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: 5.29.05
Date: Sun, 29 May 2005 10:25:27 -0700

RHIZOME DIGEST: May 29, 2005


1. Lauren Cornell: New Membership Policy
2. Kevin McGarry: City/Observer, curated from the Rhizome ArtBase by Yukie
Kamiya, opens at!
3. Annie Abrahams: Why rock?+"Yes", no. release+10 onlone selections

4. Kenneth Jones: Digital Arts/Interactive Media 1 Year Appointment-Harford
Community College, Bel Air Maryland
5. Kevin McGarry: FW: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts
6. Brooke Singer: Job: New Media Tech AT SUNY Purchase

+commissioned for
7. Helen Varley Jamieson: How re:mote am I?

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Rhizome is now offering Organizational Subscriptions, group memberships
that can be purchased at the institutional level. These subscriptions allow
participants at institutions to access Rhizome's services without
having to purchase individual memberships. For a discounted rate, students
or faculty at universities or visitors to art centers can have access to
Rhizome?s archives of art and text as well as guides and educational tools
to make navigation of this content easy. Rhizome is also offering
subsidized Organizational Subscriptions to qualifying institutions in poor
or excluded communities. Please visit for
more information or contact Kevin McGarry at Kevin AT or Lauren
Cornell at LaurenCornell AT

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Date: 5.23.05
From: Lauren Cornell <laurencornell AT>
Subject: New Membership Policy


I am pleased to announce the launch of our new membership policy. Every
individual Member should be receiving a dedicated email about this shortly,
but I would also like to bring attention to the new policy on the list to
get your thoughts and feedback.

This change was prompted by a reconsideration of our current membership
system. When we enacted a $5 membership requirement in January 2003, we
thought that such a policy would balance our need for a stable revenue
source with our mission to serve new media arts communities around the
world. However, having reviewed Rhizome's usage and subscription statistics,
we concluded that our membership policy was stifling wide-scale
participation in our online programs. We have rethought and restructured our
membership policy to make Rhizome more inclusive, relevant, and open.

Under our new policy, anyone, regardless of whether they have donated to
Rhizome or not, will be able to post or access Rhizome content from the last
year simply by signing up. It¹s completely free to sign up - all you have to
do is register an email address and password.

Artworks and texts that are *more than one year old* will reside in the
Rhizome Archives. Only Rhizome Members will be able to access the Archives.
Members will also be able to maintain a Member Page in the Community
Directory, create Member-Curated Exhibits, and use special features such as
Advanced Search. In the coming months, we will roll out innovative features
to keep our membership program dynamic and worthwhile.

All current Members will retain their membership status under the new
policy. When your membership expires, you will still be able to subscribe
to Rhizome lists and browse the site. But, in order to retain member
benefits, you will be asked to renew your membership at an annual level of
$25. I hope you will consider continuing your membership at this level.
Rhizome is just as reliant on our base of Members for financial support now
as ever before.

In announcing our new membership, I would also like to acknowledge the
vision and work of the Rhizome staff, Francis Hwang, Kevin McGarry and
particularly former Executive Director Rachel Greene, who initiated and
developed the plans for this new policy.

We feel confident that everyone involved with Rhizome will benefit from our
expanded availability, and we hope you agree.

Thanks for reading this, and thank you for sticking with us as we try to
find the best system to support our programs and organization.


Lauren Cornell
Executive Director

+ + + is a not-for-profit 501(c)(3) organization. For U.S. taxpayers,
contributions to Rhizome are tax-deductible, minus the value of any goods or
services received, to the extent allowed by law.

Lauren Cornell
Executive Director,
New Museum of Contemporary Art
210 Eleventh Ave, NYC, NY 10001

tel. 212.219.1222 X 208
fax. 212.431.5328
ema. laurencornell AT

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Date: 5.25.05
From: Kevin McGarry <kevin AT>
Subject: City/Observer, curated from the Rhizome ArtBase by Yukie Kamiya,
opens at! Announces Fourth ArtBase Exhibition

Wednesday, May 25, 2005

Kevin McGarry,
Phone: 212.219.1288 X220
Email: kevin AT

NEW YORK, NY? is pleased to announce the opening of
City/Observer, curated by Yukie Kamiya, Associate Curator at the New Museum
of Contemporary Art in New York. City/Observer is the fourth online
exhibition of works curated from the Rhizome ArtBase, an archive of over
1500 new media artworks established in 1999.

City/Observer presents projects by a group of international artists, AUDC
(US), Heman Chong (Singapore), Katrin Sigurdardottir (Iceland), the
collaboration of Aisling O¹Beirn (Ireland) and Marjetica Potrc (Slovenia),
and Koki Tanaka (Japan), who take the cities they live and work in as the
subjects of their art practice. Rather than interrogating ³the city² as an
ideological construct or manifestation, these artists organize their
subjective experiences as residents to reveal the distinct, yet connected,
characters of their surrounding structures, societies and situations?and
articulate some effects of making art in a global world.

Three of the artists?-Chong, Sigurdardottir, and Tanaka?-included in
City/Observer have never before situated their work on the Internet. Their
offline practices have been transposed to the Web as an experiment initiated
by Kamiya, who remarked that, ³it was fascinating to see how the artists
approached the Internet as a unique, limitless place, and how these projects
grounded in experiences of physical cities interfaced with a foreign,
virtual terrain.² Kevin McGarry, Content Coordinator for
commented that, ³City/Observer is not only several of the artists¹ but also
Kamiya¹s first time staging an exhibition on the Internet. Through this
exhibition she has successfully framed the Web as a site that is informed by
unique urbanisms and politics, which at times mirror, overlap and confront
those of physical territories.²

+ + +

Rhizome Exhibitions is a program begun in November 2004, which invites
international artists, curators, and writers to curate online exhibitions
from works in the ArtBase.

+ + +

Member-curated Exhibits is a companion program also launched in November
2004, which allows Rhizome members to curate and interlink their own online
exhibits from works in the ArtBase, using a web-based curating tool. Links
to member-curated exhibits are interspersed throughout via
member pages and included artworks.

For more information please contact:
Kevin McGarry,
Phone: 212.219.1288 X220
Email: kevin AT

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Date: 5.27.05
From: Annie Abrahams <aabrahams AT>
Subject: Why rock?+"Yes", no. release+10 onlone selections

Together with Clément Charmet we made the webshow "Why rock?" for The show
presents sound works by net artists with real or supposed rock
affinities. Alan Sondheim and Frédéric Madre both wrote a text for the
show. We also made a special french version of the show for

Together with Jan de Weille we released a 4 tracks EP : "Yes", no. on

I selected 10 sites for netartreview's new monthly feature: ::NET.TEN::
\\Online Selections//

Please have a look.
Annie Abrahams

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2005 Net Art Commissions

The Rhizome Commissioning Program makes financial support available to
artists for the creation of innovative new media art work via panel-awarded

For the 2005 Rhizome Commissions, seven artists were selected to create
artworks relating to the theme of Games:

The Rhizome Commissioning Program is made possible by generous support from
the Greenwall Foundation, the Jerome Foundation, the Andy Warhol Foundation
for the Visual Arts, and the National Endowment for the Arts.

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Date: 5.22.05
From: Kenneth Jones <kennethleejones AT>
Subject: Digital Arts/Interactive Media 1 Year Appointment-Harford Community
College, Bel Air Maryland

March 29, 2005

This is a ten-month position scheduled to begin August 15, 2005 (subject to
available funding).  The instructor will be responsible for teaching a
variety of art and visual communication courses, including computer
graphics, multimedia, animation, design for the web, and possibly 2D
design, 3D design, and/or color theory.  Duties include, but are not
limited to:  developing and/or revising curriculum as appropriate, advising
students, supervision of the MAC Lab, and other duties as assigned.

Master of Fine Arts degree in Digital Arts, New Media, Graphic Design or
related discipline and college-level teaching experience required.  An
equivalent combination of education and professional experience may be
considered.  Mastery of print, multimedia and web publishing applications,
interactive media, and digital imaging curricula including, but not limited
to, Photoshop, Illustrator, QuarkXPress, Director, Flash, Dreamweaver,
After Effects, and Final Cut Pro is essential.  Proficiency with 2D
animation and/or 3D Modeling and Animation preferred.  Additional skills
necessary require a demonstrated expertise of print and web page design,
typography, digital imaging, multimedia authoring, and digital video. 
Knowledge in the history of digital media and electronic culture is
preferred.  Professional level knowledge of Macintosh OS X and software
and hardware troubleshooting, some knowledge of networking and network file
management are required skills.

Submit 20 examples of your work and 10-20 examples of your students' work
(slides, CD, DVD, or URL).  If you would like your submissions returned to
you, please include a self-addressed stamped envelope.  Include a cover
letter or statement outlining how each qualification listed above is met,
resume or curriculum vitae, and copies of graduate transcripts (official
transcripts will be required if appointed to the position).

TO APPLY (choose one of the following options):
Download and print the EMPLOYMENT APPLICATION from our website (Adobe Acrobat Reader required), call the HCC Job Line at
410-836-4202 (toll-free 877-239-2636), OR send an e-mail request (include
name, address, & position of interest) to agillesp AT or
vstaley AT
« Only candidates receiving further consideration will be contacted. «

For best consideration, the completed application materials,
signed in all areas, should be returned
by May 30, 2005 to:
Human Resources
Harford Community College
401 Thomas Run Road
Bel Air, Maryland 21015-1698
« Incomplete applications will not be accepted or reviewed. «

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Date: 5.24.05
From: Kevin McGarry <kevin AT>
Subject: FW: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts Curator

------ Forwarded Message
From: Beryl Graham <beryl.graham AT SUNDERLAND.AC.UK>
Reply-To: Beryl Graham <beryl.graham AT SUNDERLAND.AC.UK>
Date: Tue, 24 May 2005 14:05:27 +0100
Subject: [NEW-MEDIA-CURATING] Job: Peterborough Digital Arts Curator

Peterborough Digital Arts Curator


£20,295 - £21,654 pa


PCC C3115




37 hours per week

Closing Date   

14 June 2005

set your inspiration free

Does the idea of creativity, experimentation and exciting development
appeal to you? Yes? Then read on.

Peterborough Digital Art Gallery is based in the city centre and holds
regular new media exhibitions, residencies and supporting programmes
which promote, inform and encourage understanding of and participation
in new media/digital arts.

We are seeking an inspired individual with experience of curating new
media/digital arts.

Since its launch in April 2003 Peterborough Digital Arts has worked
with and exhibited many artists that include Diane Maclean, Simon
Poulter and Fred Drummond. We have also partnered such diverse
galleries as the Macdonald Stewart Art Centre in Canada and Royal Pump
Rooms Leamington Spa.

Peterborough Digital Arts has produced Sequences, currently touring
venues throughout the UK. Our partner arts organisations include PVA
Medialab, Film and Video Umbrella and Arts Council England, East.

This is a full time position. Reporting to the Media Development
Coordinator you will be generating an exciting and innovative
programme. You will possess the skills to convey your passion of new
media to a range of diverse audiences.

Working within the Arts Team, you will be developing programming
ideas, commissioning artists and delivering across a range of
exhibition platforms.

Job packs and application forms can be downloaded from or by emailing
jobs AT To request a pack to be posted, please
telephone: (01733) 742644, 742645, (24 hour Answerphone) quoting job
reference above.

Please return completed applications to: Recruitment Team, Human
Resources, Peterborough City Council, Bayard Place, Broadway,
Peterborough PE1 1FF or email them to the address shown above.

Peterborough City Council is strongly committed to taking a lead role
in the elimination of discrimination and the promotion of equality in
employment and welcomes job applications from all parts of the
community. The city council's equal opportunities policy is based on
the principle that people are not discriminated against on the basis of
race, religion, ethnic origin, nationality, age, gender, sexual
orientation, disability or marital status.


Beryl Graham, Professor of New Media Art
School of Arts, Design, Media and Culture, University of Sunderland
Tel: +44 191 515 2896 beryl.graham AT

CRUMB web resource for new media art curators

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Support Rhizome: buy a hosting plan from BroadSpire

Reliable, robust hosting plans from $65 per year.

Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal
well-being, so think about about the new Bundle pack, or any other plan,

About BroadSpire

BroadSpire is a mid-size commercial web hosting provider. After conducting a
thorough review of the web hosting industry, we selected BroadSpire as our
partner because they offer the right combination of affordable plans (prices
start at $14.95 per month), dependable customer support, and a full range of
services. We have been working with BroadSpire since June 2002, and have
been very impressed with the quality of their service.

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Date: 5.28.05
From: Brooke Singer <brooke AT>
Subject: Job: New Media Tech AT SUNY Purchase

We are looking for a New Media Tech at SUNY Purchase. To find out about the
program, please visit Feel free to
contact me with any questions. Please circulate.

Sincerely, Brooke Singer
brooke AT

Job Description and Application Information:

New Media Computer Technician - $40k deadline: July 1, 2005. Position to be
filled by August 15th 2005

Purchase College/State University of New York seeks to hire an experienced
computer technician to serve the New Media Program.

Requirements: The successful applicant will have at least a bachelor's
degree, solid computer skills, including experience in video post-production
and server administration, and the ability to communicate and work with
faculty, student and technical staff.

Primary duties expected of the successful applicant include:

1. Maintain, administer, backup and supervise:

A 24 seat PC computer lab Adobe CS, Macromedia Flash and Dreamweaver, Java,
MIDI and more

A 12 seat PC video editing/3D computer lab.

A Cross platform research lab of 4 workstations running appropriate software
for student and faculty projects

Web servers used for class and program support.

2. Consult with the department faculty and participate in the planning,
designing and equipping of the new digital media facilities as well as
develop long range resource upgrade strategies.

3. Work collaboratively with faculty and staff to devise and support the
successful implementation of technology in the classroom, including managing
the allocation of server space.

4. Identify, train and supervise College Lab Assistants and student
assistants appointed to the areas and facilities, which utilize computers
and digital technology systems.

5. Help plan and then manage anticipated new technologies. Future
capabilities could include running streaming audio and video and supporting
peer-to-peer applications.

6. In addition to above technical responsibilities, the person would be
available during specified hours to help students with video post-production
and senior projects as well as mentor student technical workers.

Secondary duties include working with the Natural Sciences Computer Engineer
on joint networking and computing efforts.

As the facilities evolve, there is a requirement as well as opportunity for
continual learning and professional growth.

Send a letter describing qualifications and experience with a current
résumé and names of three references to:

Barbara Gianoplus

c/o New Media Tech Support

Human Resources Office

Purchase College

Purchase, NY 10577

human.resources AT

Women and minority applicants are encouraged to apply.

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Rhizome ArtBase Exhibitions

Visit the fourth ArtBase Exhibition "City/Observer," curated by
Yukie Kamiya of the New Museum of Contemporary Art in New York and designed
by T.Whid of MTAA.

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Date: 5.29.05
From: Helen Varley Jamieson <helen AT>
Subject: How re:mote am I?

How remote am I?

What does it mean to be remote in an electronic art world? This was
one of the questions posed by re:mote (, a
gathering of digital artists and theorists in Auckland, Aotearoa (the
Maori name for New Zealand) on 19 March 2005. Held in a
geographically remote country, the event was an opportunity for local
wired artists to meet face-to-face as well as an invitation to ponder
the meaning of "remote" in the 21st century.

Re:mote was an event by and for artists, organised by r a d i o q u a
l i a ( and ((ethermap
( The first in a series of one-day
experimental festivals, it was run "on the smell of an oily rag" (as
we say here) and made possible in part by Adam Hyde's residency at
the University of Waikato. Questions posed by the organisers
included: are there 'centres' and 'peripheries' within a world
increasingly bridged, criss-crossed and mapped by digital
technologies? Can technologically mediated communication ever be a
substitute for face-to-face dialogue? Is geographical isolation a
factor in contemporary art production? Is remote a relative concept?

Fourteen presentations from new media art practitioners and theorists
in Europe, Japan, Australia and New Zealand were squeezed into eight
hours and ranged from a cosy midnight feast in Finland to a glimpse
of the expansive Antarctic wilderness, and from musings on
information from outer space to the virtual escape of a death row
prisoner. Various methods were employed to connect remote (as opposed
to re:mote) participants with those at the Auckland venue - the Elam
School of Fine Arts lecture theatre. A live MP3 audio stream enabled
the off-site audience to hear everything from the venue, and they
could communicate through a text chat which was also used to convey
an impression of what they couldn't see. QuickTime, Skype, IRC,
iChatAV, iVisit and the Palace were among the applications used in
different presentations.

The international speakers were scheduled first to accommodate their
time zones, with Steve Kovats and Graham Smith from Rotterdam kicking
things off. Visible via web cam, their presentation nicely
illustrated their discussion on how telecommunication transforms the
concept of distance from space to time. They were in the dark of
Friday night, while we in Auckland were well into a sunny Saturday.
Also still in Friday night and dressed in her best pyjamas, Sophea
Lerner (an Australian new media theorist and artist currently
studying in Helsinki) tucked into a midnight feast while elaborating
on the promises and assumptions of remote communication. She proposed
that the most interesting thing about a remote location is not the
remoteness, but the location. This contrasted with the previous
presentation's focus on time as the distancing element rather than
space or location. Any location, whether it's the heart of a teeming
metropolis or an empty beach in southern Aotearoa, can be remote when
you're outside it, rendering it exotic, intriguing and desirable.
It's the differences, rather than distances, that make a "remote"
location interesting - and the unexpected similarities.

Lerner also addressed the concept of peripherality and how one can
experience being peripheral in many different places, depending on
one's perspective of the "centre". Finland may appear peripheral to
Europe, but from the New Zealand perspective it's almost in the
middle of that centre. Contemporary politics place Europe and North
America in the centre, but as the power balance shifts that centre
may relocate to Asia or even cyberspace. Today's technologies release
us from the geographical definition of centre, creating globally
dispersed "peripheral centres" and "central peripheries". Technology
has penetrated even the periphery of Antarctica, as shown by Phil
Dadson's presentation about his recent artist's residency there. A
looping video of his shadow crunching across the endless white
landscape, broken only by the bones of some unfortunate beast,
removed not only all sense of place but also time. The simple act of
filming his shadow on the ice placed Dadson at the centre of a
peripheral environment.

Japanese radio pioneer and artist Tetsuo Kogawa spoke about
technology and the body and gave a history of Mini FM, a project
which aimed to tactically deregulate the Japanese airwaves by
teaching people how to create and broadcast from their own free radio
stations. During the 1970s and 80s, Kogawa held radio parties in
Tokyo apartments where he taught people to build transmitters,
broadcasting from the domestic periphery to the centre of the
airwaves. Footage from these events reveal the political act of
taking ones own space on the airwaves as also entertaining and
community-building. His goal was to use radio technology not as a
substitute for face-to-face communication but as a means to bring
people together and to propose political and social alternatives.
During re:mote, Kogawa also gave an audio performance and the
following day led a mini FM transmitter building workshop.

Pre-recorded appearances were made by New Zealander Sally Jane
Norman, who has lived in Europe since the 1970s, and Zina Kaye from
Australia, who discussed her project "The Line Ahead", which gathers
data from airports to create LED signs in a gallery. Sally Jane
Norman began with pre-internet architectures of performance, asking
how physical gesture can invest digital space, and described the
remote manipulation of space probes as "advanced puppeteering".
Achieving physicality within digital spaces alters the concept of
remoteness; how remote am I if, from Aotearoa/New Zealand, I can
physically move an object on the moon? Both air and space travel
create bridges between centres and peripheries, destroying the
relative remoteness of New Zealand in the space of a few hours and
offering instead the greater remoteness of outer space.

The trials and tribulations of remote collaboration were addressed by
a number of presenters including myself, Zina Kaye and Trudy Lane.
Zina had encountered some difficulties in working with technicians
located elsewhere, while Trudy's ongoing collaboration with mi2 in
Zagreb (on the online magazine ART-e-FACT) works smoothly. Physically
meeting your remote collaborators may make some things easier, but
it's also possible to work successfully without meeting, as
demonstrated by Avatar Body Collision. This work was presented by
Leena Saarinen (in Finland), Vicki Smith (in NZ's South Island) and
myself at the venue. Our greatest difficulty is in finding times when
the four of us can be online together for rehearsals, but the
advantages are many. We taste each others' geographical and social
locations and are telematically transported from our peripheral homes
to the centres of arts festivals and conferences. Returning to one of
the questions posed by re:mote - Can technologically mediated
communication ever be a substitute for face-to-face dialogue? -
during four years of artistic collaboration, Leena Saarinen and I
have never met, so technologically mediated communication is an
excellent and necessary substitute for face-to-face. Our "remote"
relationship is as real and valuable as if we had met, so how remote
are we?

The variety of local presentations given during the afternoon
illustrated the diversity of concepts of "remote": a web site about a
fictional nation state; universal nomadism and the generic city;
"glocalisation"; and a multi-locational artistic picnic were among
the projects discussed (for more information on all presentations see While these presenters were all New Zealanders
living in New Zealand, their presentations had connections all over
the globe - Lithuania, Croatia, Amsterdam, the USA. As an artist in
the electronic world, living in an isolated location doesn't mean
that your work must be of that location. There will always be some
degree of local perspective, but sources and context are often
global; this combination of local and global is "glocalisation".

Live improvised audio performances were given by Tennis (London) in
the morning, and at the end of the day by Tetsuo Kogawa, Adam Hyde
and Adam Willetts. Tennis (Ben Edwards and Doug Benford) performed
with a web cam showing them seated at their computers. As our
off-site audience could only hear the audio stream, I provided them
with a commentary of what we could see on the screen in the IRC chat.
This created another level to the performance, and an extrapolation
of remoteness: I was interpreting and relaying my visual observation
of an audio performance back to a twice-removed audience, some of
whom were in the same country as the performers and on the other side
of the world from me. For the Auckland audience in the same room as
me, I and my commentary became a part of the performance as well -
yet the performers themselves were not aware of this. Thus at least
three different performances were taking place: the audio performance
given by Tennis; the sound, text and images experienced in the venue
in Auckland; and the online version, consisting of sound and text.
Reading the chat log several weeks after the event, the remoteness
doubles again - comments on now unheard sounds and descriptions of
vanished images are like shadows cast by an invisible body. This
fascinating unplanned metamorphosis was a result of the event and our
various layers of remotenesses. A briefer but related "performance"
had occurred earlier in the day when Adam Hyde and James Stevens were
speaking over Skype, but James had left his computer speakers on,
generating an echo loop that took on an unstoppable life of its own.

My personal experience of re:mote was bound up with the technologies,
both in my presentation (using the Palace and iVisit) and in my role
at the keyboard as a "chat wrangler", delivering commentary to the
off-site audience. The off-site audience's responses to my
descriptions of the visuals and the audio stream they were hearing
are preserved in the chat log and offer a surreal perspective on the
day. Once again, re:mote was answering its own questions, as the chat
substituted face-to-face communication reasonably effectively and
rolled our individual peripheries into the centre.

As someone who communicates and collaborates remotely on a daily
basis, I always value the opportunity to work and collaborate in the
same physical space with others. Creating such gatherings in far off
places like Aotearoa/New Zealand is especially important, as
sometimes we're so busy worrying about what's going on in the rest of
the world that we overlook the wealth of activity happening locally.
How remote are we when we know what our colleagues in New York,
Amsterdam or Belgrade are doing but we don't know what's going on in
Dunedin or Wanganui? Our perceived remoteness is embedded in the
identity of the people of this small, distant and relatively
insignificant country, and fuels a need to be a part of the wider
world to counter this feeling of isolation. Yet one of the ideas that
came through strongly during re:mote was the possibility to feel
peripheral in any situation, and the individual relativity of a
myriad of centres and peripheries which are now becoming bridged,
mapped and interconnected by digital technologies.

Congratulations and thanks to Adam Hyde, Honor Harger, Adam Willetts
and Zita Joyce for making re:mote happen; it was an intense,
enjoyable and thought-provoking day. The second re:mote has just
taken place, in Regina, Canada - unfortunately I was "remote" in the
sense of being offline while on holiday so I was unable to attend,
but I'm told it went well. Documentation of both events should soon
be online at, and I'm looking forward to re:mote 3.


helen varley jamieson: creative catalyst
helen AT

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + is a 501(c)(3) nonprofit organization and an affiliate of
the New Museum of Contemporary Art.

Rhizome Digest is supported by grants from The Charles Engelhard
Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for
the Visual Arts, and with public funds from the New York State Council
on the Arts, a state agency.

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Rhizome Digest is filtered by Kevin McGarry (kevin AT ISSN:
1525-9110. Volume 10, number 22. Article submissions to list AT
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

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