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: 11.18.05 From: digest@rhizome.org (RHIZOME) Date: Fri, 18 Nov 2005 14:24:19 -0800 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: November 18, 2005 Content: +note+ 1. Lauren Cornell: RHIZOMERS +opportunity+ 2. Warren Sack: Job Posting: Assistant Professor of Critical Studies 3. Marisa Olson: : 2 posts: School of Art at Carnegie Mellon University 4. carlos rosas: Job Posting: Assistant/Associate Professor of New Media Art 5. Mark Tribe: Call for Graduate Applications: Computing Culture Group AT MIT Media Lab 6. Laura Kissel: jobs in new media at University of South Carolina +work+ 7. Carlos Katastrofsky: tagged exhibition - net/art? +announcement+ 8. Will Pappenheimer: Synthesis and Distribution: Experiments in Collaboration 9. Edward Picot: Unanswered Questions 10. Anette - Radiator Festival: Radiator Artists¹ Commissions & Events +thread+ 11. Lev Manovich, mez, Michael Szpakowski, Dirk Vekemans: Remix and Remixability + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.org/info/org.php for more information or contact Lauren Cornell at LaurenCornell AT Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Lauren Cornell <laurencornell AT rhizome.org> Date: Nov 18, 2005 11:25 AM Subject: RHIZOMERS Hi, This went out in Net Art News today - but, in case you missed it, I just wanted to point to the flash animation that YOUNG-HAE CHANG HEAVY INDUSTRIES made in support of the Community Campaign. I asked them if they might be able to provide a statement of some sort on why Rhizome was important to them, and they came back with this piece full of quotes from fictional people all over the world that riff on RAW, Net Art News and other Rhiz elements. http://www.yhchang.com/RHIZOMERS.html Its quite witty, especially considering it is a fundraising effort, I just thought I'd share it.. Yours, Lauren Director Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Please Support Rhizome! Rhizome launched its membership drive, the Community Campaign, on September 19th. The campaign is incredibly important to Rhizome's survival and growth over the next year, and we sincerely hope that you will help us meet our goal of $25,000 by December 1st by becoming a Member or making a donation today! This targeted amount will go into strengthening our current programs, and seeding our energy into new initiatives. Higher-level donors are thanked on our support page and have an opportunity to secure limited-edition works by Cory Arcangel, Lew Baldwin, and MTAA. This is a very exciting time for the organization, and a great time to get involved. Thank you for your ongoing support. http://www.rhizome.org/support/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Warren Sack <wsack AT media.mit.edu> Date: Nov 13, 2005 11:00 PM Subject: Job Posting: Assistant Professor of Critical Studies Note that the deadline is approaching: The deadline is this Friday, November 18th. Position: Assistant Professor in Critical Studies Institution: University of California - Film & Digital Media Department Location: Santa Cruz, California Application deadline: 11/18/2005 If you are interested in more information about the job do not reply to me; rather please email film AT ucsc.edu. The Film and Digital Media Department, University of California, Santa Cruz, invites applications for a tenure-track position in critical studies. Applicants with a scholarly emphasis in international film and/or media are especially desirable; candidates with expertise in other areas of film, television and/or digital media theory and/or history are also invited to apply. Requires Ph.D. in relevant field of study, with demonstrated potential for excellence in innovative research and for excellence in university teaching. Please refer to the complete job announcement and application requirements at http://www2.ucsc.edu/ahr/employment/bulletin/05-06/700-06.pdf Candidates should submit letter of application, curriculum vitae, writing samples, syllabi from courses previously taught, three confidential letters of recommendation, and summary of past student evaluations, if available, to Search Committee, Film & Digital Media Department, University of California, 1156 High Street, Santa Cruz, CA 95064. Refer to provision #700-06. Postmark deadline: November 18, 2005; position open until filled. UCSC is an EEO/AA Employer. Enclose a self-addressed, stamped envelope if you desire writing samples returned at the end of this recruitment. Questions regarding the department or position may be addressed to film AT ucsc.edu. Further information about the department is available at http://film.ucsc.edu/. Contact Information: Job code: #700-06 E-mail: film AT ucsc.edu Web Site: http://film.ucsc.edu Search Committee Film & Digital Media UC Santa Cruz 1156 High Street Santa Cruz, CA 95064 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Marisa Olson <marisa AT rhizome.org> Date: Nov 15, 2005 3:09 PM Subject: 2 posts: School of Art at Carnegie Mellon University Two posts available in the School of Art at Carnegie Mellon.University: One in Art in Context/Public Art; the other in Electronic and Time Based Art. Please circulate. Art in Context/Public Art - Carnegie Mellon University School of Art Tenure track or Visiting Faculty Position Beginning August 2006 The School of Art at Carnegie Mellon University is seeking to fill one tenure-track or one two-year visiting artist position (with possible renewal) with an emphasis on creative practice that expands the context for art and engages the public beyond traditional venues. Seeking broad approach that may include interdisciplinary, collaborative, tactical, interventionist and other models of artmaking. Candidates with conceptual strengths, contextual sensibilities, and/or a multidisciplinary orientation are sought to work with a dynamic faculty team and energetic, motivated students in innovative BFA and MFA programs. Teach project-based undergraduate and graduate courses in which students research, interact with and respond to organizations, sites, and/or audiences in a variety of diverse communities, sites and contexts. Artists with additional experience in other visual media or visual culture history/theory also encouraged to apply. Salary and benefits competitive. Start August 2006. Advanced degree or equivalent. College-level teaching experience beyond graduate assistantships required or equivalent professional experience. Programmatic information at http://artserver.cfa.cmu.edu>http://artserver.cfa.cmu.edu. Include letter of application with teaching philosophy, CV, names/addresses/ telephone numbers of 3 references (no recommendation letters). Up to 20 examples of creative work, documented through slides or digital media. Documentation of time-based or interactive media should include navigation directions, if applicable, and should not exceed ten minutes total viewing time. For specific submission guidelines for electronic work, visit: http://artserver.cfa.cmu.edu/media.html Documentation of student work only at interview stage. Minorities encouraged to apply. AA. EOE. WMA. SASE. All applications should be postmarked by January 7, 2006 and mailed to: Art in Context Search, School of Art, CFA 300, Carnegie Mellon University, Pittsburgh, PA 15213-3890. Electronic and Time-Based Art - Carnegie Mellon University School of Art Tenure track or Two-year Visiting Faculty Position Beginning August 2006 The School of Art at Carnegie Mellon University is seeking to fill one tenure-track or two-year (with possible renewal) visiting artist position in its Electronic Time Based Art Area. Candidates with conceptual strengths, contextual sensibilities, and/or a multidisciplinary orientation are sought to work with a dynamic faculty team within an established electronic time based area in the School of Art. Emphasis on creative practice in technology-based art with experience in one or more of the following areas: digital multimedia, Internet-based interactive and/or virtual environments, performance, interactive audio, motion capture, telepresence, computer vision, artificial life or biotechnology, robotics, or programming for electronic art. Potential for collaboration with the School of Computer Science, the Entertainment Technology Center and/or other divisions on campus. Artists with a significant track record in digital/electronic media who are qualified for joint appointments with computer sciences, natural sciences or engineering will also be considered. Those with additional experience in other visual media or critical theory are also encouraged to apply. Salary and benefits competitive. Start August 2006. Advanced degree or equivalent. College-level teaching experience beyond graduate assistantships required or equivalent professional experience. Programmatic information at http://artserver.cfa.cmu.edu. Include letter of application with teaching philosophy, CV, names/addresses/ telephone numbers of 3 references (no recommendation letters). Up to 20 examples of creative work, documented through slides or digital media. Documentation of time-based or interactive media should include navigation directions, if applicable, and should not exceed ten minutes total viewing time. For specific submission guidelines for electronic work, visit: http://artserver.cfa.cmu.edu/media.html Documentation of student work only at interview stage. Minorities encouraged to apply. AA. EOE. WMA. SASE. All applications should be postmarked by January 7, 2006 and mailed to: ETB Search, School of Art, CFA 300, Carnegie Mellon University, Pittsburgh, PA 15213-3890. Hilary Robinson Stanley and Marcia Gumberg Dean, College of Fine Arts Carnegie Mellon University Pittsburgh, PA USA hr AT cmu.edu + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome ArtBase Exhibitions http://rhizome.org/art/exhibition/ 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. http://rhizome.org/art/exhibition/city/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: carlos rosas <rosasstudio AT overtheedge.net> Date: Nov 15, 2005 5:04 PM Subject: Job Posting: Assistant/Associate Professor of New Media Art We are in the process of a new media search at Penn State: see description below... ---------------------------------------------------------------------------- New Media Art, Early Career Position The Pennsylvania State University State College, Pennsylvania NEW MEDIA ARTIST - Assistant Professor or untenured Associate Professor. This is a permanent, tenure-track position. Qualifications: Graduate degree and at least two years of college-level teaching experience beyond graduate assistantship. Demonstrated commitment to research and professional activity at the national and international level. Outstanding teacher of new media studio art courses. In addition to experience with digital media, the successful candidate should possess knowledge of contemporary art, theory and criticism as it relates to new media art practice. Responsibilities: Teach undergraduate and graduate new media courses. Provide leadership in curriculum development for the new media area of concentration in the Penn State School of Visual Arts. Active participation in undergraduate and graduate programs across disciplines, plus other school duties. The New Media Art area of concentration in the Penn State School of Visual Arts (SoVA) includes creative 2d, 3d, and 4d work in Net art, sound, video, interactivity, gaming, multimedia, installation, activism/tactical media, robotics, haptic environments, open source, hybridity, transmedia, wireless art, nomadic work, motion graphics, animation, and technological and cultural interfaced performance. Starting Date: AUGUST 2006 Salary: Commensurate with qualifications and experience. Application Deadline: Screening will begin on January 5, 2006 and will continue until a suitable candidate is identified. Application Procedure: Applicants should submit a letter addressing her or his qualifications relative to the responsibilities specified above; a current vitae; artist statement; video, DVD, CD-ROM, or other appropriate media; and the name, address, email, and phone number of four (4) references. Please submit materials to: New Media Search committee c/o Dr. Charles Garoian, Director, PENN STATE School of Visual Arts, Position #W005-34, 210 Patterson Building, University Park, PA 16802. Please include a self-addressed, stamped envelope for the return of your materials. Penn State is committed to affirmative action, equal opportunity, and the diversity of its workforce. ---------------------------------------------------------------------------- Carlos Rosas Associate Professor, Head New Media Art New Media Search Committee Chair Studio Program Head (interim) School of Visual Arts (SoVA) The Pennsylvania State University University Park, PA 16802 email: crosas AT psu.edu web: http://www.sva.psu.edu online: http://www.overtheedge.net http://www.emitto.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 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 commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. http://rhizome.org/commissions/ The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Mark Tribe <mark.tribe AT gmail.com> Date: Nov 17, 2005 8:28 PM Subject: Call for Graduate Applications: Computing Culture Group AT MIT Media Lab Call for Graduate Applications Computing Culture Group Art/Technology/Politics MIT Media Lab The Computing Culture Group at the MIT Media Lab is an Art and Technology research group focused on embedding poetic and political considerations in the development of new technologies. Research projects have ranged from technologies to confront a changing U.S. Government (OpenGIA, txtMob) and right wing anti-immigrant fascist groups (Freedom Flies), to complications of gender and control in domestic appliances (Blendie), and techniques for creating electronic instruments in a post-oil apocalypse (Synth From Nothin'). Our mission is to refigure what engineering means, how it happens, and what it produces. Drawing on fields from the humanities, like Science and Technology Studies, we create new technologies that function as instances of material power, but also as exemplars of what future goals engineering should pursue. Our page may be found at [http://compcult.media.mit.edu/]. We are currently accepting applications to the Master?s in Media Arts and Sciences graduate program. The MAS is a two-year program, during which a student spends half their time on course work and the other half on their directed art research. Tuition is fully funded, and students receive a significant stipend to live on. The program and funding are open to students of any nationality. Students may be trained in either art or science and/or engineering, but should show crossover. For instance, an art student should be an accomplished programmer, have machining skills, or be able to design and fabricate electronics. An engineering students should have done several art projects, worked with a professional artist, or shown their ability to author radical or unexpected technologies. More information on the MAS program may be found at [http://www.media.mit.edu/mas/#masters]. Information about the process is available at [http://www.media.mit.edu/mas/apply.html] and application forms may be obtained from the MIT Graduate Admissions office [http://web.mit.edu/admissions/www/]. Applicants must indicate on the application form (question #2) the department of Media Arts and Sciences -- we are a separate program and not part of another department at MIT. "Area of research interest" should indicate Chris Csikszentmihályi (Computing Culture) as well as two other research groups. Application or admissions questions may be directed to Media Arts & Sciences (e-mail: mas AT media.mit.edu, tel: (+1 617 253-5114). Completed applications must be submitted by December 15th for the following Fall semester. The principal components of an application are: academic transcript(s), the applicant's statement of objectives, a portfolio, and three letters of recommendation. GREs are not required. International applicants are required to submit an official copy of their TOEFL scores to MIT. The MIT institution code for TOEFL scores is 3514. The Media Lab does not have its own department number. Scores should be sent to MIT Graduate Admissions, department code 99. The Program in Media, Arts & Sciences requires a minimum TOEFL score of 600 (paper-based) or 250 (computer-based). Computing Culture also requires the submission of a portfolio of relevant work. Portfolios should be web-based, but DVD, CD, and other formats are accepted. Any additional materials should be sent to the MAS program, not directly to Chris Csikszentmihalyi. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire http://rhizome.org/hosting/ 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, today! 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Laura Kissel <laura AT sc.edu> Date: Nov 18, 2005 4:23 AM Subject: jobs in new media at University of South Carolina Assistant Professor of New Media Design The University of South Carolina invites applications for an Assistant Professor of New Media Design, tenure-track, in the Department of Art. We seek a cutting-edge new media artist with creative research in digital/new media, including computer animation, motion graphics, web design, and/or other aspects of digital media production. Teaching duties include courses in digital media production and design. The successful candidate will bridge the disciplines of graphic design and media production. The ideal candidate might also bring expertise in traditional media production (film, video, audio) or print-based communication (typography, theoretical, and practical design and graphic design history). Qualifications include an MFA or Ph.D. in digital media (or equivalent) with demonstrated excellence in research and teaching. We welcome online applications at https://uscjobs.sc.edu/ (requisition number 041247) but also request hard copies be sent to: New Media Production/Design Search Committee, Department of Art, University of South Carolina, Columbia, SC 29208. Please include: a letter of application, CV, work samples (DVD, CD), artist statement (include summary of current research), brief statement of teaching philosophy, examples of student work, transcripts, and three letters of recommendation. Inquiries can be directed to the search chair, Laura Kissel, at laura AT sc.edu. We will begin reviewing applications on November 15 and continue until the position is filled. The University of South Carolina is an Affirmative Action/Equal Opportunity Institution. Women and minorities are encouraged to apply. ** Assistant Professor of New Media Studies The University of South Carolina invites applications for an Assistant Professor of New Media Studies. This is a tenure-track appointment shared jointly between the Film Studies Program and the Media Arts area of the Department of Art. We seek a cutting-edge scholar of new/digital media and culture. Teaching duties include relevant courses in media theory, criticism, and /or history at both the graduate and undergraduate levels. An ideal candidate might also bring expertise in television studies, film studies, global media, and/or media production (new and/or traditional). Qualifications include a Ph.D. in media studies (or equivalent) with demonstrated excellence in research and teaching. We welcome online applications at https://uscjobs.sc.edu/ (requisition number 041248) but also request hard copies be sent to: New Media Studies Search Committee, Department of Art, University of South Carolina, Columbia, SC 29208. Please include: a letter of application, CV, writing sample (no more than 30 pp.), official transcripts, and three letters of recommendation. Inquiries can be directed to the search chair, Ina Hark, at hark AT sc.edu. We will begin reviewing applications on November 15, 2005 and will continue until the position is filled. The University of South Carolina is an Affirmative Action/Equal Opportunity Institution. Women and minorities are encouraged to apply. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: michael kargl <carlos.katastrofsky AT gmx.net> Date: Nov 17, 2005 2:45 PM Subject: tagged exhibition - net/art? tagged exhibition - net/art? i'm currently experimenting with del.icio.us - tags. the idea is to make an exhibition which can be seen in various layers thanks to tagging... have a look: http://del.icio.us/carlos.katastrofsky this project is a work in progress and started recently after a discussion about curating with marisa s. olson and luís silva here: http://vercodigofonte.blogspot.com/2005/11/on-blogging-as-curating.html and while reading the comments on rhizome about lev manovich's article "Remix and Remixability"... by now it's just a concept/ sketch, but: comments are always welcome! regards, carlos + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Submit to a Rhizome Commissioned Art Project! Panel Junction is a project co-produced by media artist Andy Deck and many volunteers. It combines the graphic novel with forms of shared authorship that are unique to the Internet. Contributions from visitors become material and base imagery for the narrative of the novel, which will culminate in a free document good for online viewing and printing on any standard inket printer. All images and text contributed to the project will remain free for non-commercial use with attribution under a Creative Commons license. Panel Junction received and 05-06 Rhizome.org Commission. Check it out, here: http://artcontext.org/act/05/panel/feature.php?page=3D6 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Will Pappenheimer <wpappenheimer AT pace.edu> Date: Nov 13, 2005 11:10 PM Subject: Synthesis and Distribution: Experiments in Collaboration Pace Digital Gallery is pleased to present new media work from: Synthesis and Distribution: Experiments in Collaboration Link: http://csis.pace.edu/digitalgallery/ Curated by: Will Pappenheimer, Artist, Pace University Ron Janowich, Artist, New York, University of Florida Merijn van der Heijden, Artist, Ohio State University, Notions of synthesis and distribution in collaboration represent a coming together of separate identities into a new and highly invigorating investigation. As a pre-requisite, participants must question or set aside familiar rules and tools to open up a particular problem in art and visual language from different perspectives. The process is likely to encompass dialogue, brainstorming, overlay, distribution, collective practices, geography, hybridization, network activities, and new forms of cooperative invention. This way of working is not necessarily shaped by personal language or personal concerns. It can be understood as a third language. It is a way of working that is based on mutual respect, risk-taking and expansive inquiry that allows a team or group to venture into new and unknown directions. ?Synthesis and Distribution: Experiments in Collaboration? is an concurrent series of exhibitions featuring the unexpected results of artistic and interdisciplinary collaboration. The artists, writers and thinkers were invited based on their willingness to explore and transform each other?s work. They may have already established an existing collaborative body of work or they may be encouraged to uncover this latent interest within the purview of this exhibition. Artists from over five countries will exhibit work in new media, photography, painting, drawing, sculpture, video, digital printing, and musical performance. Interdisciplinary collaborations will include visual arts, musical performance, criticism, writing, architecture and the social sciences. They will be exhibited simultaneously in all three of Pace University?s Fine Arts Galleries. Pace Digital Gallery, Opening Nov. 15?Dec. 16th, 6-8pm 163 Williams St., New York, NY 10038 Live Performance of Four Wheel Drift (remix) Julie Andreyev and Four Wheel Drift Lynn Cazabon and Hasan Elahl Michael Mandiberg and Julia Steinmetz Jillian Mcdonald, Kelty McKinnon and Beckley Roberts John Miller and Takuji Kogo Sal Randolph and Glowlab Peter Fingestin Gallery, Opening Sat., Nov. 5 ? Dec. 1 Pace Plaza, New York, NY 10038 Gallery Hours, Mon-Sun 1-4pm Robin Hill and Stephen Kaltenbach Las Hermanas Iglesias Laura Lisbon and Suzanne Silver Merijn van der Heijden and Ron Janowich Mary Carlson and Jenne Silverthorn and Nica de la Torre Mia Brownell and Martin Kruck Barbara Ciurej and Lindsay Lochman Will Pappenheimer & Gregory Ulmer Aura Rosenberg, Jane Dickson, and "Who am I?" artists Robin Tewes and Mark Tansey Art Clay and Participants Angie Drakoupolis and Daniel Hill Lauren Garber and Tate Bunker and Neill Elliott Charlie Ahearn and Colette Kristin Lucas and FACT + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: Edward Picot <edwardpicot AT beeb.net> Date: Nov 17, 2005 9:58 AM Subject: Unanswered Questions New on The Hyperliterature Exchange for November 2005: Edward Picot reviews "Inanimate Alice", a new media fiction from Kate Pullinger and Babel, and "Aftershocks", a new media murder documentary from Martha Deed. "Both 'Inanimate Alice' and 'Aftershocks' use unanswered questions as a technique for capturing our attention. They exploit the fact that when things are left unresolved, we feel more obliged to read on, in search of a resolution. But both stories go further than simply arousing our curiosity..." To read the whole review, go to http://hyperex.co.uk/reviewafteralice.php . The Hyperliterature Exchange is an online directory and review of new media literature for sale on the Web. More than 120 works are now listed. Please visit and browse at http://hyperex.co.uk . - Edward Picot personal website - http://edwardpicot.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Anette - Radiator Festival <anette AT trampoline-berlin.de> Date: Nov 18, 2005 2:09 AM Subject: Radiator Artists¹ Commissions & Events New Website released today - go to www.radiator-festival.org for full listings, updates and ticket prices. Radiator, the East Midlands' Festival for New Technology Art, is pleased to announce its upcoming events for 2005 featuring current innovative artistic approaches in the digital arts field. Themed around location and navigation, of city streets and the artform itself, this year's programme includes five commissions from internationally acclaimed artists and many more events. Radiator Artists? Commissions Tree Simon Heijdens Mon 28 Nov - Sat 10 Dec 3.30pm until late Free Tree - a large scale interactive projection. The tree is growing in Nottingham. Discover it yourself or collect a map from Broadway. The branches and leaves move slightly, with an intensity that depends on actual wind gusts. Its leaves are sensitive to sound. When there is a peak in the volume level, from a shouting passer-by or car horn, a leaf will break off the branch. Throughout the evening the tree will become barer and barer, thus creating an ongoing image of human activity. ?Ere Be Dragons Active Ingredient Galleries of Justice Thu 1 Dec 10am - 3pm / 7pm - 9pm Fri 2 Dec 10am - 3pm Sat 3 Dec 11am - 4pm Sun 4 Dec 11am - 4pm £3.50 (£2.50 concessions) 'Ere be Dragons - new interactive game by Nottingham-based digital artists Active ingredient. 'Ere Be Dragons maps unknown territories, controlled by the heart beat of the players as they walk around Nottingham City Centre and resulting in an interactive installation. Active Ingredient have discovered that by plugging people's heart rate into a pocket PC they can see into people's inner world. The longer you stay in this world, the more likely you are to find something out there. Nowhere Plains Alistair Gentry Big Screen, Castle Green, Nottingham Castle Broadway Café Bar Thu 1 Dec 7pm - 7.30pm Fri 2 Dec 6.30pm - 7pm Sat 3 Dec 6.30pm - 7pm Sun 4 Dec 6.30pm - 7.30pm Free Nowhere Plains - a live Mars landing projected large at Nottingham Castle. Nowhere Plains is a literal translation of the Latin name Utopia Planitia, which was the site of the Viking 2 probe's landing on Mars in 1976. Now, Alistair Gentry is going on a utopian journey to Nowhere, culminating in being the first human being to land on Mars, broadcast live from Utopia. Our House Daniel Belasco Rogers (plan b) Broadway Cinema Thu 1 Dec - Fri 2 Dec 11am - 7pm Sat 3 Dec - Sun 4 Dec 12pm - 7pm £3.50 (£2.50 concessions) Our House - a ghosting of the artist's childhood home onto Broadway using the latest audio technology. Our House will trace the 1930s semi-detached house Daniel Belasco Roger's grew up in onto the new media centre. Old family photographs yield details of carpet or wallpaper. Hear the voices of those who have lived there, the taps running, the fridge and the creak on the tenth step of the staircase. Sub/Merg/Ency Stephanie Rothenberg and Elyce Semenec Angel Row Gallery and Surface Gallery Thu 1 Dec 1pm - 3pm / 3pm - 5pm / 6pm - 8pm Fri 2 Dec 1pm - 3pm / 3pm - 5pm / 6pm - 8pm Sat 3 Dec 11am - 1pm / 1pm - 3pm / 3pm - 5pm Sun 4 Dec 12pm - 2pm / 2pm - 4pm Free Sub/Merg/Ency - a unique underwater installation by Stephanie Rothenberg and Elyce Semenec from New York. Collecting and creating objects at Angel Row Gallery to be distributed at the bottom of the pool at Surface Gallery, Rothenberg and Semenec invite participation, both live and online, in helping to create sub/merg/ency. Artists? Talk Broadway, Mezzanine Fri 2 Dec 8.30pm - 10pm Free Radiator 05 has commissioned five new pieces of work. In this informal gathering you can find out more about the commissioned artists, their way of working, their background and their source of inspiration. Radiator 2005 Events Hydrophonics Caroline Locke Malt Cross Sun 27 Nov 1pm (UK) / 10pm (AUS) Mon 28 Nov 10pm (UK) / 7am (Tue 28 - AUS) £3.50 (£2.50 concessions) A live webcast of sound from the other side of the world to the surface of water. The innovative concept of Hydrophonics stems from Locke's fascination with technology, waterflow, the idea of 'seeing sound', of visualising kinetic energy and exploring different approaches to the 'live event'. Locke has worked with musicians to compose music based on the sight of the composition, rather than the sound of it, and developed new designs for water tanks and speaker systems. Life: A User's Manual Michelle Teran City Walk Sat 3 - Sun 4 Dec, 4pm - 5pm £4.50 (£3.50 concessions) Moving through the city streets with a video scanner reveals a hidden layer of personal fragments and stories broadcast by the private owners of surveillance cameras. Incognito and with participants in tow, Michelle Teran takes to Nottingham's streets with her ever-vigilant wireless surveillance camera scanner and broadcasts unseen live images from the city. Please collect ticket and meeting point details from Broadway Box Office at least one hour before the city walk. Txt Adventure Chris Evans Broadway Café Bar Sat 3 Dec 12pm - 10pm Free Text Adventures were as close to novels as computer games ever came. Txt adventure is played by text message - players text their commands to the number on screen. These are sent to a mobile phone connected to the computer running the projection. The computer then enters the commands into an emulated version of the game, and displays the game's output on a big shared screen. Nanoplex Bathysphere Broadway Sat 3 Dec 12pm - 7pm Free Moving image meets holiday making inside Bathysphere's Nanoplex, the region's first mobile new media centre hidden inside a family caravan. Bathysphere, Leicester's leading new media and electronic music moguls, have converted the six berth family caravan into a state of the art micro sized cinema venue. A tiny venue for big ideas, the Nanoplex is designed to showcase ground breaking visuals and sounds at events and festivals around Europe. Radiator is supported by Arts Council England, EM Media, UK Film Council Lottery Funded and Awards for All. If you have received this message involuntarily and would like to prevent any such future postings of Radiator or Trampoline events and opportunities, please send a return mail with the words "remove me" in the subject line. Thank You! + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Lev Manovich <manovich AT jupiter.ucsd.edu>, <netwurker AT hotkey.net.au>, Michael Szpakowski <szpako AT yahoo.com>, Dirk Vekemans <dv AT vilt.net> Date: Nov 16 - 17, 2005 Subject: Remix and Remixability +Lev Manovich <manovich AT jupiter.ucsd.edu> posted:+ Remix and Remixability The dramatic increase in quantity of information greatly speeded up by Internet has been accompanied by another fundamental development. Imagine water running down a mountain. If the quantity of water keeps continuously increasing, it will find numerous new paths and these paths will keep getting wider. Something similar is happening as the amount of information keeps growing - except these paths are also all connected to each other and they go in all directions; up, down, sideways. Here are some of these new paths which facilitate movement of information between people, listed in no particular order: SMS, forward and redirect function in email clients, mailing lists, Web links, RSS, blogs, social bookmarking, tagging, publishing (as in publishing one¹s playlist on a web site), peer-to-peer networks, Web services, Firewire, Bluetooth. These paths stimulate people to draw information from all kinds of sources into their own space, remix and make it available to others, as well as to collaborate or at least play on a common information platform (Wikipedia, Flickr). Barb Dybwad introduces a nice term ³collaborative remixability¹² to talk about this process: ³I think the most interesting aspects of Web 2.0 are new tools that explore the continuum between the personal and the social, and tools that are endowed with a certain flexibility and modularity which enables collaborative remixability ? a transformative process in which the information and media we¹ve organized and shared can be recombined and built on to create new forms, concepts, ideas, mashups and services.² [1] If a traditional twentieth century model of cultural communication described movement of information in one direction from a source to a receiver, now the reception point is just a temporary station on information¹s path. If we compare information or media object with a train, then each receiver can be compared to a train station. Information arrives, gets remixed with other information, and then the new package travels to other destination where the process is repeated. We can find precedents for this ³remixability² for instance in modern electronic music where remix has become the key method since the 1980s. More generally, most human cultures developed by borrowing and reworking forms and styles from other cultures; the resulting ³remixes² were to be incorporated into other cultures. Ancient Rome remixed Ancient Greece; Renaissance remixed antiquity; nineteenth century European architecture remixed many historical periods including the Renaissance; and today graphic and fashion designers remix together numerous historical and local cultural forms, from Japanese Manga to traditional Indian clothing. At first glance it may seem that this traditional cultural remixability is quite different from ³vernacular² remixability made possible by the computer-based techniques described above. Clearly, a professional designer working on a poster or a professional musician working on a new mix is different from somebody who is writing a blog entry or publishing her bookmarks. But this is a wrong view. The two kinds of remixability are part of the same continuum. For the designer and musician (to continue with the sample example) are equally affected by the same computer technologies. Design software and music composition software make the technical operation of remixing very easy; the Internet greatly increases the ease of locating and reusing material from other periods, artists, designers, and so on. Even more importantly, since every company and freelance professionals in all cultural fields, from motion graphics to architecture to fine art, publish documentation of their projects on their Web sites, everybody can keep up with what everybody else is doing. Therefore, although the speed with which a new original architectural solution starts showing up in projects of other architects and architectural students is much slower than the speed with which an interesting blog entry gets referenced in other blogs, the difference is quantitative than qualitative. Similarly, when H&M or Gap can ³reverse engineer² the latest fashion collection by a high-end design label in only a few weeks, this is part of the same new logic of speeded up cultural remixability enabled by computers. In short, a person simply copying parts of a message into the new email she is writing, and the largest media and consumer company recycling designs of other companies are doing the same thing they practice remixability. The remixability does not require modularity - but it greatly benefits from it. Although precedents of remixing in music can be found earlier, it was the introduction of multi-track mixers that made remixing a standard practice. With each element of a song vocals, drums, etc. available for separate manipulation, it became possible to ?re-mix¹ the song: change the volume of some tracks or substitute new tracks for the old ounces. According to the book DJ Culture by Ulf Poscardt, first disco remixes were made in 1972 by DJ Tom Moulton. As Poscard points out, they ³Moulton sought above all a different weighting of the various soundtracks, and worked the rhythmic elements of the disco songs even more clearly and powerfully?Moulton used the various elements of the sixteen or twenty-four track master tapes and remixed them.²[2] In most cultural fields today we have a clear-cut separation between libraries of elements designed to be sampled stock photos, graphic backgrounds, music, software libraries and the cultural objects that incorporate these elements. For instance, a graphic design may use photographs that the designer bought from a photo stock house. But this fact is not advertised; similarly, the fact that this design (if it is successful) will be inevitably copied and sampled by other designers is not openly acknowledged by the design field. The only fields where sampling and remixing are done openly are music and computer programming, where developers rely on software libraries in writing new software. Will the separation between libraries of samples and ³authentic² cultural works blur in the future? Will the future cultural forms be deliberately made from discrete samples designed to be copied and incorporated into other projects? It is interesting to imagine a cultural ecology where all kinds of cultural objects regardless of the medium or material are made from Lego-like building blocks. The blocks come with complete information necessary to easily copy and paste them in a new object either by a human or machine. A block knows how to couple with other blocks and it even can modify itself to enable such coupling. The block can also tell the designer and the user about its cultural history the sequence of historical borrowings which led to the present form. And if original Lego (or a typical twentieth century housing project) contains only a few kinds of blocks that make all objects one can design with Lego rather similar in appearance, computers can keep track of unlimited number of different blocks. At least, they can already keep track of all the possible samples we can pick from all cultural objects available today. The standard twentieth century notion of cultural modularity involved artists, designers or architects making finished works from the small vocabulary of elemental shapes, or other modules. The scenario I am entertaining proposes a very different kind of modularity that may appear like a contradiction in terms. It is modularity without a priori defined vocabulary. In this scenario, any well-defined part of any finished cultural object can automatically become a building block for new objects in the same medium. Parts can even ?publish¹ themselves and other cultural objects can ³subscribe² to them the way you subscribe now to RSS feeds or podcasts. When we think of modularity today, we assume that a number of objects that can be created in a modular system is limited. Indeed, if we are building these objects from a very small set of blocks, there are a limited number of ways in which these blocks can go together. (Although as the relative physical size of the blocks in relation to the finished object get smaller, the number of different objects which can be built increases: think IKEA modular bookcase versus a Lego set.) However, in my scenario modularity does not involve any reduction in the number of forms that can be created. On the contrary, if the blocks themselves are created using one of many already developed computer designed methods (such as parametric design), every time they are used again they can modify themselves automatically to assure that they look different. In other words, if pre-computer modularity leads to repetition and reduction, post-computer modularity can produce unlimited diversity. I think that such ³real-time² or ³on-demand² modularity can only be imagined today after online stores such as Amazon, blog indexing services such as Technorati, and architectural projects such as Yokohama International Port Terminal by Foreign Office Architects and Walt Disney Concert Hall in Los Angeles by Frank Gehry visibly demonstrated that we can develop hardware and software to coordinate massive numbers of cultural objects and their building blocks: books, bog entries, construction parts. But whether we will ever have such a cultural ecology is not important. We often look at the present by placing it within long historical trajectories. But I believe that we can also productively use a different, complementary method. We can imagine what will happen if the contemporary techno-cultural conditions which are already firmly established are pushed to their logical limit. In other words, rather than placing the present in the context of the past, we can look at it in the context of a logically possible future. This ³look from the future² approach may illuminate the present in a way not possible if we only ³look from the past.² The sketch of logically possible cultural ecology I just made is a little experiment in this method: futurology or science fiction as a method of contemporary cultural analysis. So what else can we see today if we will look at it from this logically possible future of complete remixability and universal modularity? If my scenario sketched above looks like a ³cultural science fiction,² consider the process that is already happening on the one end of remixability continuum. Although strictly speaking it does not involve increasing modularity to help remixability, ultimately its logic is the same: helping cultural bits move around more easily. I am talking about a move in Internet culture today from intricately packaged and highly designed ³information objects² which are hard to take apart such as web sites made in Flash to ³strait² information: ASCII text files, feeds of RSS feeds, blog entries, SMS messages. As Richard MacManus and Joshua Porter put it, ³Enter Web 2.0, a vision of the Web in which information is broken up into ³microcontent² units that can be distributed over dozens of domains. The Web of documents has morphed into a Web of data. We are no longer just looking to the same old sources for information. Now we¹re looking to a new set of tools to aggregate and remix microcontent in new and useful ways.²[3] And it is much easier to ³aggregate and remix microcontent² if it is not locked by a design. Strait ASCII file, a JPEG, a map, a sound or video file can move around the Web and enter into user-defined remixes such as a set of RSS feeds; cultural objects where the parts are locked together (such as Flash interface) cant. In short, in the era of Web 2.0, ³information wants to be ASCII.²[4] If we approach the present from the perspective of a potential future of ³ultimate modularity / remixability,² we can see other incremental steps towards this future which are already occurring. For instance, Orange <orange.blender.org> (an animation studio n Amsterdam) has setup a team of artists and developers around the world to collaborate on an animated short film; the studio plans to release all of their production files, 3D models, textures, and animation as Creative Commons open content on a extended edition DVD. Creative Commons offers a special set of Sampling Licenses which ³let artists and authors invite other people to use a part of their work and make it new.²[5] Flickr offers multiple tools to combine multiple photos (not broken into parts at least so far) together: tags, sets, groups, Organizr. Flickr interface thus position each photo within multiple ³mixes.² Flickr also offers ³notes² which allows the users to assign short notes to individual parts of a photograph. To add a note to a photo posted on Flickr, you draw a rectangle on any part of the phone and then attach some text to it. A number of notes can be attached to the same photo. I read this feature as another a sign of modularity/remixability mentality, as it encourages users to mentally break a photo into separate parts. In other words, ³notes² break a single media object a photograph into blocks. In a similar fashion, the common interface of DVDs breaks a film into chapters. Media players such as iPod and online media stores such as iTunes break music CDs into separate tracks making a track into a new basic unit of musical culture. In all these examples, what was previously a single coherent cultural object is broken into separate blocks that can be accessed individually. In other words, if ³information wants to be ASCII,² ³contents wants to be granular.² And culture as a whole? Culture has always been about remixability but now this remixability s available to all participants of Internet culture. Since the introduction of first Kodak camera, ³users² had tools to create massive amounts of vernacular media. Later they were given amateur film cameras, tape recorders, video recorders...But the fact that people had access to "tools of media production" for as long as the professional media creators until recently did not seem to play a big role: the amateur¹ and professional¹ media pools did not mix. Professional photographs traveled between photographer¹s darkroom and newspaper editor; private pictures of a wedding traveled between members of the family. But the emergence of multiple and interlinked paths which encourage media objects to easily travel between web sites, recording and display devices, hard drives, and people changes things. Remixability becomes practically a built-in feature of digital networked media universe. In a nutshell, what maybe more important than the introduction of a video iPod, a consumer HD camera, Flickr, or yet another exiting new device or service is how easy it is for media objects to travel between all these devices and services - which now all become just temporary stations in media¹s Brownian motion. October 2005 NOTES [1] ³Approaching a definition of Web 2.0,² The Social Software Weblog <socialsoftware.weblogsinc.com>, accessed October 28, 2005. [2] Ulf Poschardt, DJ Culture, trans. Shaun Whiteside (London: Quartet Books Ltd, 1998), 123. [3] ³Web 2.0 Design: Bootstrapping the Social Web,² Digital Web Magazine < http://www.digital-web.com/types/web_2_design/>, accessed October 28, 2005. [4] Modern information environment is characterized by a constant tension between the desires to ³package² information (Flash design for instance) and strip it from all packaging so it can travel easier between different media and sites. [5] http://creativecommons.org/about/sampling, accessed October 31, 2005. +netwurker AT hotkey.net.au replied:+ > > > Lev Manovich > > > Remix and Remixability > > ie: >Date: Tue, 16 Oct 2001 02:55:07 +0000 >To: poetics, rhizome, spectre >From: "l][m][att][r][ice" <netwurker AT pop.hotkey.net.au> >Subject: _This Cybagenic Lattice_ . .. . . . . .. A c][r][][ab-like][yst][al][ repeating. . . . . In disarray, a molten swathe of n.ter.face][s][ts mimic simul.crated spaces. In describing, yr structure is musty, n.distinguishable from the mas][ticated][s, a graphic urn of circuitry rust. In b.tween][ning][, pat.turns of repetition ][like looped n.testinal lattice][ is in ][& of][ IT.s][h][ell.f repeated ][the uni.f][r][ied cell][. .. . .. . . . . .. . . .A most fungalmental repetition property. . . . . . . . . .. . . . . .. . ... . .. . This Cyb.age.nic Lattice in its ][& of IT.self][ ubersymmetry. We n.itially shrink ourselves ][in][2 3 di][ce][mensions. 4 ][si][m.plicity, 3 types r coded: .C.quential. . .Replification. . . .Helix. .C.quential: U perceive & reproduce via regular successions. No gaps allowed. No m.maginative rigor. U may ][& will][ b visualized like this. U represent a sell][out][.F - the human unit of repeditive n.elasticity. [4 e.e.g, u r 1 of the sell.Fs. if u look out, u c the same reflective sell.Fs AT 0, 90, 180, & 270 d.grees because a c.quential repeats itself AT predicable ][culturally-d.][greed n.tervals. . .Replification: U repeat consistently. U r not able 2 distinguish successive patternings ][ AT 0 and 180 cultural d.gree][d][s][. U find replification easier than advancing. U m.ulate. U ][re][produce as if it were progressive. . . .Helix: U spiral and poll][inate][ute. U.re c.oiled c][ultural][entrics reorder & re.route. U burn the sell.F. U.re c][h][ells can traverse the vir][mens][t][r][ually & geocentrically g][l][athered. . .. . . . . .. If the helix s.][c][el][l][ves were seen in ultradimensions, they would completely fill the Cybagenic & Ge][c][o.d.fined Lattrix. . . . . .. . .. _______ >Date: Tue, 16 Oct 2001 05:12:17 +0000 >To: 7-11, audiovision, beatrice, convergence, fibreculture, florian >From: "l][m][att][r][ice" <netwurker AT pop.hotkey.net.au> >Subject: _This Cybagenic Lattice_ [translation] _This Cybagenic Lattice_ [interlingual rendition]. Imagine a crab-like information retrieval moment. Envisage datacyst crystals reiterated through electroid transmissions. Think the design disarray of dimension facets gone molten, of interfaces constructed to mimic simulcrated non-geodefined spaces. In this projected conception your fantasized structure is, however, musty and indistinguishable from a traditionally masticated mass. You end up conceptualising a representation akin to a graphic urn of earthed circuitry rust. +Michael Szpakowski <szpako AT yahoo.com> replied:+ Yes - this seems on the nail, if a tad schematic. The potential to express large amounts of different stuff in ones and zeros, so sound and image and text and procedure confront one another as *equals* and moreover in some sense the *same coinage* seems to me also to be behind/parallel to a general renewal of interest in the gesamkunstwerke, and this not only in the networked world. But the elephant in the room here is the massive amount of stuff (ie. most stuff) not yet (and probably never) reducible to, and exchangeable in, this coinage. The difference between an image of a painting and that painting's surface and presence (& I'm not talking *aura* here, just the fact of that raised and lumpy surface),or the distance between the wonderfully accurate Strad sample called in by an extremely nuanced Sibelius file compared to a performance by a human on a real Strad,or smell,or taste,or dance... I'm not dissing the virtual, I love it; also I'm not setting up a simple human/machine opposition - those networks and channels are, of course,chock full of humanity. There's just a further dialectic at work... +Dirk Vekemans <dv AT vilt.net> replied:+ A very impressive synthesis of the dominant view. I've admired and enjoyed 'The Language of New Media" because of it's power of synthesis and clarification too. Here, however, in the field of what you rightly call info-aesthetics, i think the picture is very restrictive and when it's put like this, backed by the power of your authority, i fear it may become normative. It already is, in many ways. Mez's reaction to this is perfectly clear, i think. It's amazing how fast and accurate she can produce these things. I feel that if you're missing the point of what the Poetics of New Media could be (too, besides what you make of it here and although the description you give here goes for most of what's being produced), she's bang on to it and putting it to good use. There are suggested paths in your own work too,however, indications that you choose to neglect here, they seem overriden by the methods of the power grid now. It's a pity, somehow. Don't think the world needs more of this modular function N=new function(newnewnewnew newness=new newnewnewnew()){it=N;N(it);}. It tends to get blown away by the hurricanes caused by the continuous postponement of urgently needed action partly generated by it. If there's a futuristic science quality in the model you're describing it might be that of how to let things slip into oblivion efficiently. Unintended, sure, and i might be the fool to read it in it, but that's what it spells for me. It's a very usefull text, though, your quality of writing, the clarity is a commendable achievement in our dark age and it deserves better than these hasty remarks or those beneath. Not that i'd get near your clarity or Mez's accuracy, but i might be temted to give it a serious go anyway, if i can find some time, later. I might not be able to, but information matters. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 Marisa Olson (marisa AT rhizome.org). ISSN: 1525-9110. Volume 10, number 46. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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-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 |