once transformed, back to the audience. Lacking in a certain
musical development, the event was still a strong investigation into the
possible permutations of sound via Montreal?s Grain Elevator #5.

Jean-Pierre Aubé?s (Canada) "VLF.stereo" (http://www.kloud.org/vlf)
performance presented his explorations in Very Low Frequency (VLF)
receivers. These receivers captured and presented the earth's
electromagnetic variations from: a Normandy freeway, an island in the
St. Lawrence River, a winter solstice at the Arctic Circle in Finland,
and the banks of Loch Ness in the highlands of Scotland.

Finally, in a decided low-tech dada-esque display, Michelle Kasprzak?s
(Canada) "I Love A Parade" (http://www.iloveaparade.net) showcased the
artist in a carnival-like "parade" costume and a float, pulled by a
young man on a tricycle. Kasprzak?s VJ mixing of parade-themed videos
and attempts to feed the audience cake resulted in a bizarre mixture of
camp and media antics.

Web Projects:

The presentation of Web projects seems to have lost favor in many
festivals, and is not always showcased in the most seductive way
(usually through plain desks and monitors). In the unfortunate case of
FCMM, the Web projects were only showcased online?rendering them even
more invisible. The works in the festival were chosen around a theme of
community and created in a documentary style. For example, "79 Days"
(http://79days.net) by Trebor Scholz (USA/Serbia) is a graphically
minimalist database of media documents, such as photographs and news
lines, covering the 79 day war in Kosovo.

Sara Morley?s (Canada) "A Day in the Life of an Engineer"
(http://www.nativeaccess.com/allabout/day_eng.html) presents a typical
day in the lives of three Aboriginal engineers from different parts of
Canada?offering a new perspective on the vocation as well as on how
engineers impact their communities. Combining a host of multimedia
sources, the site, which contains enough visual and aural material for a
three-hour experience, includes 54 minutes of streaming video and 23
minutes of audio that are fully integrated into each of the three
portraits.

Finally, "Civilités / Civilities"
(http://www.agencetopo.qc.ca/civilites) by Eva Quintas, Guy Asselin
(Canada) brings together collective fictions associated with the problem
of "living together" in urban settings. Through the slick and playful
design native to the Montréal-based media collective Agence Topo, this
piece explores the spaces of privacy, religion, crowds, cultural norms,
and collective spaces, merging political and personal perspectives to
offer an account of today?s multicultural civic community and how such
"civilities" are negotiated.

FCMM Conclusion:

The FCMM presented a dynamic selection of works that explored new
media?s emerging tendencies. It will be exciting to see future FCMM
editions develop through more focused curatorial themes and in
collaboration with local and international institutions. The production
of essential documents such as catalogues and DVD recordings could
render the festival more portable, extending its reach throughout the
media community. Finally, a new venue for the presentation of
multimedia installations could be an important step in giving the
installation component of the festival more emphasis as well as allowing
for greater space to present a variety of works. That said, Montreal
seems to be (not just boasting because I live here!) THE techno-centric
city of Canada at the moment, and the FCMM and SAT are certainly at the
center of this élan!

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Rhizome.org is a 501(c)(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.

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Rhizome Digest is filtered by Feisal Ahmad (feisal AT rhizome.org). ISSN:
1525-9110. Volume 8, number 47. 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.

To unsubscribe from this list, visit http://rhizome.org/subscribe.
Subscribers to Rhizome Digest are subject to the terms set out in the
Member Agreement available online at http://rhizome.org/info/29.php.

Please invite your friends to visit Rhizome.org on Fridays, when the
site is open to members and non-members alike.

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