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.
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Subject: RHIZOME DIGEST: 01.10.04 From: digest@rhizome.org (RHIZOME) Date: Sat, 10 Jan 2004 14:46:36 -0500 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: January 10, 2004 Content: +announcement+ 1. Oliver Ressler: information on exhibition "Alternative Economics, Alternative Societies" in Lueneburg +opportunity+ 2. Mark Tribe: Web Animation Workshop with Joshua Davis & Mark Tribe 3. Camille Baker: [Fwd: email art project: call for submissions Re:<o><o>] 4. Joanna Lee: Position open: Director at Simon Fraser University +work+ 5. Jo-Anne Green: Turbulence Commission: "Stand By Your Guns" by Jillian Mcdonald 6. Christiane Paul: artport gate page January 04: Ken Perlin's sketchbook +feature+ 7. Pete: Critical review of Virtual Art + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + **RHIZOME NEEDS TO RAISE $27K BY FEBRUARY 1, 2004** Do you value Rhizome Digest? 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Date: 1.05.04 From: Oliver Ressler (oliver.ressler AT chello.at) Subject: Fwd: information on exhibition "Alternative Economics, Alternative Societies" in Lueneburg (for German and an image please scroll down) ALTERNATIVE ECONOMICS, ALTERNATIVE SOCIETIES A project by Oliver Ressler Kunstraum der Universitaet Lueneburg Scharnhorststr.1, 21335 Lueneburg, Germany opening: Thursday, 08.01.04, 8 pm http://kunstraum.uni-lueneburg.de http://www.ressler.at After the loss of a countermodel for capitalism - which socialism, in its real, existing form had presented until its collapse - alternative concepts for economic and social development are facing difficulties at the beginning of the twenty-first century. In the industrial nations, "alternatives" are only broadly discussed when they do not question the existing power relations of the capitalist system and representative democracies. Other socio-economic approaches are, on the other hand, labeled utopian, devalued, and excluded from serious discussion if even considered at all. In the framework of the theme-specific installation, "Alternative Economics, Alternative Societies," the focus is on diverse concepts, models, and utopias for alternative economies and societies which all share a rejection by the capitalist system of rule. For each concept, an interview was carried out from which an English video was produced. In the exhibition, these single-channel 20 to 37 minute videos are each shown on a separate monitor thus forming the central element of the artistic installation. The project presents alternative social and economic models such as "Inclusive Democracy" from Takis Fotopoulos (GB/GR), "Participatory Economy" from Michael Albert (U.S.A.), and "Free Cooperation" from Christoph Spehr (G). Nancy Folbre (U.S.A.) speaks about her concept of "Caring Labor," and Marge Piercy (U.S.A.) discusses the feminist-anarchist utopias of her social fantasies. As interesting historical models, the workers' self-management in Yugoslavia in the sixties and seventies are thematized in the exhibition by Todor Kuljic (SCG) and the workers' collectives during the Spanish Civil War (1936-38) by Salom=E9 Molt=F3 (E). Chosen for each video is one quotation significant for the alternative model that it presents. The quote is placed directly on the floor of the exhibition room as a several meter long text piece. This floor lettering, made from adhesive film, leads exhibition visitors directly to the corresponding videos, yet the quotes also overlap one another and subdivide the room into different sections. The exhibition project will be continually expanded in the coming years through further economic and social concepts. These form a non-hierarchically arranged pool, which offers stimulus and suggestions for contemplation of social alternatives and possibilities for action. The installation "Alternative Economics, Alternative Societies" is realized within the following exhibitions: Galerija Skuc, Ljubljana (SI), 30.10. - 23.11.03 ("Alternative Economics,...") Espace Forde, Geneve (CH), 06. - 19.12.03 ("There is no Alternative") Kunstraum der Universitat Luneburg (G), 08. - 16.01.04 ("Alternative Economics,...") Transmediale.04, Berlin (G), 31.01. - 15.02.04 ("fly utopia!") O.K - Center for Contemporary Art, Linz (A), 11.03. - 02.05.04 ("Open House") Wyspa Progress Foundation, Gdansk (PL), 01.05.04 - 30.07.04 ("Health and Safety") Kunsthalle Exnergasse, Vienna (A), 16.06. - 24.07.04 ("permanent produktiv") Sorlandets Kunstmuseum, Kristiansand (N), 06.07. - 15.08.04 ("Detox Tour") "Alternative Economics, Alternative Societies" is a project realized in the framework of republicart (www.republicart.net), produced by Galerija Skuc, Ljubljana and the Kunstraum der Universitat Luneburg. The project is supported by the EU-Program Culture 2000 and the BKA section for the arts. D e u t s c h : ALTERNATIVE ECONOMICS, ALTERNATIVE SOCIETIES ein Projekt von Oliver Ressler Kunstraum der Universit=E4t L=FCneburg Scharnhorststr.1, D-21335 L=FCneburg Er=F6ffnung: Donnerstag, 08.01.04, 20 Uhr http://kunstraum.uni-lueneburg.de http://www.ressler.at Nach dem Verlust eines Gegenmodells zum Kapitalismus - wie der real existierende Sozialismus bis zu dessen Zusammenbruch eines bildete - haben es zu Beginn des 21. Jahrhunderts alternative Konzepte einer =F6konomischen und gesellschaftlichen Entwicklung schwer. "Alternativen"= werden in den Industriestaaten n=E4mlich nur dann breiter diskutiert, wenn sie die bestehenden Machtverh=E4ltnisse im kapitalistischen System= und in den repr=E4sentativen Demokratien nicht in Frage stellen. Andere= sozio-=F6konomische Ans=E4tze werden hingegen als utopisch bezeichnet, abgewertet und von einer ernsthaften Auseinandersetzung ausgeschlossen, so sie =FCberhaupt wahrgenommen werden. Im Rahmen der themenspezifischen Installation "Alternative Economics, Alternative Societies" werden unterschiedliche Konzepte, Modelle und Utopien f=FCr alternative =D6konomien und Gesellschaften fokussiert, dere= n Gemeinsamkeit die Zur=FCckweisung des kapitalistischen Herrschaftssystems ist. Zu jedem Konzept wurde ein Interview gef=FChrt,= aus dem im Rahmen des Projekts jeweils ein Video in englischer Sprache produziert wurde. Diese 20 bis 37 Minuten langen Einkanalvideos werden in der Ausstellung auf getrennten Monitoren gezeigt und bilden die zentralen Elemente der k=FCnstlerischen Installation. Im Rahmen des Projekts werden alternative Gesellschafts- und =D6konomiemodelle wie "Inclusive Democracy" von Takis Fotopoulos (GB/GR), "Participatory Economy" von Michael Albert (USA) und "Freie Kooperationen" von Christoph Spehr (D) vorgestellt. Nancy Folbre (USA) spricht =FCber ihr Konzept "Caring Labor", Marge Piercy (USA) =FCber die= feministisch-anarchistischen Utopien ihrer Social Fantasies. Als interessante historische Modelle werden von Todor Kuljic (SCG) die Arbeiterselbstverwaltung im Jugoslawien der 60er und 70er Jahre und von Salom=E9 Molt=F3 (E) die Arbeiterkollektive w=E4hrend der Spanischen= Revolution (1936-38) in der Ausstellung thematisiert. Aus jedem Video wird ein f=FCr das jeweilige alternative Modell signifikantes Zitat ausgew=E4hlt und als mehrere Meter lange Textarbeit= direkt auf dem Boden des Ausstellungsraumes angebracht. Diese mit Klebefolien ausgef=FChrten Bodenbeschriftungen f=FChren die AusstellungsbesucherInnen direkt zu den entsprechenden Videos, =FCberschneiden einander aber auch und unterteilen den Raum in unterschiedliche Segmente. Das Ausstellungsprojekt soll in den kommenden Jahren kontinuierlich um weitere =F6konomische und gesellschaftliche Konzepte erweitert werden. Diese bilden einen unhierarchisch gegliederten Pool, der Anregungen und Vorschl=E4ge zum Nachdenken =FCber gesellschaftliche Alternativen und= Handlungsm=F6glichkeiten anbietet. Die Installation "Alternative Economics, Alternative Societies" wird in den folgenden Ausstellungen realisiert: Galerija Skuc, Ljubljana (SI), 30.10. - 23.11.2003 ("Alternative Economics,...") Espace Forde, Gen=E8ve (CH), 06. - 19.12.2003 ("There is no Alternative") Kunstraum der Universit=E4t L=FCneburg (D), 08. - 16.01.2004 ("Alternative Economics,...") Transmediale.04, Berlin (D), 31.01. - 15.02.04 ("fly utopia!") O.K - Center for Contemporary Art, Linz (A), 11.03. - 02.05.2004 ("Open House") Wyspa Progress Foundation, Gdansk (PL), 01.05.04 - 30.07.04 ("Health and Safety") Kunsthalle Exnergasse, Vienna (A), 16.06. - 24.07.04 ("permanent produktiv") Sorlandets Kunstmuseum, Kristiansand (N), 06.07. - 15.08.04 ("Detox Tour") "Alternative Economics, Alternative Societies" ist ein Projekt, das im Rahmen von republicart realisiert (www.republicart.net) und von der Galerija Skuc, Ljubljana und dem Kunstraum der Universit=E4t L=FCneburg= produziert wird. Das Projekt wird unterst=FCtzt vom EU-Programm Kultur 2000 und der BKA-Kunstsektion. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 1.06.04 From: Mark Tribe (mt AT rhizome.org) Subject: Web Animation Workshop with Joshua Davis & Mark Tribe Subject: Web Animation Workshop with Joshua Davis & Mark Tribe Joshua Davis (http://www.joshuadavis.com) and Mark Tribe (http://nothing.org) are teaching a workshop on Web Animation for Artists at Anderson Ranch this summer. Intended for artists with intermediate to advance web skills, this workshop will combine an introduction to the history and theory of net art with a focus on ActionScript, the programming language built into Flash. Anderson Ranch Art Center is a non-profit visual arts community located on a ranch near Aspen, Colorado in the Rocky Mountains. Each summer, Anderson Ranch offers workshops on a range of subjects, including Art History & Critical Studies, Ceramics, Digital Imaging, Furniture & Woodworking, Painting & Drawing, Photography and Sculpture. This is the second time Joshua and Mark will teach this Web Animation Workshop at Anderson Ranch. The workshop will take place June 28 - July 2 2004. For more information and to register, call +1 970 923 3181 or go to: http://www.andersonranch.org/workshops/ index.cfm?Include=Digital%20Imaging&EventID=856 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 1.07.04 From: Camille Baker (camib AT telus.net) Subject: [Fwd: email art project: call for submissions Re:<o><o>] ------ Forwarded Message Subject: email art project: call for submissions Re:<o><o> From: "donato mancini" (donatomancini AT fivethreesix.com) Date: Wed, December 24, 2003 5:39 pm To: (crankmagazine AT yahoo.ca) Cc: Re:<o><o> An e-mail art project. This e-mail is an invitation to collaborate in the project Re:<o><o> Re:<o><o> is a project in progress first shown at the "Comme des Congres Gallery" in Calgary, Alberta, Canada made up of a selection of pieces from artists from around the world. This project is an investigation of the possibilities of art creation using electronic-mail as a tool for new artistic explorations. The selected pieces will be included in the collection of e-mail art that will be presented at "Access Artist Run Center" in Vancouver, British Columbia, Canada from January 24 to February 14, 2004. Submission Outline: We will accept: text abstractions, visual e-mail poetry, image and text experimentations, e-mail essays, conceptual e-mail, neo-text, text drawing, photographic e-mail-collage, digital images, etc. Keep in mind: the structure of the e-mail, as the frame for your own experimentation. There is no specific theme. The artist has the freedom to choose the subject, the elements, and the structure of the piece. However, there are some guidelines. Guidelines: Do not attach any files to download. The artist can incorporate images that will be visible on the e-mail structure but not downloadable files. Do not include sound or flash animations or any kind of media that will require a computer to be presented, the e-mails will be shown printed on paper out of the screen computer context. Deadline for submissions: January 20th, 2004. Send: send your e-mail-art-piece to: A AT a--g.com or albertoguedea AT gmx.net with the subject: Re:PROJECT Alberto Guedea, Curator Access Artist Run Center. www.access.rubyarts.org www.a--g.com For further information contact Alberto Guedea at: A AT a--g.com , or Access Artist Run Center at: vaarc AT telus.net Please forward this call to anyone you think may be interested. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 1.08.04 From: Joanna Lee (joannal AT wmc.bc.ca) Subject: Position open: Director at Simon Fraser University Director School of Interactive Arts and Technology Faculty of Applied Sciences, Simon Fraser University Vancouver, Canada The Director will lead one of the newest and most dynamic schools in Canada. He or she will help mold the future of a school that combines arts and technology in an interdisciplinary setting. The School has the goal to become an international leader in its field and the Director will have the opportunity to take a major role in its continuing development. The School of Interactive Arts and Technology has programs in interaction design, performance and media art, art and design technology and is developing new offerings in related emerging areas. The successful candidate will have an accomplished record of scholarship and teaching in at least one of these areas. He or she will have proven leadership skills in an academic setting and have demonstrated accomplishments in a collaborative environment. PhD or equivalent required. Simon Fraser University is committed to principles of equity in employment. If you are interested, submit your qualifications to Roger Welch or Joanna Lee at: Western Management Consultants Suite 2000-1188 West Georgia Street Vancouver, British Columbia V6E 4A3 Canada Fax: 1-604-687-2315 Email: joannal AT wmc.bc.ca + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 1.05.04 From: Jo-Anne Green (jo AT turbulence.org) Subject: Turbulence Commission: "Stand By Your Guns" by Jillian Mcdonald FOR IMMEDIATE RELEASE January 5, 2004 Turbulence Commission: "Stand By Your Guns" by Jillian Mcdonald http://turbulence.org/Works/mcdonald/ >From movies/television and computer/video games to political posturing and gangster rap, weapons have become as "embedded" in our everyday lives as US journalists were in the military during the "major combat" phase of the 2003 Iraq war. "Stand By Your Guns" confronts us with the ubiquity of guns and how violent simulations translate into real life shootings. It is an absurdist piece that both glorifies the weapon and masquerades as an entertainment arcade. BIOGRAPHY Jillian Mcdonald is a Canadian performance and media artist who lives and works in New York City. Her web projects include "Things are Okay" and "Home Like No Place" which were produced in residency at Trinity Square Video in Toronto, and La Chambre Blanche Gallery in Québec City. "Home Like No Place" was featured at La Biennale de Montreal 2002. "Me and Billy Bob" was launched in May 2003 and "Ivy League" is part of StudioXX's Virtual Garden project. "Advice Lounge," created in residency at Videographe and featured at FCMM in Montreal, will be performed live at Saskatoons Spasm New Media Festival in Spring 2004. Mcdonald received a Canada Council for the Arts Grant for the creation of four new media projects in 2003. Her projects have been featured at Kanonmedia (Vienna), Emmedia (Calgary), Hive Projects (Toronto), Rhizome (New York), Javamuseum, CIAC (Canada), DIAN (Germany), the Web Biennial in Istanbul 2003, and the Centre d'Art Contemporain de Basse-Normandie. Mcdonald teaches computer art at Pace University where she co-directs the Pace Digital Gallery. For more information about Turbulence, please visit http://turbulence.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 1.07.04 From: Christiane Paul (Christiane_Paul AT WHITNEY.ORG) Subject: artport gate page January 04: Ken Perlin's sketchbook artport gate page January 04 features Pages from Ken Perlin's sketchbook http://artport.whitney.org This month artport features pages from Ken Perlin's "sketchbook" -- 77 studies and applets that explore possibilities for virtual behaviors, textures, interfaces and data visualizations. The applets include "kinetic sculptures" that make animated characters emote; intuitive design widgets; adventures in robot path planning; a simple visualization tool for the topology of neuron connections in the human brain; an idea for a zoomable web client for cell-phones; as well as a "Buckyballet." + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + For $65 annually, Rhizome members can put their sites on a Linux server, with a whopping 350MB disk storage space, 1GB data transfer per month, catch-all email forwarding, daily web traffic stats, 1 FTP account, and the capability to host your own domain name (or use http://rhizome.net/your_account_name). PLUS, those who sign up for Rhizome hosting before January 15, 2004 will receive a *FREE* domain name for one year. And there is more, the hosted can take comfort in knowing they're being active roots in the rhizome schema, helping the .ORG self-sustain. Details at: https://www.broadspire.com/order/rhizome/freedomain.html + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 1.10.04 From: Pete (virtualart AT culture.hu-berlin.de) Subject: Critical review of Virtual Art This critical review of Grau's book on Virtual Art appeared recently in INTELLIGENT AGENT written by Patrick Lichty. http://www.intelligentagent.com "...virtual image spaces of the computer... (are) not the revolutionary innovation its protagonists are fond of interpreting it to be. The idea of virtual reality only appears to be without a history; in fact, it rests firmly on historical art traditions, which belong to a discontinuous movement of seeking illusionary image spaces." Grau, Virtual Art, p. 339 In this statement, Oliver Grau sums up what is probably the most significant contribution this book makes to the study of New Media Art. With many instances of novel technologies, creative or otherwise, proponents have asserted that current practices constitute the pinnacle of human knowledge to date or represent a degree of novelty that distances them from history. The examination of the historical context of technological media, especially in the arts, has been scant to date. In this book, Grau brings a refreshing perspective to the topic by illustrating that the genre of immersive spaces has been actively pursued since classical times, and, I might even argue, since the caves of Lascaux were painted. This approach refutes the Fukuyama-esque assertion that new media art is either separate from history or a terminal point of the same. Conversely, Grau points to Adorno's admonitions about placing contemporary art in a continuous history, suggesting that there is nothing new under the sun. What needs to be considered here are the points of difference in the sites throughout history, and this is one of Grau's other points. Grau begins his analysis of immersive spaces throughout pre-modern times at the Roman Villa Dei Misteri at Pompeii, an initiation site for the sect of Bacchus, and moves on to Bismarck's commissioning of the grand panorama of The Battle of Sedan, which was completed in 1883. From Pompeii to Berlin, Grau constructs a narrative of the context of the culture, politics, and representative function of the various spaces -- from the ecstatic to the devotional to the propagandistic -- and reveals how the various techniques of construction reflected the agendas of the constructors. The idea that new technologies have largely served to inscribe agendas of power upon the masses is not new, but used as an analytical context for this subject from ancient Rome to today raises important questions about the social function of immersive spaces. >From Sedan, Grau takes a relatively brief sojourn through Modernist immersive spaces, including Monet's panorama in Giverny, Prampolini's polydimensional Futurism, Schwitters' Merz theatre, the Cineorama, the Futurama, Heilig's famed Sensorama, leading up to the contemporary IMAX theatre. In his (rather brief) exposition of these modern spaces of immersion and illusion, there is a distinct shift from the panoramic rendering to the expansion of the cinematic as space of illusion, and to Sutherland's development of the Head-Mounted-Display, which brings the reader to the contemporary era. To contextualize the issues of immersion in contemporary virtual works, Grau considers numerous pieces of virtual art, including Davies' Osmose, Benayoun's World Skin, Naimark's Be Now Here, as well as other spaces that consider the role of immersion in the representation of identity, the political, and the monumental. In many of these cases, such as Shaw's Place 2000, and Benayoun's World Skin, the agendas of power are translated quite clearly from antiquity. However, in the case of Benayoun, this is done more subversively as the virtual 'photographers,' in a direct metaphor taken from Marey's photographic gun, literally create 'holes' in the landscape through their act of taking snapshots of the landscape. Grau relates this metaphor once again and brings the virtual into a historical context quite nicely while illustrating contextual differences in the cultural and technological functions of the work. The remaining segments consist of sections on telepresence and genetic art, covering most notably Penny's Traces and Kac's GFP Bunny. Although meticulously researched and well framed in the rubric of illusionism, Grau falls victim to the fin-de-millennium tendency in new media scholarship to be overly inclusive in light of a movement (i.e. New Media) which is so chimeric and multifaceted as to make any comprehensive analysis difficult at best. Although Grau does wonderfully at making a case for the inclusion of the telepresent and the genetic in his text, this seems to come at some cost to expansion on the rich history of immersion in the 20th century. Likewise, the sociopolitical analysis constructed in the pre-modern section shifts to a markedly theoretical treatment in the postmodern era. Although this may be indicative of the cultural framing of the periods involved, or the fact that the book is a translation of a recent revision, I felt a desire to read Grau's analysis of the differences between the pre- and postmodern spaces of immersion; not for the purpose of merging current VR into a unified historical discourse, but for examining the issues of difference amongst the various installations, so one could see the continuities and discontinuities between the various periods. Virtual Art is a landmark volume in that it is one of the first to begin placing new media works into a historical framework with a sensitivity to the shifts in expression that are evident from antiquity to the present day. In an era that often considers history to be measured in months or decades, Virtual Art lends a sense of perspective and insight that is sorely needed in new media discourse. As a reference work, the massive bibliography is truly impressive, and is worth the price of the book in itself. However, if there were to be further incarnations of the book, I would love to read more on Modern-era immersive spaces, and have more comparative analysis between the pre- and postmodern while staying firmly in the realm of VR and the panoramic. Perhaps I might seem a bit critical in places, but it is only because the book held my attention for over three hundred pages over a period of three months. Grau has created a volume that will likely be used as a canonical text in the study of virtual reality for some years to come, and will probably not gather much dust on my shelf, as it will be a valuable resource in my further research of the past and present of virtual reality. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Feisal Ahmad (feisal AT rhizome.org). ISSN: 1525-9110. Volume 9, number 2. 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. 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07.28.06 -RHIZOME DIGEST: 07.21.06 -RHIZOME DIGEST: 07.14.06 -RHIZOME DIGEST: 07.07.06 -RHIZOME DIGEST: 06.30.06 -RHIZOME DIGEST: 06.23.06 -RHIZOME DIGEST: 06.16.06 -RHIZOME DIGEST: 06.02.06 -RHIZOME DIGEST: 05.26.06 -RHIZOME DIGEST: 05.19.06 -RHIZOME DIGEST: 05.12.06 -RHIZOME DIGEST: 05.05.06 -RHIZOME DIGEST: 04.28.06 -RHIZOME DIGEST: 04.21.06 -RHIZOME DIGEST: 04.14.06 -RHIZOME DIGEST: 04.07.06 -RHIZOME DIGEST: 03.31.06 -RHIZOME DIGEST: 03.24.06 -RHIZOME DIGEST: 03.17.06 -RHIZOME DIGEST: 03.12.06 -RHIZOME DIGEST: 03.03.06 -RHIZOME DIGEST: 02.24.06 -RHIZOME DIGEST: 02.17.06 -RHIZOME DIGEST: 02.10.06 -RHIZOME DIGEST: 02.03.06 -RHIZOME DIGEST: 01.27.06 -RHIZOME DIGEST: 01.20.06 -RHIZOME DIGEST: 01.13.06 -RHIZOME DIGEST: 01.06.06 -RHIZOME DIGEST: 12.30.05 -RHIZOME DIGEST: 12.23.05 -RHIZOME DIGEST: 12.16.05 -RHIZOME DIGEST: 12.09.05 -RHIZOME DIGEST: 12.02.05 -RHIZOME DIGEST: 11.25.05 -RHIZOME DIGEST: 11.18.05 -RHIZOME DIGEST: 11.11.05 -RHIZOME DIGEST: 11.4.05 -RHIZOME DIGEST: 10.28.05 -RHIZOME DIGEST: 10.21.05 -RHIZOME DIGEST: 10.14.05 -RHIZOME DIGEST: 10.07.05 -RHIZOME DIGEST: 9.30.05 -RHIZOME DIGEST: 9.23.05 -RHIZOME DIGEST: 9.16.05 -RHIZOME DIGEST: 9.9.05 -RHIZOME DIGEST: 9.2.05 -RHIZOME DIGEST: 8.26.05 -RHIZOME DIGEST: 8.22.05 -RHIZOME DIGEST: 8.14.05 -RHIZOME DIGEST: 8.07.05 -RHIZOME DIGEST: 7.31.05 -RHIZOME DIGEST: 7.24.05 -RHIZOME DIGEST: 7.17.05 -RHIZOME DIGEST: 7.10.05 -RHIZOME DIGEST: 7.03.05 -RHIZOME DIGEST: 6.26.05 -RHIZOME DIGEST: 6.19.05 -RHIZOME DIGEST: 6.12.05 -RHIZOME DIGEST: 6.05.05 -RHIZOME DIGEST: 5.29.05 -RHIZOME DIGEST: 5.22.05 -RHIZOME DIGEST: 5.15.05 -RHIZOME DIGEST: 5.08.05 -RHIZOME DIGEST: 4.29.05 -RHIZOME DIGEST: 4.22.05 -RHIZOME DIGEST: 4.15.05 -RHIZOME DIGEST: 4.01.05 -RHIZOME DIGEST: 3.25.05 -RHIZOME DIGEST: 3.18.05 -RHIZOME DIGEST: 3.11.05 -RHIZOME DIGEST: 3.04.05 -RHIZOME DIGEST: 2.25.05 -RHIZOME DIGEST: 2.18.05 -RHIZOME DIGEST: 2.11.05 -RHIZOME DIGEST: 2.04.05 -RHIZOME DIGEST: 1.28.05 -RHIZOME DIGEST: 1.21.05 -RHIZOME DIGEST: 1.14.05 -RHIZOME DIGEST: 1.08.05 -RHIZOME DIGEST: 1.01.05 -RHIZOME DIGEST: 12.17.04 -RHIZOME DIGEST: 12.10.04 -RHIZOME DIGEST: 12.03.04 -RHIZOME DIGEST: 11.26.04 -RHIZOME DIGEST: 11.19.04 -RHIZOME DIGEST: 11.12.04 -RHIZOME DIGEST: 11.05.04 -RHIZOME DIGEST: 10.29.04 -RHIZOME DIGEST: 10.22.04 -RHIZOME DIGEST: 10.15.04 -RHIZOME DIGEST: 10.08.04 -RHIZOME DIGEST: 10.01.04 -RHIZOME DIGEST: 9.24.04 -RHIZOME DIGEST: 9.17.04 -RHIZOME DIGEST: 9.10.04 -RHIZOME DIGEST: 9.03.04 -RHIZOME DIGEST: 8.27.04 -RHIZOME DIGEST: 8.20.04 -RHIZOME DIGEST: 8.13.04 -RHIZOME DIGEST: 8.06.04 -RHIZOME DIGEST: 7.30.04 -RHIZOME DIGEST: 7.23.04 -RHIZOME DIGEST: 7.16.04 -RHIZOME DIGEST: 7.09.04 -RHIZOME DIGEST: 7.02.04 -RHIZOME DIGEST: 6.25.04 -RHIZOME DIGEST: 6.18.04 -RHIZOME DIGEST: 6.11.04 -RHIZOME DIGEST: 6.04.04 -RHIZOME DIGEST: 5.28.04 -RHIZOME DIGEST: 5.21.04 -RHIZOME DIGEST: 5.14.04 -RHIZOME DIGEST: 5.07.04 -RHIZOME DIGEST: 4.30.03 -RHIZOME DIGEST: 4.16.04 -RHIZOME DIGEST: 4.09.04 -RHIZOME DIGEST: 04.02.04 -RHIZOME DIGEST: 03.27.04 -RHIZOME DIGEST: 03.19.04 -RHIZOME DIGEST: 03.13.04 -RHIZOME DIGEST: 03.05.04 -RHIZOME DIGEST: 02.27.04 -RHIZOME DIGEST: 02.20.04 -RHIZOME DIGEST: 02.13.04 -RHIZOME DIGEST: 02.06.04 -RHIZOME DIGEST: 01.31.04 -RHIZOME DIGEST: 01.23.04 -RHIZOME DIGEST: 01.16.04 -RHIZOME DIGEST: 01.10.04 -RHIZOME DIGEST: 01.05.04 -RHIZOME DIGEST: 12.21.03 -RHIZOME DIGEST: 12.13.03 -RHIZOME DIGEST: 12.05.03 -RHIZOME DIGEST: 11.28.03 -RHIZOME DIGEST: 11.21.03 -RHIZOME DIGEST: 11.14.03 -RHIZOME DIGEST: 11.07.03 -RHIZOME DIGEST: 10.31.03 -RHIZOME DIGEST: 10.25.03 -RHIZOME DIGEST: 10.18.03 -RHIZOME DIGEST: 10.10.03 -RHIZOME DIGEST: 10.03.03 -RHIZOME DIGEST: 9.27.03 -RHIZOME DIGEST: 9.19.03 -RHIZOME DIGEST: 9.13.03 -RHIZOME DIGEST: 9.05.03 -RHIZOME DIGEST: 8.29.03 -RHIZOME DIGEST: 8.22.03 -RHIZOME DIGEST: 8.17.03 -RHIZOME DIGEST: 8.09.03 -RHIZOME DIGEST: 1.17.03 -RHIZOME DIGEST: 1.10.03 -RHIZOME DIGEST: 1.03.03 -RHIZOME DIGEST: 12.20.02 -RHIZOME DIGEST: 12.13.02 -RHIZOME DIGEST: 12.06.02 -RHIZOME DIGEST: 11.29.02 -RHIZOME DIGEST: 11.22.02 -RHIZOME DIGEST: 11.15.02 -RHIZOME DIGEST: 11.01.02 -RHIZOME DIGEST: 10.25.02 -RHIZOME DIGEST: 10.18.02 -RHIZOME DIGEST: 10.11.02 -RHIZOME DIGEST: 10.04.02 -RHIZOME DIGEST: 9.27.02 -RHIZOME DIGEST: 9.20.02 -RHIZOME DIGEST: 9.13.02 -RHIZOME DIGEST: 9.6.02 -RHIZOME DIGEST: 8.30.02 -RHIZOME DIGEST: 8.23.02 -RHIZOME DIGEST: 8.16.02 -RHIZOME DIGEST:8.9.02 -RHIZOME DIGEST: 8.02.02 -RHIZOME DIGEST: 7.26.02 -RHIZOME DIGEST: 7.19.02 -RHIZOME DIGEST: 7.12.02 -RHIZOME DIGEST: 7.5.02 -RHIZOME DIGEST: 6.28.02 -RHIZOME DIGEST: 6.21.02 -RHIZOME DIGEST: 6.14.02 -RHIZOME DIGEST: 6.7.02 -RHIZOME DIGEST: 6.2.02 -RHIZOME DIGEST: 5.26.02 -RHIZOME DIGEST: 5.19.02 -RHIZOME DIGEST: 5.12.02 -RHIZOME DIGEST: 5.5.02 -RHIZOME DIGEST: 4.28.02 -RHIZOME DIGEST: 4.21.02 -RHIZOME DIGEST: 4.14.02 -RHIZOME DIGEST: 4.7.02 -RHIZOME DIGEST: 3.31.02 -RHIZOME DIGEST: 3.23.02 -RHIZOME DIGEST: 3.15.02 -RHIZOME DIGEST: 3.8.02 -RHIZOME DIGEST: 3.3.02 -RHIZOME DIGEST: 2.24.02 -RHIZOME DIGEST: 2.17.02 -RHIZOME DIGEST: 2.10.02 -RHIZOME DIGEST: 2.1.02 -RHIZOME DIGEST: 1.27.02 -RHIZOME DIGEST: 1.18.02 -RHIZOME DIGEST: 1.12.02 -RHIZOME DIGEST: 1.6.02 -RHIZOME DIGEST: 12.30.01 -RHIZOME DIGEST: 12.23.01 -RHIZOME DIGEST: 06.29.01 -RHIZOME DIGEST: 12.2.00 |