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: 03.05.04
From: digest@rhizome.org (RHIZOME)
Date: Fri, 5 Mar 2004 09:25:36 -0500
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org
RHIZOME DIGEST: March 05, 2004

Content:

+announcement+
1. Rasheeqa Ahmad: [Digiplay] Women in Games conference in UK
2. Ars Electronica Center: 2nd International DOM Conference in
Linz/Austria

+opportunity+
3. The Sarai Programme: Fwd: [Sarai Newsletter] Positions Available
4. John J.A. Jannone: FW: Rhizome Rare publishing (Interactive Arts
program at Brooklyn College)
5. Charlotte Frost: Furthertxt wants your txt!
6. Lev Manovich: New UCSD job

+feature+
7. Alex Galloway: "Protocol"--Excerpt from Chapter 6 "Tactial Media"

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

1.

Date: 3.03.04
From: Rasheeqa Ahmad (rasheeqa AT broadway.org.uk)
Subject: [Digiplay] Women in Games conference in UK

----------
From: "Rasheeqa Ahmad" (rasheeqa AT broadway.org.uk)
Date: Wed, 3 Mar 2004 13:13:46 -0000
To: (rasheeqa AT broadway.org.uk)
Subject: FW: [Digiplay] Women in Games conference in UK


-----Original Message-----
From: Aleks Krotoski [mailto:akrotoski AT yahoo.com]
Sent: 02 March 2004 09:37
To: digiplay AT topica.com
Subject: [Digiplay] Women in Games conference in UK

Hi there,

Sorry for the cross-posting, but this is great news.

A Women in Games Conference is being held at the University of
Portsmouth, UK on 10th and 11th June. Click on the link and the release
below, and tell all your UK and European-based friends to come along (as
well as anyone else with access to a plane ticket)! This is a
first-of-a-kind event and is not to be missed.

Aleks

Beyond the Sims and Barbie Magic Hair Styler!

At last: a conference for women who work in the games industry! Still in
a minority, there is a great need for women to work in the games
industry. A recent poll by the Entertainment Software Association found
that more women were playing games than teenage boys (26% women 18+, 21%
boys 6 to 17).

On the 10th and 11th June 2004 the Department of Creative Technologies
at the University of Portsmouth is holding a Women in Games Conference.

The conference is billed as 'Two days of empowerment for women working
in the games industry' and offers important continuing professional
development. This is believed to be the first conference of its kind
anywhere in the world.

The full roster of speakers is not finalised yet, but already Sheri
Graner-Ray from Sony Online Entertainment in Texas, the author of
'Gender Inclusive Game Design', Helen Kennedy from the Play Research
Group at the University of the West of England and Aleksandra Krotoski,
presenter of Thumb Bandits and Bits on Channel 4, who is researching
into games for her PhD at the University of Surrey, have agreed to talk
at the conference. Karl Jeffery, the CEO of Climax, Europe's biggest
independent game developer, is giving an opening address and Tara
Solesbury from Wired Sussex is talking about her Game Girl initiative,
aimed at attracting girls to the games industry.

There are both lectures and breakout sessions to give attendees the
opportunity to analyse the role of women in the games industry and
discuss the future of games that appeal to female gamers. The event also
promises to be a great place for networking with a 'networking meal' at
a local restaurant on the Thursday night.

The Women in Games Conference is a unique opportunity for reflecting on
games and the games industry from a feminine perspective.

For more information talk to Mark Eyles (mark.eyles AT port.ac.uk) or visit
www.womeningames.com

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

2.

Date: 3.03.04
From: Ars Electronica Center (announce AT evil.aec.at)
Subject: 2nd International DOM Conference in Linz/Austria

Begin forwarded message:

From: Ars Electronica Center (announce AT evil.aec.at)
Date: March 1, 2004 11:37:34 AM EST
Subject: 2nd International DOM Conference in Linz/Austria
Reply-To: announcement AT aec.at

Topographies of Populism:
Everyday Life, Media, and the City

2nd International DOM-Conference in Linz
March 25th to 27th, 2004
Ars Electronica Center Linz and University of Arts and Industrial
Design/Linz

Is popular architecture obliged to reflect the clients taste?
Has a successful Design to be in line with the popular will?
And, what determines trends and expectations of a population?

Internationally well known speakers - e.g. Diller+Scofidio(USA), Bill
Moggridge/IDEO (UK), Greg van Alstyne/Bruce Mau Design (CDN), Jeffrey
Inaba/AMO (USA), Thomas Frank (USA) - from Cultural Theory, Media,
Design and Architecture will focus on these questions at the forthcoming
DOM Conference.

Information and registration: www.dom.ufg.ac.at

--------------------------------------------------------------
Please do not reply to this message.
If you want to remove yourself from this mailing list, you can send mail
to (majordomo AT aec.at) with the following command in the body of your
email message: unsubscribe announcement To remove an address other than
the one from which you're sending the request, give that address in the
command: unsubscribe announcement email AT address.xyz
--------------------------------------------------------------

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

Rhizome is now offering organizational subscriptions, memberships
purchased at the institutional level. These subscriptions allow
participants of an institution to access Rhizome's services without
having to purchase individual memberships. (Rhizome is also offering
subsidized memberships to qualifying institutions in poor or excluded
communities.) Please visit http://rhizome.org/info/org.php for more
information or contact Jessica Ivins at Jessica AT Rhizome.org.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

3.

Date: 2.26.04
From: The Sarai Programme (dak AT sarai.net)
Subject: Fwd: [Sarai Newsletter] Positions Available

From: The Sarai Programme (dak AT sarai.net)
Date: February 26, 2004 9:28:53 AM EST
To: newsletter AT sarai.net
Subject: [Sarai Newsletter] Positions Available
Reply-To: dak AT sarai.net

The Sarai programme of the CSDS is looking for researchers for its
media-city project called Public and Practices in the History of the
Present (PPHP). PPHP is an interdisciplinary engagement with the
circulation of old and new media forms (film, cable TV, music, print) in
cities. It looks at networks and their sites: media markets, film halls
and multiplexes, as well as changing forms of distribution and
exhibition. It takes the form of sustained field and archival research
on media history and media publics in India. An important part of the
work includes research on intellectual property law in the media, its
practice in courts, enforcement agencies and law firms.

The core of our work is in Delhi. All applicants must be resident in
Delhi during the research period. Selected applicants will work in
collaboration with a team of existing PPHP researchers.

We are looking for researchers in three areas: -

Cinema: field research and documentation on networks of production,
distribution and exhibition in Indian cinema, with a particular focus on
Delhi's film trade. We seek applications displaying an interest and
familiarity with pertinent academic work in anthropology, film and
cultural history.

Media Property Regimes: Field based research looking at enforcement
agencies (law firms, advocacy, police, investigators) involved with
intellectual property and its discourse.

Information Politics: Field and secondary research into practices of
identification (I.D cards, biometrics), privacy issues, private security
agencies, and lobby groups in industry.

We expect applicants to have field research experience, and be
bi-lingual in Hindi and English. For the legal research post, a critical
engagement with intellectual property discourses will be appreciated.
These are not permanent positions.

Please send an application that includes a one-page statement, and a CV
by email to research AT sarai.net by April 10th 2004. Send either plain
text or rtf files only.

The Newsletter of the Sarai Programme,
29 Rajpur Road, Delhi 110 054, www.sarai.net
Info: dak AT sarai.net.To subscribe: send a blank email to
newsletter-request AT sarai.net with subscribe in the subject header.
Directions to Sarai: We are ten minutes from Delhi University. Nearest
bus stop: IP college or Exchange Stores

See Calendar and Newsletter online:
http://www.sarai.net/calendar/newsletter.htm

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

4.

Date: 2.27.04
From: John J.A. Jannone (john AT ballibay.com)
Subject: Rhizome Rare publishing (Interactive Arts program at Brooklyn
College)

----------
From: "john j.a. jannone" (john AT ballibay.com)
Date: Thu, 26 Feb 2004 17:39:26 -0500
To: feisal AT rhizome.org
Subject: Rhizome Rare publishing

Dear Rhizome,

I'm pleased to announce that the program in Performance and Interactive
Media Arts at Brooklyn College in New York City is currently accepting
student applications for the Fall 2004 - Fall 2005 sequence.

The first review of applicant portfolios will be held on March 15.

Performance and Interactive Media Arts is a graduate program in
collaborative, experimental, transdisciplinary artistic production; a
three-semester, 18-credit certificate program created cooperatively by
the Brooklyn College departments of Art, Computer and Information
Science, Film, Television and Radio, Theater, and the Conservatory of
Music.

For complete information visit the program's website at:
http://www.interactivearts.org

Interactive programming is a central component of the first two
semesters of study, including instruction in the MAX/MSP (+ Jitter &
SoftVNS) programming environment, and opportunities for advanced work in
interactive sound and image in performance settings.

The curriculum consists of courses covering the technology, theory,
creation, and production of multimedia and interactive performance
artworks. Exploration of the collaborative process within a community
context, focusing on the intersection of the creative process and
contemporary community and cultural issues, constitutes an important
feature of the program.

Please contact me off-list.

Thank you,

John Jannone

--
john j.a. jannone
http://www.john.ballibay.com
assistant professor, brooklyn college, cuny
director, program in performance and interactive media arts
http://www.interactivearts.org

718 951 4203 (office)
718 951 4418 (fax)

office: 376 Gershwin Hall
office hours Spring 2004: Tuesdays 1-4, by appointment.

campus mailing address:
304 Whitehead Hall, 2900 Bedford Avenue, Brooklyn, New York 11210-2889

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

5.

Date: 3.03.04
From: Charlotte Frost (charlotte AT digitalcritic.org)
Subject: Furthertxt wants your txt!

Furthertxt is looking for contributors for future issues!!!

Please take a look at the January/February Issue of Furthertxt

which featured:

Caroline Koebel serving up a doggie dinner
Christian Nold serving notice to those who wont listen
Nick Lambert serving a sample of early computer art history
and Barley serving a reminder that the changes we wait for might have
even weightier implications.........


Writers Featured:

Caroline Koebel endeavours through a range of activities to complicate
commodity culture and hopefully shrug off its chilling effects. 'Dead
Dogs, Live Presidents, Interferences' reacts to various communication
and information bodies as if together they form a mass congestion that
asks to be first observed, then reordered, and finally re-released so
that each of the initial bodies can flow simultaneously alongside of and
away from the others.

Christian Nold is an artist, activist and designer of tools for social
change. Having published a book for Book Works about technologies of
political control, he is now studying at the Royal College of Art. His
work is focused on developing new tangible and conceptual tools that
allow groups to create their own representations.

Dr Nick Lambert works at the CACHe Project, Birkbeck College, studying
the origins of British Computer Art. This article looks at Computer
Art's status as an artform, its origins and some unexplored facets of
its history.

Barley is a writer and generally overdramatic-type. This poem was
written when the writer went though a period of life change and was then
given a new watch as a reward for academic achievement...and suddenly
the world seemed a very different place when measured with this new
time.


Please also peruse our back issues which feature written work by:
Patrick Lichty, The Critical Art Ensemble, Saul Albert, Marc Garrett,
Lewis La Cook, Ryan Griffis, Millie Niss, Peter Yeoh, Gayle Wald, Bruce
Eves...and more!

If you would like to contribute to furthertxt, contact me now!!!! :-)


Charlotte Frost - Furthertxt editor.

http://www.furthertxt.org
++++++++++++++++++++++++

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

6.

Date: 3.04.04
From: Lev Manovich (lev AT manovich.net)
Subject: New UCSD job

From: Lev Manovich (lev AT manovich.net)
Date: March 3, 2004 5:32:35 PM EST
To: (rachel AT rhizome.org)
Subject: New UCSD job

Rachel,

Although the deadline is March 10 the committee will be accepting
applications after as long as it takes to find the right person

-Lev

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


Faculty Position: Assistant or Associate Professor, New Media Arts
University of California San Diego

The University of Californa, San Diego Division of Arts and Humanities
(http://dah.ucsd.edu) invites applicants for an assistant or beginning
associate professor of new media arts, to begin July 1, 2004. Salary
will be commensurate with qualifications and experience and based upon
UC pay scales.

Candidates should have creative and/or theoretical work that
demonstrates a substantial engagement with computing in any field of the
arts such as (but not limited to) the visual arts, music, theatre and/or
dance. The position will be affiliated with the New Media Arts area of
the California Institute of Information Technology and
Telecommunications [Cal-(IT)2 - http://www.calit2.net ], and with the
Center for Research in Computing and the Arts (CRCA -
http://www.crca.ucsd.edu). The position will involve teaching within the
Interdisciplinary Computing in the Arts Major and the development of new
digital arts graduate programs. The candidate will join one of the
departments of Visual Arts, Music, or Theatre and Dance. PhD, MFA or
commensurate professional experience is required.

To apply, please send a letter of intent including a statement of
qualifications and research interests, curriculum vitae, samples of
creative work and/or publications, along with names and addresses
(including email addresses) of three references to:

Digital Arts Search Committee
CRCA 0037
UC San Diego
La Jolla, CA 92093-0037

The application deadline is March 10, 2004, or until the position is
filled. Please reference position #4-332-CRCA in all correspondence.
Enclose self-addressed postcard for acknowledgment of application and
SASE for return of work samples.

UCSD is a major research university that promotes and supports creative
work and advanced research in all forms of the arts including practice,
history and theory. One of the ten campuses in the world-renowned
University of California system, UCSD has rapidly achieved the status as
one of the top institutions in the nation for higher education and
research. Total current campus enrollment is nearly 25,000. Generous
research funding and excellent studio facilities are available. Teaching
will include both graduate seminars and undergraduate classes and active
involvement with a new interdisciplinary graduate program currently in
development.

UCSD is an Equal Opportunity/Affirmative Action Employer with a strong
institutional commitment to excellence through diversity.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

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). Details at:
http://rhizome.org/services/1.php

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

7.

Date: 3.02.04
From: Alex Galloway (galloway AT nyu.edu)
Subject: "Protocol"--Excerpt from Chapter 6 "Tactial Media"

"Protocol: How Control Exists After Decentralization"
Excerpt from Chapter 6 "Tactial Media":

Arquilla and Ronfeldt coined the term netwar, which they define as "an
emerging mode of conflict (and crime) at societal levels, short of
traditional military warfare, in which the protagonists use network
forms of organization and related doctrines, strategies, and
technologies attuned to the information age."

Throughout the years new diagrams (also called graphs or organizational
designs) have appeared as solutions or threats to existing ones.
Bureaucracy is a diagram. Hierarchy is one too, as is peer-to-peer.
Designs come and go, serving as useful asset managers at one historical
moment, then disappearing, or perhaps fading only to reemerge later as
useful again. The Cold War was synonymous with a specific military
diagram--bilateral symmetry, mutual assured destruction (MAD),
massiveness, might, containment, deterrence, negotiation; the war
against drugs has a different diagram--multiplicity, specificity, law
and criminality, personal fear, public awareness.

This book is largely about one specific diagram, or organizational
design, called distribution, and its approximate relationship in a
larger historical transformation involving digital computers and
ultimately the control mechanism called protocol.

In this diagramatic narrative it is possible to pick sides and describe
one diagram as the protagonist and another as the antagonist. Thus the
rhizome is thought to be the solution to the tree, the wildcat strike
the solution to the boss's control, Toyotism the solution to
institutional bureaucracy, and so on. Alternately, terrorism is thought
to be the only real threat to state power, the homeless punk rocker a
threat to sedentary domesticity, the guerrilla a threat to the war
machine, the temporary autonomous zone a threat to hegemonic culture,
and so on.

This type of conflict is in fact a conflict between different social
structures, for the terrorist threatens not only through fear and
violence, but specifically through the use of a cellular organizational
structure, a distributed network of secretive combatants, rather than a
centralized organizational structure employed by the police and other
state institutions. Terrorism is a sign that we are in a transitional
moment in history. (Could there ever be anything else?) It signals that
historical actors are not in a relationship of equilibrium, but are
instead grossly mismatched.

It is often observed that, due largely to the original comments of
networking pioneer Paul Baran, the Internet was invented to avoid
certain vulnerabilities of nuclear attack. In Baran's original vision,
the organizational design of the Internet involved a high degree of
redundancy, such that destruction of a part of the network would not
threaten the viability of the network as a whole. After World War II,
strategists called for moving industrial targets outside urban cores in
a direct response to fears of nuclear attack. Peter Galison calls this
dispersion the "constant vigilance against the re-creation of new
centers." These are the same centers that Baran derided as an "Achilles'
heel" and that he longed to purge from the telecommunications network.

"City by city, country by country, the bomb helped drive dispersion,"
Galison continues, highlighting the power of the A-bomb to drive the
push toward distribution in urban planning. Whereas the destruction of a
fleet of Abrams tanks would certainly impinge upon army battlefield
maneuvers, the destruction of a rack of Cisco routers would do little to
slow down broader network communications. Internet traffic would simply
find a new route, thus circumventing the downed machines.

(In this way, destruction must be performed absolutely, or not at all.
"The only way to stop Gnutella," comments WiredPlanet CEO Thomas Hale on
the popular file sharing protocol, "is to turn off the Internet." And
this is shown earlier in my examination of protocol's high penalties
levied against deviation. One is completely compatible with a protocol,
or not at all.)

Thus the Internet can survive attacks not because it is stronger than
the opposition, but precisely because it is weaker. The Internet has a
different diagram than a nuclear attack does; it is in a different
shape. And that new shape happens to be immune to the older.

All the words used to describe the World Trade Center after the attacks
of September 11, 2001, revealed its design vulnerabilities vis-a-vis
terrorists: It was a tower, a center, an icon, a pillar, a hub.
Conversely, terrorists are always described with a different vocabulary:
They are cellular, networked, modular, and nimble. Groups like Al Qaeda
specifically promote a modular, distributed structure based on small
autonomous groups. They write that new recruits "should not know one
another," and that training sessions should be limited to "7?10
individuals." They describe their security strategies as "creative" and
"flexible."

This is indicative of two conflicting diagrams. The first diagram is
based on the strategic massing of power and control, while the second
diagram is based on the distribution of power into small, autonomous
enclaves. "The architecture of the World Trade Center owed more to the
centralized layout of Versailles than the dispersed architecture of the
Internet," wrote Jon Ippolito after the attacks. "New York's resilience
derives from the interconnections it fosters among its vibrant and
heterogeneous inhabitants. It is in decentralized structures that
promote such communal networks, rather than in reinforced steel, that we
will find the architecture of survival." In the past the war against
terrorism resembled the war in Vietnam, or the war against
drugs-?conflicts between a central power and an elusive network. It did
not resemble the Gulf War, or World War II, or other conflicts between
states.

"As an environment for military conflict," The New York Times reported,
"Afghanistan is virtually impervious to American power." (In addition to
the stymied U.S. attempt to rout Al Qaeda post-September 11, the failed
Soviet occupation in the years following the 1978 coup is a perfect
example of grossly mismatched organizational designs.) Being
"impervious" to American power today is no small feat.

The category shift that defines the difference between state power and
guerilla force shows that through a new diagram, guerillas, terrorists,
and the like can gain a foothold against their opposition. But as
Ippolito points out, this should be our category shift too, for
anti-terror survival strategies will arise not from a renewed massing of
power on the American side, but precisely from a distributed (or to use
his less precise term, decentralized) diagram. Heterogeneity,
distribution, and communalism are all features of this new diagrammatic
solution.

In short, the current global crisis is one between centralized,
hierarchical powers and distributed, horizontal networks. John Arquilla
and David Ronfeldt, two researchers at the Rand Corporation who have
written extensively on the hierarchy-network conflict, offer a few
propositions for thinking about future policy:

+ Hierarchies have a difficult time fighting networks.

+ It takes networks to fight networks.

+ Whoever masters the network form first and best will gain major
advantages.

These comments are incredibly helpful for thinking about tactical media
and the role of today's political actor. It gives subcultures reason to
rethink their strategies vis-a-vis the mainstream. It forces one to
rethink the techniques of the terrorist. It also raises many questions,
including what happens when "the powers that be" actually evolve into
networked power (which is already the case in many sectors).

In recent decades the primary conflict between organizational designs
has been between hierarchies and networks, an asymmetrical war. However,
in the future the world is likely to experience a general shift downward
into a new bilateral organizational conflict--networks fighting
networks.

"Bureaucracy lies at the root of our military weakness," wrote advocates
of military reform in the mid-eighties. "The bureaucratic model is
inherently contradictory to the nature of war, and no military that is a
bureaucracy can produce military excellence."

While the change to a new unbureaucratic military is on the drawing
board, the future network-centric military--an unsettling notion to say
the least--is still a ways away. Nevertheless networks of control have
invaded our life in other ways, in the form of the ubiquitous
surveillance, biological informatization, and other techniques discussed
in chapter 3 [on "Power"].

The dilemma, then, is that while hierarchy and centralization are almost
certainly politically tainted due to their historical association with
fascism and other abuses, networks are both bad and good. Drug cartels,
terror groups, black hat hacker crews, and other denizens of the
underworld all take advantage of networked organizational designs
because they offer effective mobility and disguise. But more and more
one witnesses the advent of networked organizational design in corporate
management techniques, manufacturing supply chains, advertisement
campaigns, and other novelties of the ruling class, as well as all the
familiar grassroots activist groups who have long used network
structures to their advantage.

In a sense, networks have been vilified simply because the terrorists,
pirates, and anarchists made them notorious, not because of any negative
quality of the organizational diagram itself. In fact, positive
libratory movements have been capitalizing on network design protocols
for decades if not centuries. The section on the rhizome in A Thousand
Plateaus is one of literature's most poignant adorations of the network
diagram.

It has been the goal of this [section] to illuminate a few of these
networked designs and how they manifest themselves as tactical effects
within the media's various network-based struggles. [...] These tactical
effects are allegorical indices that point out the flaws in
protocological and proprietary command and control. The goal is not to
destroy technology in some neo-Luddite delusion, but to push it into a
state of hypertrophy, further than it is meant to go. Then, in its
injured, sore, and unguarded condition, technology may be sculpted anew
into something better, something in closer agreement with the real wants
and desires of its users. This is the goal of tactical media.

[Excerpt reprinted with the permission of The MIT Press.]

----

"Protocol: How Control Exists After Decentralization"
by Alexander R. Galloway
The MIT Press (March, 2004), 248 pages, ISBN 0262072475

book homepage: http://mitpress.mit.edu/protocol
table of contents:
http://homepages.nyu.edu/~ag111/Protocol-contents.doc
amazon page: http://www.amazon.com/exec/obidos/ASIN/0262072475

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

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 10. 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.

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +