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: 8.13.04 From: digest@rhizome.org (RHIZOME) Date: Tue, 17 Aug 2004 01:03:25 -0700 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: August 13, 2004 Content: +note+ 1. Kevin McGarry: New ArtBase Announcments to Rhizome RAW +announcement+ 2. US Department of Art & Technology: Experimental Party DisInformation Center Comes to NYC 3. Rachel Greene: Fwd: read_me 2004 program out! 4. Pete Otis: REFRESH! THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY 5. Christiane Paul: agent.netart presents 6. ryan griffis: FWD: Gigantic Art Space hosting Indy Media InfoShop +opportunity+ 7. Wand 5 e.V.: Call for Entries: 18th Stuttgart Filmwinter - Festival for Expanded Media > SLEEPINESS AND MATURITY 8. Rachel Greene: Fwd: [oldboys] call for participation 9. Indi McCarthy: Job opening AT the Beall Center // Technical Director 10. Raquel Herrera: Metanarrative(s) CALL FOR P & W +work+ 11. Pau Waelder: Ars Electronica t+25 timeline 12. ryan griffis: ExxonSecrets +feature+ 13. Nathaniel Stern: Dense and Urban - the Cybermohalla in Delhi + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 8.09.04 From: Kevin McGarry <Kevin AT rhizome.org> Subject: New ArtBase Announcments to Rhizome RAW Today Rhizome.org is implementing a system that will post an up to the minute announcement to Rhizome RAW for every new work added to the ArtBase. It's straightforward: if you are subscribed to RAW, you'll now begin receiving emails from the ArtBase with a link, description, and artist's bio for each artwork added to the ArtBase as it is added. Some of these may appear in RARE (on the frontpage of Rhizome.org) and in DIGEST - Superusers, feel free to publish exciting projects. And as always, if you're interested in becoming a Superuser (volunteer editors of Rhizome RAW), go ahead and email me for more information. All the Best, Kevin McGarry Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 8.09.04 From: US Department of Art & Technology <press AT usdat.us> Subject: Experimental Party DisInformation Center Comes to NYC What: Experimental Party DisInformation Center Anarchic Entertainment for the Nation! Presented by the US Department of Art & Technology (full press release below) Works by: Mark Amerika, Jonah Brucker-Cohen, Andy Deck, Jeff Gates, Jon Henry, Lynn Hershman, Gregory T. Kuhn, Paul Miller aka DJ Spooky and '47,' Andrew Nagy, Randall Packer, Trace Reddell, Rick Silva, and Wesley Smith. Convention coverage by Alexander Provan. When: Opening reception: "Propaganda Hospitality Suite," Sat., August 21st, 6-8pm (Bring Your Own Propaganda BYOP) Installation continues through Sept. 4, Tues. - Sat. 11am - 6pm Closing reception: "Post-Mortem Lounge," Sat., Sept. 4, 6-8pm Where: LUXE gallery 24 W. 57th St., 5th Floor, #503 212.404.7455 New York City Website: http://www.experimentalparty.org ---------------------------------------- Media Release For Immediate Release: July 23, 2004 Contact: Press Secretary, Megan Morrow 510-547-2162 morrow AT usdat.us EXPERIMENTAL PARTY DISINFORMATION CENTER COMES TO NYC WASHINGTON, DC - The Experimental Party DisInformation Center rolls into New York City on Saturday, August 21st just ahead of the Republican National Convention with its opening reception, entitled "Propaganda Hospitality Suite," at LUXE Gallery, 24 West 57th Street, NYC, 6 - 8 PM. Politicos, press, protestors, Republicans, performance artists, and the public will gather for a first look at the Experimental Party DisInformation Center, a state-of-the-art media installation presented by the US Department of Art & Technology. The exhibition runs through Saturday, September 4th, when it will close with a Post-Mortem Lounge from 6 - 8 PM. Regular hours for the installation are Tuesday through Saturday from 11 AM to 6 PM. On-line works and additional information can be found at: http://www.experimentalparty.org The opening of the Experimental Party DisInformation Center will bring together diverse elements of the politically-charged artists and activists converging on New York for an evening of pre-convention revelry, featuring special appearances by Axis of Eve, Billionaires for Bush, Armed Artists of America (AAA), USA Exquisite Corpse, The Secretary, and the Virtual Voice of America singing "God Bless America." All artists and citizens are encouraged to "bring your own propaganda" (BYOP). Regarding the Experimental Party DisInformation Center, US DAT Secretary Randall M. Packer stated, "We selected New York City to stage a 'convention intervention' in order to subvert the ensuing propaganda of the Republicans with our own techniques of media and illusion. Our decision will show that if you want to carry out anarchic entertainment for the nation, there's no place better in the world to do it than New York City during the Republican National Convention!" Secretary Packer has collaborated with US DAT staff artists including: Mark Amerika, Jonah Brucker-Cohen, Jeff Gates, Jon Henry, Lynn Hershman, Gregory T. Kuhn, Andrew Nagy, and Wesley Smith. Additional works by Andy Deck, Paul Miller aka DJ Spooky and '47,' Trace Reddell, and Rick Silva are also included. Convention coverage by Alexander Provan and the Experimental News team. Featured projects at the Experimental Party DisInformation Center include: Media Deconstruction Kit (MDK): Live altering of broadcast news and Convention coverage. Society of the Spectacle (A Digital Remix): Ten-minute DVD art-loop by DJRABBI. WetheBlog.org: Virtual community for media artists and cultural critics. Homeland Insecurity Advisory System: Broadcasting the daily governmental threat. Awaken: A dark portrayal of the Spirit of America. Abe Golam for President 2004 (A PolyVocal Remix): Politically reborn avatar-candidate. For on-line projects, information and photos visit http://www.experimentalparty.org and http://www.usdat.us LUXE Gallery: 24 W. 57th St., NYC, Tues - Sat. 11AM - 6PM, 212.404.7455 ****** About the US Department of Art & Technology http://www.usdat.us The US Department of Art and Technology is the United States principal conduit for facilitating the artist's need to extend aesthetic inquiry into the broader culture where ideas become real action. It also serves the psychological and spiritual well-being of all Americans by supporting cultural efforts that provide immunity from the extension of new media technologies into the social sphere. About the Experimental Party http://www.experimentalparty.org The Experimental Party - the "party of experimentation" - is an initiative that has been formed to activate citizens across the country in an effort to bring the artists' message to center stage of the political process. This is a political awakening, "representation through virtualization" is the major political thrust - it is the driving force. ***** This event is part of the Imagine Festival of Arts, Issues & Ideas, a citywide cultural festival, Aug 28 - Sept 2, designed to inspire, instigate and support civic engagement through the arts. http://www.imagine04.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Rachel Greene at Rachel AT Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 8.10.04 From: Rachel Greene <rachel AT rhizome.org> Subject: Fwd: read_me 2004 program out! ------------------------------------------------------------- READ_ME 2004 software art festival Aarhus, Denmark / \ / \ Software Art and Cultures Runme-Dorkbot conference citycamp August, 23-24 August, 25-27 ------------------------------------------------------------- The conference aims at providing a discussion platform for specialists from various disciplines, including non-academics, art theorists, and others thinkers and learners interested in deep effects produced on art, culture, and society by ubiquitous software and influential software cultures, and the ways to analyze them and challenge existing patterns. Software Art and Cultures Conference program available at: http://readme.runme.org/conf_program_short.php - short http://readme.runme.org/conf_program_full.php - full Speakers: Amy Alexander, Inke Arns, Brad Borevitz, Christophe Bruno, Nick Collins, Geoff Cox, Andreas Leo Findeisen, Matthew Fuller, Pau David Alsina Gonzalez, Dave Griffiths, Troels Degn Johansson, Fátima Lasay, Jacob Lillemose, Alessandro Ludovico, Alex McLean, Douwe Osinga, Fredrik Olofsson, Casey Reas, Julian Rohrhuber, Mirko Schaefer, Ewan Steel, Adrian Ward, Ernst Wit, Simon Yuill. ------------------------------------------------------------- 'people doing strange things with software' Runme Dorkbot citycamp will be a gathering of people interested in software and art where citycampers will be free to do some research, develop code and ideas, talk to interesting people and enjoy dorkbot-style presentations (5-20 minute presentations with feedback sessions), performances, workshops and parties. Runme Dorkbot citycamp program available at: http://readme.runme.org/camp_program_scheme.php - short http://readme.runme.org/camp_program_full.php - full Participants: Casey Reas, Fredrik Olofsson, Salsaman, Rene Beekman, Victor Laskin, Ivan Bachev, Fredrik Sandberg, Douwe Osinga, Georg Tremmel, Shiho Fukuhara, Jean-Baptiste Bayle & Beatrice Rettig, Christophe Bruno, Eugenio Tisselli, Peter Luining, ap (Martin Howse, Jonathan Kemp), Rachel Beth Egenhoefer, Brad Borevitz, Anne Laforet, Patrice Riemens and Lisa Haskel, Anne Dyhr [ plus ], Eva Sjuve, James Nevin, Paul Camacho, Alexander Gurko, Benjamin Delarre, Simon Yuill, Paul Slocum, Lauren Gray, Aristarkh Chernyshev, Danja Vasiliev, Sergey Teterin, Yves Degoyon, Lluis Gomez i Bigorda, Tatiana Bazzichelli, Julian Priest, Joan Leandre, Douglas Repetto, Nathalie Magnan, Criticalartware, Marco Di Carlo, Petra Lange, Lars Roth, Arnold von Wedemeyer, Buro21 (Nicolas Hansson, Aron Falk, Lukas Nystrand), Kristjan Varnik, James Nevin, VJ Ubergeek, Trevor Batten, Steffen Leve Poulsen, Tom Betts, Joe Gilmore, a+r (Roc Jimenez de Cisneros Banegas, Anna Ramos Garcia), Thomas Petersen, Kristine Ploug. Exhibition Human-Machine Interface: Paul Slocum. dot_matrix_synth; Roger Wigger and Doma Smoljo. Hardware Orchestra; Aristarkh Chernyshev. Shining TV. Workshops: Read_Me Code Poetry Slam (with Florian Cramer); Outdoor computing session (with Annina Ruest); LiVES workshop on video editing / Vjing with LiVES and Linux/BSD (with Salsaman); 'medialog and recuerdos de luchas': Pure Data workshop focused on network communications and video processing with d.R.e.G.S. / r1. Lounges: Oriental Slackers Salon by Patrice Riemens and Lisa Haskel; OUTPUT_lounge by Anne Dyhr [ plus ] Peformances: Eva Sjuve. 13 Volts and 1 Carrot; James Nevin. The Realto Artware Machine. Evening program: pez orchestra. Anne Laforet; Eugenio Tisselli. MIDIPoet; Rasmus Lunding; klipp av; Paul Slocum, Lauren Gray. Tree Wave music performance; Everybody VJ; Popautomate songs + anti copyright megaphone. Jean-Baptiste Bayle & Beatrice Rettig; ap [martin howse, jonathan kemp]; d.R.e.G.S. / r1. "The Aesthetics Of Our Anger"; Live coding / command-line performing; Goodiepal; VJ Salsaman (LiVES) and VJ WIMP + DJ LJUD. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 8.11.04 From: Pete Otis <virtualart AT culture.hu-berlin.de> Subject: REFRESH! THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY REFRESH! FIRST INTERNATIONAL CONFERENCE ON THE HISTORIES OF MEDIA ART, SCIENCE AND TECHNOLOGY September 28 - October 2, 2005 at Banff New Media Institute, Canada "The technology of the modern media has produced new possibilities of interaction... What is needed is a wider view encompassing the coming rewards in the context of the treasures left us by the past experiences, possessions, and insights." (Rudolf Arnheim, Summer 2000) Recognizing the increasing significance of media art for our culture, this Conference on the Histories of Media Art will discuss for the first time the history of media art within the interdisciplinary and intercultural contexts of the histories of art. Leonardo/ISAST, the Database for Virtual Art, Banff New Media Institute, and UNESCO DigiArts are collaborating to produce the first international art history conference covering art and new media, art and technology, art-science interaction, and the history of media as pertinent to contemporary art. MEDIA ART HISTORIES After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, and telematic art). Even in robotics and nanotechnology, artists design and conduct experiments. This dynamic process has triggered intense discussion about images in the disciplines of art history, media studies, and neighboring cultural disciplines. The Media Art History Project offers a basis for attempting an evolutionary history of the audiovisual media, from the laterna magica to the panorama, phantasmagoria, film, and the virtual art of recent decades. It is an evolution with breaks and detours; however, all its stages are distinguished by a close relationship between art, science, and technology. Refresh! will discuss questions of historiography, methodology and the role of institutions of media art. The Conference will contain key debates about the function of inventions, artistic practice in collaborative networks, the prominent role of sound during the last decades and will emphasize the importance of intercultural and pop culture themes in the Histories of Media Art. Readings of new media art histories vary richly depending on cultural contexts. This event calls upon scholarship from a strongly international perspective. Therefore Refresh! will represent and address the wide array of disciplines involved in the emerging field of Media Art. Beside Art History these include the Histories of Sciences and Technologies , Film-, Sound-, Media-, Visual and Theatre Studies, Architecture, Visual Psychology, just to name a few. DOCUMENTATION - CURATING - COLLECTION Although the popularity of media art exhibited at exhibitions and art festivals is growing among the public and increasingly influences theory debates, with few exceptions museums and galleries have neglected to systematically collect this present-day art, to preserve it and to demand appropriate conservatory measures. Thus, several decades of international media art is in danger of being lost to the history of collecting and to academic disciplines such as art history. This gap will have far-reaching consequences; therefore, the conference will also discuss the documentation, collection, archiving and preservation of media art. What kind of international networks must be created to advance appropriate policies for collection and conservation? What kind of new technologies do we need to optimize research efforts and information exchange? MAILING LIST LEONARDO, journal of the International Society for the Arts, Sciences, and Technology, has documented for the past thirty-seven years the pioneering work of artists who work in and with new media. Together with Leonardo Book Series and LEA Electronic Journal, the journal is published by the MIT Press. For further information about the forthcoming conference and the long-term LEONARDO Media Art History Project, please email to join: banffleoarthistconfinfo-subscribe AT yahoogroups.com <mailto:banffleoarthistconfinfo-subscribe AT yahoogroups.com> CONFERENCE Held at The Banff Centre, featuring lectures by invited speakers as well as others selected by a jury from a call for papers, the main event will be followed by a two-day summit meeting (October 1-2, 2005) for in-depth dialogues and international project initiation. The first call for papers will be in late Summer 2004. In particular, young postgraduates in the research areas of: art history and new media, art and technology, the interaction of art and science, and media history, are encouraged to submit for the following panels: MEDIA ART HISTORIES Times and Landscapes Methodologies Invention Collaborative Practice Pop Mass Society Cross-Culture, Global Art ART HISTORY AS IMAGE SCIENCE Film, Sound, Media Art & Performance History of Sciences & Media Art Media & Visual Studies DOCUMENTATION - CURATING - COLLECTION - RIGHTS New Scientific Tools History of Institutions HONORARY BOARD Rudolf ARNHEIM; Frank POPPER; Jasia REICHARDT; Itsuo SAKANE, Walter ZANINI ADVISORY BOARD Hans BELTING, Karlsruhe; Andreas BROECKMANN, Berlin; Karin BRUNS, Linz; Annick BUREAUD, Paris; Dieter DANIELS, Leipzig; Diana DOMINGUES, Caxias do Sul; Felice FRANKEL, Boston; Jean GAGNON, Montreal; Thomas GUNNING, Chicago; Linda D. HENDERSON, Austin; Manrai HSU, Taipei; Erkki HUHTAMO, Los Angeles; Ángel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA, Tokyo; W.J.T. MITCHELL, Chicago; Gunalan NADARAJAN, Singapore; Eduard SHANKEN, Durham; Barbara STAFFORD, Chicago; Christiane PAUL, New York; Louise POISSANT, Montreal; Jeffrey SHAW, Sydney; Tereza WAGNER, Paris; Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco BANFF Sara DIAMOND, Director of Research and Artistic Director of BNMI (Local Chair) Susan KENNARD, Executive Producer of BNMI (Organisation) www.banffcentre.ca/bnmi/ <http://www.banffcentre.ca/bnmi/> LEONARDO Annick BUREAUD, Director Leonardo Pioneers and Pathbreakers Art History Project, Leonardo/OLATS www.olats.org <http://www.olats.org> PUBLICATIONS COMMITTEE Chair: Roger F MALINA, Chair Leonardo/ISAST www.leonardo.info <http://www.leonardo.info> CONFERENCE DIRECTOR & ORGANISATION Oliver GRAU, Director Immersive Art & Database of Virtual Art Humboldt University Berlin http://virtualart.hu-berlin.de <http://virtualart.hu-berlin.de> SUPPORTED BY: LEONARDO, GERMAN RESEARCH FOUNDATION, UNESCO DIGIARTS, VILLA VIGONI, INTEL + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 8.13.04 From: Christiane Paul <Christiane_Paul AT WHITNEY.ORG> Subject: agent.netart presents agent.netart presents The Passage of Mirage -- Illusory Virtual Objects featuring works by Jim Campbell, Vuk Cosic, John Gerrard, W. Bradford Paley, Eric Paulos, Wolfgang Staehle, Thomson & Craighaid, and Carlo Zanni September 14 - October 16 Chelsea Art Museum 556 West 22nd Street, AT 11th avenue New York, NY 10011 USA http://chelseaartmuseum.org =========================== +Opening reception: Tues, September 14, 6-8 PM +Artist Talk: Thurs., September 30, 7 - 9 PM +Symposium: "Negotiating Realities: New Media Art and the Post-Object" Sun, Oct. 10, 11-5 PM, Tishman Auditorium, New School University, 66 W 12th St. Exhibition and symposium organized by agent.netart http://agent.netart-init.org (joint public programs by Intelligent Agent and the Netart Initiative of the Parsons School of Design) Curators and symposium co-ordinators: Christiane Paul (Director, Intelligent Agent; Adjunct Curator of New Media Arts, Whitney Museum) Zhang Ga (Director, Netart Initiative; Professor, MFA Design and Technology program, Parsons School of Design) The exhibition and symposium are made possible by funding from THE ROCKEFELLER FOUNDATION ============================ The exhibition "The Passage of Mirage" explores concepts surrounding the "virtual object" and the issues of representation that have been raised by it. While the coalition of virtual and object seems contradictory at first glance, it dialectically illuminates the complex relationships between the virtual and the real that unfold in new media art. In classical optical theories of the 18th century, the word "virtual" was used to describe the reflected image of an object. Today's digital image does not require a physical object to represent a physical reality; rather than reproducing reality, it encodes data and therefore alludes to an expanded concept of objecthood. New media art both connects to and expands the dematerialization of the art object that occurred in earlier art movements. The new media object is a process in flux that is potentially interactive, dynamic, participatory and customizable and often oscillates between its inherent ephemeral nature and its material components or peopleâ??s desire to objectify it. "The Passage of Mirage" features nine projects that address these issues by portraying the virtual object as a process, a data structure (or carrier thereof), or as an encoded reality. The artworks expand notions of the traditional art object, sometimes quite specifically with regard to more established art forms such as photography, film, or painting. The works of Jim Campbell and Thomson & Craighead, for example, offer different approaches to processing the medium of film. Campbell's "Accumulating Psycho" continuously collapses and accumulates the images of the entire 1 hour, 50 minutes Hitchcock film; by contrast, the artist's "Night Light" visualizes Psycho's sound level and the brightness of the image throughout the film. Thomson & Craighead's "Short Films about Flying" is an edition of unique cinematic works that were generated in real-from existing data found on the World Wide Web: each "movie" (replete with opening titles and end credits) combines a video feed from Logan Airport in Boston with randomly loaded net radio sourced from elsewhere in the world. John Gerrard's "Watchful" and Carlo Zanni's "Oriana" both transform a portrait into a "living" process that is networked or responds to haptic sensation; and Wolfgang Staehle's and Vuk Cosic's works present a "live" version of a photograph or painting. In very different ways, the idea of the object as data carrier unfolds both in W. Bradford Paley's "Code Profiles" and Eric Paulos' "Limelight," a sculptural object that doubles as automated threat detection and indication system. While still informed by the aesthetics of more traditional media, the artworks in the exhibition are media objects that are process-oriented, reactive, or open to (real-time) data processing an + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Rachel Greene at Rachel AT Rhizome.org. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. Date: 8.13.04 From: ryan griffis <grifray AT yahoo.com> Subject: FWD: Gigantic Art Space hosting Indy Media InfoShop WHAT: Independent Media InfoShop Opening Night & Silent Auction Fundraiser WHEN: August 19th, 2004 8-12 p.m. LOCATION: Gigantic ArtSpace, NYC 59 Franklin Street, between Lafayette and Broadway OVERVIEW: From August 19 to September 6 Gigantic ArtSpace, in downtown New York, will serve as an Independent Media Infoshop for a public hungry for truth. During the Republican National Convention, the GOP spin machine will make every effort to airbrush the hundreds of thousands of expected protesters out of the happy GOP Convention picture, or worse, paint them as dangerous ³Un-American² thugs. To facilitate this, they have outfitted the Farleigh Post Office building as the corporate media¹s newsroom, and built a bridge from there to Madison Square Garden, so that the corporate press never has to touch the streets. But the NYC Grassroots Media Coalition and the Indymedia Network have a different mission. We will build our own newsroom with the support and resources of our communities and use it to produce a daily newspaper, a daily television show, a 24-hour radio webstream and a website with up-to-the-minute reports and photographs. If you want to know what the people have to say, this is where you need to look. To help showcase this work, the Gigantic ArtSpace has generously offered independent journalists their space. On August 19, we invite you to join us for the opening of Gigantic ArtSpace as an Infoshop and to celebrate the quality and tradition of independent journalism. Indymedia photographers will showcase their work on gallery walls; videographers will screen their footage on the five gallery monitors, you can tune into the I-pod installations to hear historic radio coverage of conventions past. This will also be a great opportunity to find out how we plan to cover the voices of people on the street during the upcoming Republican National Convention, and how you can plug in. Cocktails will be served. Special presentation: Rick Rowley of Big Noise Films, just returned from Sadr City, Baghdad, will present his footage and talk about what we don¹t hear about the Iraq war. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. Date: 8.08.04 From: Wand 5 e.V. <mailbox AT typedown.com> Subject: Call for Entries: 18th Stuttgart Filmwinter - Festival for Expanded Media > SLEEPINESS AND MATURITY Call for Entries: 18th Stuttgart Filmwinter - Festival for Expanded Media Deadline for submissions: September 1, 2004 German Version see below... ------------------------------------------------------------------------- SLEEPINESS AND MATURITY ------------------------------------------------------------------------- 18th Stuttgart Filmwinter - Festival for Expanded Media Film | Video | New Media | Installation | Performance | Theory Festival, January 13-16, 2005 Warm Up, January 6-12, 2005 www.filmwinter.de ------------------------------------------------------------------------- Eventually 18! Filmwinter is of age. The 18th edition of the Stuttgart Filmwinter is still looking for innovative, critical, and unknown posititions in media art and film culture. After the record of 1700 submissions at the last festival the organizer Wand 5 cordially invites filmmakers, media producers, and artists to submit their work. Productions in the field of film, video, CD-ROM/DVD-ROM (offline), internet (online), installation, and performance are very welcome. SUBMISSION Internet projects and websites may be submitted online on the festival's website www.filmwinter.de. Entry forms and regulations for submissions in the field of film, video, CD-ROM/DVD-ROM (offline), installation, and performance can be downloaded as PDF-file. Deadline for submission: September 1, 2004 AWARDS In the sections film/video and new media prizes amounting more than 14.500 Euro will be awarded by the audience and various jury commissions. Team-Work-Award The Marli-Hoppe-Ritter Art Foundation endows an award of Euro 2.000 for a team production in the field of film and video. Norman 2005 Award of the Jury for film and video of Euro 4.000 - donated by the city of Stuttgart IBM Awards for New Media These awards of Euro 4.000 go to an independently produced work on CD-ROM/DVD-ROM (offline) or to a project published on the internet (online). Milla and Partner Award Award for media in space (installations) of Euro 2.500 DASDING-Audience Award Audience award for film/video and internet of respectively Euro 1.000 as well as further prizes and the popular honourable mention by Wand 5 Besides the competitions for film/video and new media a wide range of special programmes, panels, presentations and music events will be offered. ------------------------------------------------------------------------- Further information: Wand 5 e.V./Filmhaus Friedrichstr. 23 A D - 70174 Stuttgart Germany Tel: +49-711-99 33 98-0 Fax: +49-711-99 33 98-10 Mail: wanda AT wand5.de www.wand5.de www.filmwinter.de ------------------------------------------------------------------------- MUEDIGKEIT UND MUENDIGKEIT ------------------------------------------------------------------------- 18. Stuttgarter Filmwinter - Festival for Expanded Media Film | Video | Neue Medien | Installation | Performance | Theorie Festival 13.-16. Januar 2005 Warm Up 6.-12. Januar 2005 www.filmwinter.de ------------------------------------------------------------------------- Endlich 18! Der Stuttgarter Filmwinter wird volljaehrig. Stets und eifrig auf der Suche nach Innovativem, Kritischem und Unbekanntem in der Medienkunst und Filmkultur, nach den Zwischenzonen und Freiraeumen im Medienbetrieb. Nach dem Rekord von ueber 1700 Einreichungen beim letzten Festival sind alle Film-, Medien- und Kunstschaffende herzlich eingeladen, ihre Arbeiten in den Bereichen Film, Video, Online/Offline Internet, Installation und Performance fuer den kommenden Filmwinter einzusenden. EINREICHUNG Online-Projekte koennen direkt ueber die Festival Website www.filmwinter eingereicht werden. Anmeldeformulare fuer Film, Video, CD-ROM/DVD-ROM (offline), Installation und Performance koennen im PDF-Format heruntergeladen werden. Deadline fuer Einreichungen: 1. September 2004 PREISE In den Sektionen Film/Video und Neue Medien werden Preise in Hoehe von ueber 14.500 Euro vom Publikum und unterschiedlichen Jurykommissionen vergeben. Team-Work-Award Die Marli-Hoppe-Ritter-Kunststiftung stiftet Euro 2.000,- fuer eine Film- oder Videoproduktion, die von einem Team realisiert wurde. Norman 2005 Preis der Jury fuer Film und Video in Hoehe von Euro 4.000,- - gestiftet von der Landeshauptstadt Stuttgart IBM Preis fuer Neue Medien Zwei Preise in Hoehe von insg. Euro 4.000,- gehen an Arbeiten aus den Bereichen Online und Offline. Ermoeglicht durch die IBM Deutschland GmbH. Milla und Partner Preis Preis fuer Medien im Raum (Installationen) in Hoehe von Euro 2.500,- DASDING-Publikumspreis Publikumspreise in den Bereichen Film/Video und Internet in Hoehe von jeweils Euro 1.000,- Sowie weitere Preise und die heissbegehrte Wand 5-Ehrenauszeichnung Neben den beiden Wettbewerben fuer Film/Video und Neue Medien wird das Festivalprogramm mit Spezialreihen, Panels, Praesentationen und Musikevents ergaenzt. ------------------------------------------------------------------------- Weitere Informationen: Wand 5 e.V. im Filmhaus Friedrichstr. 23 A D - 70174 Stuttgart Germany Tel: +49-711-99 33 98-0 Fax: +49-711-99 33 98-10 Mail: wanda AT wand5.de www.wand5.de www.filmwinter.de -- Benjamin Fischer | http://www.typedown.com/?RDCT=da07397029a4ca4613c2 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. Date: 8.10.04 From: Rachel Greene <rachel AT rhizome.org> Subject: Fwd: [oldboys] call for participation Begin forwarded message: From: Cornelia Sollfrank <cornelia AT snafu.de> Date: August 5, 2004 1:29:09 PM EDT To: oldboys AT lists.ccc.de Subject: [oldboys] call for participation Reply-To: oldboys AT lists.ccc.de Women artists and writers are invited to participate in an online event addressing issues of gender, racial and economic biases resulting in systemic violence against women and minorities. This project arises from the unseemly juxtaposition of a "war on terror" with the every day realities faced by women living in cultures that enforce female circumcision, do not give equal value for to equal work based on cultural bias, tacitly accept violent domestic situations, use sexual intimidation as a military tactic and fear of reprisal as a cultural control. The name, gender[f], designates a programmatic function. The function ó gender ó holds an unlimited, presently undefined array ó [f] ó the issues and/or representations of women in society. This call is addressed to women of different geographical, disciplinary and theoretical backgrounds, who are invited to make a statement on the subject by creating an object of art, creative writing or critical essay or to submit already existing projects related to the subject. (urls are acceptable, space for net-projects is available.) Submission deadline is September 10, 2004. Work should be in digital format, web-ready preferred, but not necessary. An accompanying event in Detroit is in the planning stages. gender[f] is dedicated to the the over 400 murdered and disappeared women of Juarez who worked in the maquiladoras of Juarez. Please direct responses to dking AT markszine.com. -- -- ____ ____ ____ ____ ____ ___ ___ ___ ||a |||r |||t |||w |||a |||r |||e |||z || .org ||__|||__|||__|||__|||__|||__|||__|||__|| |/__\|/__\|/__\|/__\|/__\|/__\|/__\|/__\| take it and run! --------------------------------------------------------------------- To unsubscribe, e-mail: oldboys-unsubscribe AT lists.ccc.de For additional commands, e-mail: oldboys-help AT lists.ccc.de + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. Date: 8.11.04 From: Indi McCarthy <indi AT uci.edu> Subject: Job opening AT the Beall Center // Technical Director The Technical Director for the Beall Center for Art and Technology is a contract position, in the Claire Trevor School of the Arts, UC Irvine. The Beall Center is a 2500 square foot "black box" venue for visual and performing arts, featuring new works by artists and collaborative teams using emerging technologies. The Technical Director position serves as technical consultant and installer for productions, exhibitions, special events and research residencies, which can include A/V, sound art, networked configurations, web streaming, robotics, haptic devices, etc. As project manager for the technical components of all installations and productions, the Technical Director coordinates installation time lines with the Assistant Director, artists, vendors and engineers, and is responsible for the technical functioning of the productions as well as the Beall Center facility and equipment. In addition, the position trains Beall Center docents/guards on maintaining exhibitions and is responsible for archiving installations and updating the web site. http://beallcenter.uci.edu This position will require a flexible schedule including evening and weekend hours. Salary: Annual DOE (~37,100/51,000/64,900) ***This is a 11 month contract position*** To apply, please see the UC Irvine Human Resources web site http://www.hr.uci.edu/employment/ and refer to job number: #2004-0687 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. Date: 8.13.04 From: Raquel Herrera <rahefe AT hotmail.com> Subject: Raquel Herrera <rahefe AT hotmail.com> 5th Symposium on Art and Multimedia Mediateca CaixaForum (Fundació "la Caixa") Metanarrative(s)? :: international meeting on the artistic direction of audiovisual and multimedia narratives and syntax :: Barcelona, Spain, January 28-29 2005 http://www.mediatecaonline.net/mediatecaonline/jsp/index.jsp **************************************************************** dead-line for proposals (both papers and works): 1 November 2004 Context: The Fifth Symposium on Art and Multimedia is dedicated to 'digital metanarrative' from any focus, from all points of view. The organizers' intention is none other than to create and help flourish possibilities of acquiring greater knowledge in this experimental domain, in which we feel that guidance of the art form (in the sense of providing proper direction to it), is crucial. We have opened two calls aimed at gathering texts and works related to research and experimentation in narrative or non-narrative forms that set out to go beyond the limits established today, and that have been developed in the field of art and audiovisual and multimedia communication, coming to be known as 'metanarratives' ('meta' in the sense of 'after'). We have started up this website to collect the proposals, and a weblog that will encourage communicative participation. We will also facilitate the live presentation of selected papers and works during the course of the Symposium to be held next January 2005. 1. Call for papers All authors of theoretical research related to digital metanarrative are invited to take part in the 5th Symposium on Art and Multimedia with any papers on new forms of narratives in the Internet Age. Issues like the modification and questioning of the traditional (Aristotelian) concept of storytelling (account of effective causality, temporal and spatial cohesion etc...), will be central themes at the conference. We seek: * theoretical reflections on digital narrative(s) * online documentation on multimedial art We are looking for papers that respond to the following questions: What do we mean by digital narrative(s)? What kind of changes has the new technological concept brought about in narrative approaches? To what syntactic particularities has this lead? Can we speak of post-narrative or metanarrative models?.... Requirements: - BA or similar in Art History, Music History, Fine Arts, Philology, Philosophy and Humanities, Documentation Science, Audiovisual Communication, Design studies or similar. - Students enrolled on a recognised Master course - Students enrolled on a Doctorate course Documentation: We need the following documents before 1 November 2004 at metanarrative AT lmi.ub.es: - Abstract of the paper, min 500 max 1000 words, sent by e-mail in Word, Openoffice or ASCII format - Brief list of the used sources - Author's current CV and contact details (email, telephone, address, fax etc). - An additional written document with the author's motivation and future projects. Selection: A jury of three representatives of 'Mediateca' and 'Grup Recerca VALL' of the University of Barcelona will select six papers and notify the authors prior to 1 December 2004. The selection criteria are the following: 1. Relevance to the call and its objectives 2. Relevance to the current research panorama in this field 3. Originality 4. The author's motivation and prospects for the future The authors of the selected papers will be invited to Barcelona to present them personally at the 5th Symposium on Art and Multimedia at 'CaixaForum' of "la Caixa" Foundation, 28 and 29 January 2005. On the day of their presentation, invited authors will receive 600 euros (residents in Spain 400 euros and residents in Catalonia 200 euros) to cover travel and accommodation expenses. The dead-line for the complete version of the selected papers is 15 December 2004. The final format will be of the author's choosing: text, hypertext or hypermedia. Papers will be accessible to users of the Mediateca website for an indefinite period of time. 2. Call for works or experiments on digital metanarrative We seek artistic research works in which the challenges and benefits of narrative or metanarrative renewal are presented, and also those non-narrative creations which may contribute to fostering the debate on digital narrative. * Artistic works based on the notions of digital narrative. Key words: digital narrative, media narrative, electronic textuality, electronic books, art on CD-ROM or DVD, on-line narratives, weblogging, web-based stories, community creation, digital environments, video games, narratology, ludology. * Artistic creations approached from a non-narrative position that question the narrative structures in advanced (expanded) communication. Key words: web art, net art, mail art, software art, communication aesthetics, information aesthetics, digital architecture WHY NOT TAKE PART!? Documentation to be sent to metanarrative AT lmi.ub.es: - The work and/or exact references of where and how it may be consulted. - An additional text by the author Deadline: 1 November 2004 Selection: The selection criteria will include: - Pertinence to the call. - Relevance in the current panorama of artistic practices. - Originality in the twofold sense of the word: - that it is an original work by the author, - that it stands out for its form and/or content. - Motivation and future prospects expressed in the documentation A jury of three representatives of the Mediateca and of the VALL Research Group of the University of Barcelona will select six works. The decision will be notified to the authors prior to 1 December 2004. The authors of the selected papers will be invited to CaixaForum to present them personally. Works will be presented publicly at "la Caixa" Foundation's CaixaForum in Barcelona during the 5th Symposium on Art and Multimedia on 28 and 29 January 2005. On the day of their presentation, invited authors will receive 600 euros (residents in Spain 400 euros and residents in Catalonia 200 euros) to cover travel and accommodation expenses. The selected works or their URL will be accessible to users of the Mediateca website for an indefinite period of time. If the author so desires, the Mediateca will host the work on its server. 5th SYMPOSIUM on ART and MULTIMEDIA Mediateca CaixaForum de la Fundació "la Caixa" http://www.mediatecaonline.net/mediatecaonline/jsp/index.jsp Av. Marquès de Comilles, 6-8 08038 BARCELONA Catalonia, Spain <M> Espanya Information and address to send papers and works: VALL Research Group Attn. Cilia Willem metanarrative AT lmi.ub.es University of Barcelona Pg. Vall d'Hebron, 171 Edifici Llevant, despatx 005 08035 Barcelona Catalonia, Spain tel. +34 934 035 065 / +34 934 034 413 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. Date: 8.09.04 From: Pau Waelder <pau AT sicplacitum.com> Subject: Ars Electronica t+25 timeline INTERNATIONAL PRESS RELEASE Los Angeles, 8 August 2004 Ars Electronica <http://www.aec.at>, the oldest, largest, and most prominent art and technology festival in the world, today launched a web site inviting participants to make predictions about the next 25 years, year by year, and to vote on predictions already posted. The project, called the "t+25 timeline" <http://www.aec.at/predictions>, is part of the Festival's 25th anniversary celebration, to be held in September, in Linz, Austria. The theme of this year's festival is "TIMESHIFT - the World in Twenty-Five Years." The t+25 timeline was announced at Siggraph 2004 in Los Angeles, an international conference on computer graphics and interactive techniques expected to attract over 25,000 attendees. The announcement, during the Siggraph Artist Round Tables, marks the launching of a beta version intended to "seed" the timeline with entries. During the Ars Electronica Festival, 2-7 September, t+25 will exhibit as a public installation, where attendees can participate. It will remain accessible online during this time. When the Festival ends on 7 September 2004, t+25 freezes and will be available online as an archive. t+25 is open to anyone on the Web. Registration is not required. Voting is based on a simple one vote per entry per day per computer basis. "The t+25 timeline is a cultural experiment," says guest curator Michael Naimark, "intended to encourage imaginative articulation of future scenarios. It is also intended to be iterative and emergent, with entries and votes affecting more entries and votes. Our goal is to enable creative surprise." "Ars Electronica has a long history of engaging the artistic community in social and cultural issues," continues Artistic Director Gerfried Stocker. "With t+25, we have opened up the creative process to anyone willing to speak about or vote on future ideas." Though the Web is laden with predictions, prophesies, and scenarios, very few sites exist for open posting and voting. The most prominent of these sites is by the Long Bets Foundation <http://www.longbets.org>, where participants can post predictions as public wagers, or "accountable predictions." "t+25" is a faster, looser version of Long Bets" says Naimark. "Theirs is situated in life. Ours is situated in art. We fully expect ours to complement theirs." Ars Electronica 2004 TIMESHIFT - The World in Twenty-Five Years Linz, Thu 2 - Tue 7 September www.aec.at/timeshift "TIMESHIFT - The World in Twenty-Five Years" is the title of the 2004 festival for art, technology and society; transformation, upheaval and the future are its programmatic concepts. The point of departure is reflection upon the past 25 years; the aim is to identify the developments that promise to be the driving forces in art, technology and society over the next quarter century. Will key technologies like nanotechnology lead to another technological revolution that will change our lives as fundamentally as digital media have done? What areas of social confrontation can we anticipate? Does the way we deal with new technologies change in light of our ever-increasing experience or do we still lapse into the same automatic reaction mechanisms of enthusiasm for or hostility towards innovation? What conclusions can be drawn from the past and utilized in addressing these emerging issues? Ars Electronica has 25 years of development and experience behind it, and has amassed an enormous archive documenting its unique breadth as a discussion forum. On the basis of the experience thus gained and in keeping with its mission as an instrument of social analysis, Ars Electronica 2004 will also be dedicated to the question of whether ongoing social development-in the sense of a learning curve derived from the past and applied to the future-is possible. FOR MORE INFORMATION PLEASE CONTACT: Mag. Wolfgang A. Bednarzek MAS Pressesprecher / Press Officer Ars Electronica Center HauptstraÃ?e 2-4, 4040 Linz, Austria tel: +43.732.7272-38 fax: +43.732.7272-638 mailto:wolfgang.bednarzek AT aec.at www.aec.at www.aec.at/press + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. Date: 8.09.04 From: ryan griffis <grifray AT yahoo.com> Subject: ExxonSecrets http://www.exxonsecrets.org/ website by Amy Balkin/Josh On "Exxonsecrets is the first chapter of a larger Greenpeace project provide a research database of information on the corporate funded anti-environmental movement. The database compiles Exxon Foundation funding to a series of institutions who have worked to undermine solutions to global warming and climate change in recent years. Individuals working with these organizations and their global warming quotes and deeds are detailed. There are downloadable source documents or links to sources are provided throughout." (from http://www.theyrule.net ) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. Date: 8.13.04 From: Nathaniel Stern <nathaniel AT hektor.net> Subject: Dense and Urban - the Cybermohalla in Delhi Dense and Urban - the Cybermohalla in Delhi by Nathaniel Stern "In its broadest imagination, one can see Cybermohalla as a desire for a wide and horizontal network (both real and virtual) of voices, texts, sounds and images in dialogue and debate" (from sarai.net). Sarai: the New Media Initiative is a non-profit space that fosters new/old media practice and research towards critical cultural intervention. This project, the digital mohalla (or, 'dense urban neighborhood'), is a collaboration with Ankur, an NGO working on experimental education. It consists of working class youths, aged 15-25, creating work in various parts of Delhi - a resettlement colony in South Delhi (Dakshinpuri), an illegal working class settlement in Central Delhi, LNJP, and the Sarai Media Lab in North Delhi. Cybermohalla's young arts practitioners work on free software and low-cost media equipment to produce experimental / playful multimedia works, ranging from texts, collages, posters and print publications, to videos, and large-scale installations. Together and apart, each person, project, space and marked-up page in the online archive is an individual voice, and a node in the networked dialogue between the disquiet doubt of Delhi, and its growing arts and media scene. As a practitioner and teacher in the third world myself, projects like this one do indeed speak volumes back to the uninclusive, supposedly utopian, networks of the first world, which are always already shot through with inaccessible desire. I've been caught myself, saying things like, "if we can't imagine it, it won't happen," but, all sentimentality aside, it's nice to see new media speaking back to sociopolitical questions other than those that arise only from new media itself. The not-paradoxical thing, ever-present in the Cybermohalla network, is an acute sense of place. I've never been to any of the nodes, or to Delhi for that matter; I've only surfed their artworks and archives. Still, where I am when I surf is completely apparent. The first poster linked from their 'text-screens' page - http://www.sarai.net/cybermohalla/works/text_screens/ - asks us, "Before coming here, had you thought of a place like this?" This question is a recurring theme in their archived projects, including wall-art, stickers, booklets, net.art as animated gifs, performances, and is even the title of a traveling installation. Whether we had 'thought of this place' or not - perhaps we imagined it into existence, or are doing so now - it lives and breathes with us in the present tense. So I guess that romanticism is alive and well in Delhi. On further investigation, I found that for the creators, this question-as-title signifies the fact (possibility?) that contemporary Indian artists worldwide, regardless of their vastly differing use of media, and potential displacement, are striving to engage in the issues of local situations, as well as those related to translocal phenomena and global conditions. They believe that, in sharp contrast to the generation before them, they are not using Western rhetoric to take part in this discourse. This is actually something I noticed right away; the works shown are not attempting to provide answers from a distance. Rather, they ask difficult questions, pose provocational scenarios and movement, in order to engage in something bigger than themselves. The Cybermoholla is not a non-curated net.art exhibition; it really is a community of independent thinkers asking to be heard, asking the world what it believes is worth listening to. 'by lanes', for example, glimpses into the diaries of twelve of Sarai's young artists, and shares the narrations, reflections, commentaries, word play and observations they were engaged with over the course of one year at the LNJP basti (neighborhood). The small PDF files act as proposals of what was, and what can be. "Streets make for great conversations," begins an introductory line of text in the first file, which goes on to ask why and when we do or do not walk the streets. Providing counsel, it tells us that the "dangerous, unpredictable street" may not be a legitimate reason to stay at home. This, as a resident of Johannesburg, South Africa, I understand. The compelling language of the Cybermoholla is, quite simply, struggle-, rather than goal-, orientated. There's a certain level of maturity in the articulation of reflection; we are invited into a mediated space, but one whose biases are both subtle and transparent. I want to know more; I want to do more; I want to belong. There is, of course, playfulness and naiveté in the space, too. After all, it is mostly made up of teens and young adults. After I had already begun researching and writing on their work, Jeebesh Baghchi - a facilitator at Sarai - sent me links to their new blog pages. These range from open source blogs completely in Hindi (which they are all apparently, and rightfully, very proud of) and friendly, poetic (English) narratives about how we can phrase, and re-phrase, and ask again, to little text excerpts about the 'incidentally quite hot' new girl from Argentina [sic!]. I especially liked envisioning a described scene where our hero, Karim the blogger, had to go to babelfish to translate her Spanish to English. He then translated the English to Hindi, himself, for Chintu - another Compughar (Abode of Computers) resident. After all, one must know what the hot new girl is saying, yes? Recent public performances and exhibitions by Cybermoholla participants include an International Theatre Festival in Hamburg (Feb - Mar 2004), followed by a run of the same performance throughout areas of Delhi, a complete CD of the Cybermoholla works ( temporarily online at http://www.sarai.net/cybermohalla/cybermohalla.htm ), a 'Wall Magazine' called 'Hadsa' (Incident) whose subject is given away by the title, and the aforementioned installation - "Before coming here, had you thought of a place like this" - at the Culturgest Museum in Portugal (closed June 2004). I can't help but wonder if this is not what pervasive technology can mean to a world outside of the US and Europe. We carry on 'being' the same, but are louder, better, more accurate in our inaccuracies and odd juxtapositions. We are not mirrors to the first world, or even to ourselves, but we are storytellers, continuing on our journeys with slightly nicer pens, pads and PowerPoint presentations. ____ Nathaniel Stern http://nathanielstern.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Kevin McGarry (kevin AT rhizome.org). ISSN: 1525-9110. Volume 9, number 33. 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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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 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-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 |