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: 07.21.06
From: digest@rhizome.org (RHIZOME)
Date: Fri, 21 Jul 2006 12:46:20 -0700
Reply-to: digest@rhizome.org
Sender: owner-digest@rhizome.org

RHIZOME DIGEST: July 21, 2006

Content:

+opportunity+
1. employment AT guggenheim.org: Job Opening at the Solomon R. Guggenheim
Museum
2. Perry Lowe: Eyebeam Fellowships 2006-07: Call for Applicants
3. Perry Lowe: Eyebeam Residency Fall 2006-07: Call for Applicants
4. opensource AT boxwith.com: OPENcall: In War/At War: The Practice of Everyday

+announcement+
5. Brian Kim Stefans: New Media Poetics: Contexts, Technotexts and
Theories (MIT Press)
6. Nanette Wylde: Slippage: net.art Exhibition Announcement
7. marc: Game/Play exhibition - UK
8. Turbulence: Turbulence Commission: "SWM05: Distributed Bodies of
Musical-Visual Form" by Troy Innocent and Ollie Olsen with the Shaolin
Wooden Men and Harry Lee

+Commissioned by Rhizome.org+
9. Ryan Griffis: An Interview with Joel Slayton, by Ryan Griffis

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

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: employment AT guggenheim.org <employment AT guggenheim.org>
Date: Jul 18, 2006
Subject: Job Opening at the Solomon R. Guggenheim Museum

TITLE: Education Manager for New Media

RESPONSIBILITIES:

Develop and oversee new and ongoing educational technology initiatives for
the Sackler Center for Arts Education (SCAE); collaborate with
departmental staff, invited artists, guest presenters and other
organizations and institutions to develop and present programs.

Work closely with the senior departmental staff to develop strategies to
promote audience expansion and engagement with offerings that utilize
digital media as a tool for interpreting the Museum's collections and
exhibitions.

Oversee special technology projects at SCAE, including, but not limited
to, artist residencies, distance learning, school programs, curriculum
development, youth media initiatives, professional development for
teachers, and continuing education.

Implement and maintain a digital database and audiovisual archive of
education program documentation; maintain a digital image source for
departmental use of the museum's collections and exhibitions; facilitate
requests and needs for digital images for museum publications including
the Education Brochure, Members' Magazine, and SRGM website.

Oversee the maintenance and proper functioning of the SCAE multimedia labs
with the assistance of IT; provide research and advisement to the Director
of Education on ways to continually increase functionality of labs.

Prepare and manage technology budgets, and coordinate program contracts,
statistics, requisition proposals and documentation.

Assist with fundraising and grant writing for technology-related initiatives.

REQUIREMENTS:

Masters Degree in Art History, Art Education; 3-5 years of museum
experience, preferably in an education or technology department.

Strong knowledge of art history with an emphasis in Modern and
contemporary art; strong experience in the development and implementation
of educational technologies.

Excellent research, writing and editing skills.

To Apply: Please send resume and cover letter with desired salary range
to employment AT guggenheim.org. Please indicate 'Ed Mgr New Media - RZM' in
the subject line.

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2.

From: Perry Lowe <perry AT eyebeam.org>
Date: Jul 20, 2006
Subject: Eyebeam Fellowships 2006-07: Call for Applicants

Eyebeam
540 West 21st Street, NY, USA
http://www.eyebeam.org

Eyebeam is currently calling for Fellowship applications in all three of
our lab environments.

The application deadline is Aug. 14 at 12pm EST. Up to six Fellowships
will be granted for 2006/07.

Fellowships will be offered in the R&D OpenLab, the Production Lab and for
the first time, in the Education Lab. The focus of the Fellowships varies
depending on the tools and skills available and the creative objectives
and philosophy of each Lab.

For all of the Fellowships we are seeking applications from artists,
hackers, designers, engineers and creative technologists to come to
Eyebeam for a year to undertake new research and develop new work. The
ideal Fellow has experience working with and making innovative
technological art projects and/or creative technology projects and has a
passion for collaborative development. Fellows will bring this experience
and working approach to their own independent projects, projects initiated
by other resident artists or Fellows and projects conceived
collaboratively during the Fellowship period.

SUPPORT

The program duration is for 11 months, running from October to August.
Fellows are selected from an open call. International applicants are
welcome to apply although we do not have the resources to cover travel and
accommodation. We are happy to work with selected applicants, where
required, to help them to secure funds to cover these expenses.

Fellows receive a $30,000 stipend and health benefits during their stay.
They are able to take on additional external teaching or consulting work,
but there is an expectation that Fellows will be working at Eyebeam a
minimum of four days a week.

Please read the guidelines for each of the Fellowships carefully. Each
working environment has different sets of tools and different
mentors/trainers for these tools, so applicants should consider which
environment will best suit their own needs and experience. However, all
artists, technologists and residents have access across the lab
environments and programs.

SHARING

Working connections at Eyebeam will be fostered though group critiques,
discussions and projects, within and between the lab environments and
residency programs. Fellows also benefit from critiques, lectures and
workshops by external practitioners chosen for their relationship to
subjects and projects being worked on in the Labs.

All Fellows are encouraged to share their skills and knowledge with the
larger Eyebeam community by conducting formal and/or informal workshops
with others in the Labs as well as possible workshops open to the public.

There are also opportunities to develop work for performance, events,
seminars, exhibition or other public programming in the Eyebeam galleries
(and beyond) during the term of the fellowship.

Core to our principle at Eyebeam is the brokering of relationships between
artists, hackers, coders, engineers and other creative technologists and
the contexts we provide. The intention is to foster and facilitate
relationships whereby technologists and artists can come together to
germinate and hothouse their ideas, develop new processes and create new
works through a period of immersion in a social context which is rich in
technology, expertise and ideas.

During 2006 we are also establishing research groups to bring together
creative practitioners working at Eyebeam as well as expert external
participants to develop new research leading to possible public outcomes
including seminars, public discussion and exhibition.

LAB ENVIRONMENTS

Production Studio
http://www.eyebeam.org/production/production.php?page=midfellows

R&D OpenLab
http://www.eyebeam.org/production/production.php?page=rdfellows

Education Studio
http://www.eyebeam.org/production/production.php?page=edfellows

RESEARCH

Themes for 2006/07 include (though will not be limited to):

- Energy, Technology and Sustainability;
- Urban research, urban interventions and media in public space.

Artists and creative technologists interested in these research areas are
particularly encouraged to apply for 2006/07 Fellowships.

TO APPLY: http://www.eyebeam.org/production/production.php?page=felcall

Founded in 1997, Eyebeam is an art and technology center that provides a
fertile context and state-of-the-art tools for digital experimentation. It
is a lively incubator of creativity and thought, where artists and
technologists actively engage with the larger culture, addressing the
issues and concerns of our time. Eyebeam challenges convention, celebrates
the hack, educates the next generation, encourages collaboration, freely
offers its output to the community, and invites the public to share in a
spirit of openness: open source, open content and open distribution.

Eyebeam's programs are made possible through the generous support of
Atlantic Foundation, Time Warner Youth Media and Arts Fund, the John D.
and Catherine T. MacArthur Foundation, the Andy Warhol Foundation for the
Visual Arts, the National Endowment for the Arts, Alienware, the Jerome
Foundation, the Helena Rubinstein Foundation, the Greenwall Foundation,
the Bay Branch Foundation, the New York State Council on the Arts, a state
agency, the New York City Department of Cultural Affairs, the David S.
Howe Foundation, the Lerer Family Charitable Foundation and the Sony
Corporation.

Location: 540 W. 21st Street between 10th & 11th Avenues
Hours: Tuesday - Saturday, 12:00 - 6:00pm
Bookstore: Tuesday - Saturday, 12:00 - 6:00pm

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3.

From: Perry Lowe <perry AT eyebeam.org>
Date: Jul 20, 2006
Subject: Eyebeam Residency Fall 2006-07: Call for Applicants

Eyebeam
540 West 21st Street, NY, USA
http://www.eyebeam.org

Eyebeam is currently calling for applications for five-six month Residency
opportunities. The application deadline is Aug. 21 at 12pm EST.

Artists, hackers, designers, engineers and creative technologists are
invited to apply to be Residents at Eyebeam, to work for six months on
projects or research of artistic endeavor or creative expression. The
ideal Resident has experience working with and generating innovative
technological art and/or creative technology projects and has a passion
for interdisciplinary exchange.

Residents will be selected from an open call, based on the work being
proposed, the availability of the necessary tools and skills to support
them, and in consideration of the overarching research themes and
activities of the organization. International applicants are welcome to
apply, although we do not have the resources to cover travel or
accommodation. We are happy to work with selected applicants, if
required, to help them secure funds to cover these expenses.

Residents receive 24/7 access to Eyebeam?s Chelsea facility in New York
City, including equipment and technical expertise from Eyebeam staff and
Fellows, a $5000 honorarium, the potential for collaborative exchange with
other Residents as well as support from interns. The program term is
approximately from September to February and March to August with the
potential for extension and/or re-application.

Group discussions and interdisciplinary projects, within and between the
lab environments and organizational programs foster connections with other
artists and staff. Residents also benefit from critiques, lectures and
workshops by external practitioners chosen for their relationship to
subjects and projects being worked on in the Labs.

All Residents are encouraged to share their skills and knowledge with the
larger Eyebeam community by conducting formal and/or informal workshops
with others in the Labs as well as possible workshops open to the public.

There are also opportunities to develop work for performance, events,
seminars, exhibition or other public programming in the Eyebeam galleries
and beyond during the Residency term. Fostering relationships between
artists, hackers, coders, engineers and other creative technologists is
central to Eyebeam?s mission. The intention is to facilitate relationships
whereby technologists and artists can come together to germinate and
hothouse their ideas, develop new processes and create new works through a
period of immersion in a social context which is rich in technology,
expertise and ideas.

Looking forward, we are also establishing research groups to bring
together creative practitioners working at Eyebeam with expert external
participants to develop new research leading to possible public outcomes
including seminars, public discussion and exhibition.

Research Themes for 2006-07 include (though will not be limited to):
- Energy, Technology and Sustainability
- Urban research, urban interventions and media in public space
Artists and creative technologists interested in these research areas are
particularly encouraged to apply for 2006/07 Residencies.

Please read the descriptions for the Labs carefully. All Residents and
Fellows have access to shared resources across the lab environments.
Creating programs and collaborations across the Labs is encouraged.
However, each lab environment at Eyebeam has different sets of tools and
different mentors/trainers for these tools, so applicants should consider
if and how these environments suit their needs and experience.

TO APPLY for a Fall 2006-07 Residency please visit
http://eyebeam.org/production/onlineapp/

** Please note Fellowship applications are also being accepted in the R&D
OpenLab, the Production Lab and the Education Lab. The application
deadline for Fellowships is Aug. 14 at 12pm EST. Please read all
Fellowship and Residency opportunities thoroughly before selecting the
application which you would like to submit.

Founded in 1997, Eyebeam is an art and technology center that provides a
fertile context and state-of-the-art tools for digital experimentation. It
is a lively incubator of creativity and thought,
where artists and technologists actively engage with the larger culture,
addressing the issues and concerns of our time. Eyebeam challenges
convention, celebrates the hack, educates the next generation, encourages
collaboration, freely offers its output to the community, and invites the
public to share in a spirit of openness: open source, open content and
open distribution.

Eyebeam's programs are made possible through the generous support of
Atlantic Foundation, Time Warner Youth Media and Arts Fund, the John D.
and Catherine T. MacArthur Foundation, the Andy Warhol Foundation for the
Visual Arts, the National Endowment for the Arts, Alienware, the Jerome
Foundation, the Helena Rubinstein Foundation, the Greenwall Foundation,
the Bay Branch Foundation, the New York State Council on the Arts, a state
agency, the New York City Department of Cultural Affairs, the David S.
Howe Foundation, the Lerer Family Charitable Foundation and the Sony
Corporation.

Location: 540 W. 21st Street between 10th & 11th Avenues
Hours: Tuesday - Saturday, 12:00 - 6:00pm
Bookstore: Tuesday - Saturday, 12:00 - 6:00pm

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

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.

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

4.

From: opensource AT boxwith.com <opensource AT boxwith.com>
Date: Jul 20, 2006
Subject: OPENcall: In War/At War: The Practice of Everyday

CALL FOR ARTISTS
In War/At War: The Practice of Everyday

OPENSOURCE Art
12 E. Washington St.
Champaign, IL.
October 5 - 29:

War affects the daily life of all societies, cultures, families and
individuals. The result is a climate of war, including the physical,
economic, and psychological conditions created by the direct and indirect
connection to this kind of violent conflict. We (in the broadest sense)
generate and define the everyday, all becoming participants that shape
perceptions of daily experience. In War our adjustments to everyday
practices and daily life can reflect its radical climate, pointing to the
nature of conflict and ones relationship to experience.
We adapt, These adaptations vary depending on personal experiences and
define one?s relationship to war and inform one?s everyday life.

In War/At War: The Practice of Everyday is an exhibition and series of
events that investigates variations on everyday practices, projects, and
tactics explored by individuals whom cope, adapt and adjust to War and the
climate it produces.

Exhibition
At the heart of In War/At War: The Practice of Everyday is an exhibition
at OPENSOURCE Art that explores how individuals cope, adapt, or adjust to
War and the climate it generates. OPENSOURCE Art seeks submissions from
mothers, fathers, siblings, families, soldiers, veterans, civilians,
refugees, activists, community groups, volunteers, artists, and all people
who are reflecting on the climate of war. Submissions may take any form
and can be, but are not limited to, a series of letters, recorded stories,
journal entries, art works, series of news clippings, mapping projects,
inventories, lists, music, poems, etc.. It should be clear how this
submission is an individual reflection on the climate of war.

Schedule
September 7, 2006 ? Submission deadline
September 14, 2006 ? Notification of acceptances
September 28, 2006 ? Artwork due at OPENSOURCE
October 5, 2006 7-10pm ? Opening reception

Submission guidelines
Please submit a proposal that includes documentation, installation
information, and contact information. Documentation may be in the form of,
but not limited to: sketches, slides, video, CD or DVD. Please be clear
about what, if any, multi-media equipment your work requires. OPENSOURCE
Art has a limited budget for installation and exhibition expenses
therefore will not be able to admit art that is expensive or excessively
difficult to install, no matter how much we'd like to. Supporting
materials (vita, portfolio, statement) are not necessary, but would be
helpful.

Proposals may be sent via postal service, email, or delivered in person to:

OPENSOURCE Art
12 E. Washington
Champaign, Illinois 61820
USA

opensource AT boxwith.com

If you would like your proposal returned, please include a self-addressed
package with sufficient return postage. Accepted works must include return
packaging and proper postage. Materials that cannot be returned will be
considered donations to OPENSOURCE. OPENSOURCE is not responsible for lost
or damaged material.

Curatorial Process
The show will be juried by a committee drawn from the members of
OPENSOURCE Art. Any work submitted by members (or family members) of the
committee will be voted on by the full OPENSOURCE membership with
interested parties recusing themselves. Specific works are likely to be
solicited from individual artists, and some flexibility may be exercised
for these entries with regard to scheduling.

For more information, please email Aaron Hughes ahughes AT uiuc.edu or check
http://opensource.boxwith.com

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5.

From: Brian Kim Stefans <bstefans AT earthlink.net>
Date: Jul 14, 2006
Subject: New Media Poetics: Contexts, Technotexts and Theories (MIT Press)

New Media Poetics
Contexts, Technotexts, and Theories
Edited by Adalaide Morris and Thomas Swiss

http://mitpress.mit.edu/catalog/item/?ttype=2&tid=10918

New media poetry--poetry composed, disseminated, and read on
computers--exists in various configurations, from electronic documents
that can be navigated and/or rearranged by their "users" to kinetic,
visual, and sound materials through online journals and archives like
UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream
print poetry, which assumes a bounded, coherent, and self-conscious
speaker, new media poetry assumes a synergy between human beings and
intelligent machines. The essays and artist statements in this volume
explore this synergy's continuities and breaks with past poetic practices,
and its profound implications for the future.

By adding new media poetry to the study of hypertext narrative,
interactive fiction, computer games, and other digital art forms, New
Media Poetics extends our understanding of the computer as an expressive
medium, showcases works that are visually arresting, aurally charged, and
dynamic, and traces the lineage of new media poetry through print and
sound poetics, procedural writing, gestural abstraction and conceptual
art, and activist communities formed by emergent poetics.

Contributors:
Giselle Beiguelman, John Cayley, Alan Filreis, Loss Pequeo Glazier, Alan
Golding, Kenneth Goldsmith, N. Katherine Hayles, Cynthia Lawson, Jennifer
Ley, Talan Memmott, Adalaide Morris, Carrie Noland, Marjorie Perloff,
William Poundstone, Martin Spinelli, Stephanie Strickland, Brian Kim
Stefans, Barrett Watten, Darren Wershler-Henry

Adalaide Morris is John C. Gerber Professor of English at the University
of Iowa, where Thomas Swiss is Professor of English and Rhetoric of
Inquiry.

Thomas Swiss is Professor of English and Rhetoric of Inquiry at the
University of Iowa.

Table of Contents

1. New Media Poetics: As We May Think/How To Write
Adalaide Morris

I. Contexts

2. The Bride Stripped Bare: Nude Media and the Dematerialization of Tony
Curtis
Kenneth Goldsmith

3. Toward a Poetics for Circulars
Brian Kim Stefans
Exchange on Circulars (2003)
Brian Kim Stefans and Darren Wershler-Henry

4. Riding the Meridian
Jennifer Ley

5. Electric Line: The Poetics of Digital Audio Editing
Martin Spinelli

6. Kinetic Is As Kinetic Does: On the Institutionalization of Digital Poetry
Alan Filreis

II. Technotexts

7. Screening the Page/Paging the Screen: Digital Poetics and the
Differential Text
Marjorie Perloff

8. Vniverse
Stephanie Strickland and Cynthia Lawson

9. The Time of Digital Poetry: From Object to Event
N. Katherine Hayles

10. 10 Sono at Swoons
Loss Pequeo Glazier

11. Digital Gestures
Carrie Noland

12. 3 Proposals for Bottle Imps
William Poundstone

13. Language Writing, Digital Poetics, and Transitional Materialities
Alan Golding and Giselle Beiguelman

14. Nomadic Poetry

III. Theories

15. Beyond Taxonomy: Digital Poetics and the Problem of Reading
Talan Menmott

16. Time Code Language: New Media Poetics and Programmed Signification
John Cayley

17. Poetics in the Expanded Field: Textual, Visual, Digital . . .
Barrett Watten

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BNMI Announces International Co-production Labs
BNMI has launched its new co-production residency model which includes
three exceptional programs led by three peer advisors. Apply today for one
of these outstanding opportunities!

Co-production Lab: Almost Perfect
Program Dates: November 5 - December 2, 2006
Application Deadline: July 15, 2006
Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest
(DK, UK)

Co-production Lab: Liminal Screen
Program Dates: March 5 - March 30, 2007
Application Deadline: October 2, 2006
Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih)

Co-production Lab: Reference Check
Program Dates: June 24 - July 21, 2007
Application Deadline: December 1, 2006
Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj
(Sa/UK)

For more information visit: www.banffcentre.ca/bnmi/coproduction
or email <bnmi_info AT banffcentre.ca>

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6.

From: Nanette Wylde <nanl AT preneo.com>
Date: Jul 16, 2006
Subject: Slippage: net.art Exhibition Announcement

Exhibition Announcement

"Slippage: fragilities and instabilities in the phenomena of meaning"

an exhibition of net.art, runs parallel to ISEA2006/ZeroOne San José.
http://01sj.org

Exhibition URL: http://slippage.net
Exhibition dates: July 15 - August 31, 2006
Curator: Nanette Wylde

Slippage exists in the grey areas of language and social interaction. It
is the realm of the in-between--the place of disjunction, expectations,
covert meanderings, and the processes and residue of questioning minds.
Sites selected for "Slippage" explore and expose relationships between
intention, perception, control, experience, behavior, memory, knowing and
the unexpected.

Artists include Mez Breeze; Krista Connerly; Juliet Davis; Lisa Hutton;
Paula Levine; Jess Loseby, et al.; UBERMORGEN.COM; and Jody Zellen.

"Mez does for code poetry as jodi and Vuk Cosic have done for ASCII Art:
Turning a great, but naively executed concept into something brilliant,
paving the ground for a whole generation of digital artists." (Florian
Cramer). The impact of her unique code/net.wurks [constructed via her
pioneering net.language mezangelle] has been compared to Shakespeare,
James Joyce, Emily Dickinson, and Larry Wall. Mez has exhibited
extensively eg Wollongong World Women Online 1995, ISEA 1997 Chicago USA,
ARS Electronica 1997, SIGGRAPH 1999 & 2000, _Under_Score_ AT The Brooklyn
Music Academy USA 2001, +playengines+ Melbourne Australia 2003, p0es1s
Berlin Germany 2004, Arte Nuevo InteractivA Yucatan Mexico 2005 + in
Radical Software AT Turin Italy 2006. Her awards include the 2001 VIF Prize
[Germany], the JavaMuseum Artist Of The Year 2001 [Germany], 2002
Newcastle New Media Poetry Prize [Australia], winner of the 2006 Site
Specific Competition [Italy] + 2006 Artifical A.Gender Competition [Aus!
tralia].

Krista Connerly's overarching work is the Project for Urban Intimacy, an
online space that features projects and ideas for instigating intimate
encounters and "border-crossing" within an urban environment. Connerly
received her MFA from Carnegie Mellon University in 2001. Her work has
been featured in a range of national and international venues, including
the Women's International Film Festival in Sydney, Australia, the Los
Angeles Center for Digital Art, the Contemporary Art Institute of Detroit,
the New Museum's online art community Rhizome, The Urban Institute for
Contemporary Art in Michigan, and the Next Wave Festival in Melbourne.

Juliet Davis (Assistant Professor of Communication, the University of
Tampa, Florida) is an intermedia artist, writer, and researcher, teaching
theory and practice in interactive media, visual culture, and media
writing, with particular interest in cyberfeminism. Davis' writing appears
in peer-reviewed journals such as Intelligent Agent and Media-N (Journal
of the New Media Caucus), and among Rhizome Digest commissions. Her
artwork, which is forthcoming in SIGGRAPH 2006, has exhibited in Institute
of Contemporary Art (London), MAXXI Museum (Rome), Web Biennial (organized
by the Istanbul Contemporary Art Museum), The International Museum of
Women (web), D>Art (Sydney Opera House), The Tampa Museum of Art, FILE
(Rio and Sao Paulo), the Iowa Review Web, and many other spaces. She was
awarded the 2005 "Born Digital Award" presented by the Institute for the
Future of the Book (hosted by the University of Southern California's
Annenberg Center for Communication) and is currently w!
riting a book for called Exploring Writing for New Media (Thomson
Delmar), to be published in 2007.

Lisa Hutton is an independent San Diego based artist working primarily in
new media. She received her MFA from the University of California San
Diego. Recent exhibitions include Digital Visions and Prog:ME. Her work
has been exhibited in diverse venues including the 5th and 7th New York
Digital Salons, LA Freewaves at MOCA Los Angeles, the Downey Museum of Art
in Downey, CA, the Walker Art Center's Beyond Interface, ISEA '97 Chicago,
and Prix Ars Electronica, Linz, Austria. She has been getting along very
well with computers since 1987 and is sometimes seen using rollerblades.

Paula Levine is a visual artist focusing on experimental narrative and new
forms of narrative spaces. She comes from experimental documentary
photography and video. Her research/art practice is in Locative Media --
Global Positioning System (GPS), wireless and remote devices. Recent work
looks at hidden dynamics as a way to develop new understandings about the
nature of place. Paula Levine is an Associate Professor of Art at San
Francisco State University. She teaches in Conceptual/Information Arts
(CIA), an area focusing on digital art and experimental technologies.

Jess Loseby is a digital artist from the UK. Her main "canvas" is the
Internet but she also creates large interactive installations, video,
mobile phone media, prints and performance. Her work is based around "the
cyber-domestic aesthetic": scrutinising the small, the domestic and her
ideas of "amplified reality". She was the first artist to undertake a
totally virtual artist residency (with Furtherfield.org) and her awards
include Daniel Langlois, Dino Villani International Prize (Premio Suzzara)
and Arts Council England. She exhibits in galleries and festivals
internationally and is an established artist-curator. Jess has an
eccentric husband, 3 inspirational children and a pink wheelchair. She
also lives in "the village" - just not that one.

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and
Hans Bernhard, a founder of etoy. Behind UBERMORGEN.COM we can find one of
the most unmatchable identities 'controversial and iconoclast 'of the
contemporary European techno-fine-art avant-garde. Their open circuit of
conceptual art, drawing, software art, pixel-painting, computer
installations, net.art, sculpture and digital activism (media hacking)
transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s
work is unique not because of what they do but because how, when, where
and why they do it. The computer and the network are (ab)used to create
art and combine its multiple forms. The permanent amalgamation of fact and
fiction points toward an extremely expanded concept of one?s working
materials, that for UBERMORGEN.COM also include (international) rights,
democracy and global communication (input-feedback loops). 'Ubermorgen' is
the German word both for 'the day after tomorrow' or 'su!
per-tomorrow'.

Jody Zellen is an artist living in Los Angeles, California who works in
many media simultaneously making photographs, installations, net art,
public art, as well as artists' books that explore the subject of the
urban environment. She employs media-generated representations of
contemporary and historic cities as raw material for aesthetic and social
investigations. Solo exhibitions include Pace University's Digital gallery
(2005); The Laguna Art Museum (2004-05); Susanne Vielmetter Los Angeles
Projects (2002); Deep River, Los Angeles (2001). Her net art projects have
shown world wide since 1997 in festivals and exhibitions such as Arte
Nuevo Interactive, Mexico; ACCEA, Armenia; Prog:Me, Rio de Janeiro (2005);
File, Brazil; Festival du Noveau Cinema, Montreal; Siggraph, Los Angeles;
International Festival of Electronic Art, Argentina; Cosign, Croatia
(2004); New Forms Festival, Vancouver; Recontres Internationales, Berlin
(2003); Whitney Museum Artport (2002); XXV Bienal de !
Sao Paulo (2002); Art Future, Taiwan (2000); Net_Condition, ZKM (1999);
Film + Arch.3, Graz (1997).

Nanette Wylde is a conceptual artist working in hybrid media. Her
interests include: language, personality, difference, beliefs, systems,
ideas, movement, reflection, identity, perceptions, structure, stories,
socializations, definitions, context, memory, experience, change, and
residue. She is an Associate Professor of Art & Art History at California
State University, Chico where she developed and coordinates the Electronic
Arts Program.

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7.

From: marc <marc.garrett AT furtherfield.org>
Date: Jul 17, 2006
Subject: Game/Play exhibition - UK.

Game/Play.

Playful interaction and goal-oriented gaming explored through media arts
practice.
http://www.game-play.org.uk/

The exhibition opens at two different venues, in the UK and then joins, to
tour as a single touring show. Game/Play is a networked national touring
exhibition in the UK, focusing on the rhetorical constructs game and play.
This collaboration between Q Arts, Derby and HTTP Gallery, London provides
a basis for exchange and interaction between audiences, artists, curators
and writers through the exhibitions and networked activity.

Projects fall under three main categories:-
installations,
independent video games,
online (networked) artworks.

Launch and tour-
Game/Play opens at two venues, HTTP galleries Q Arts.

HTTP Gallery, London.
Saturday 22 July 7pm ? 9pm.
Unit A2, Arena Business Centre,
71 Ashfield Rd, London N4 1NY
http://www.http.uk.net

Q Arts, Derby:
21 July 6.30pm ? 8.30pm Q Arts ? Gallery
35/36 Queen Street,
Derby, DE1 3DS
http://www.q-arts.co.uk

Game/Play Artists:
Michael Mateas and Andrew Stern, Jetro Lauha, Julian Oliver, Kenta Cho,
Mary Flanagan, Low Brow Trash, Paul Granjon, Simon Poulter, Giles Askham,
Jakub Dvorsky, Long Journey Home, PRU, Q Club, Furtherfield, Tale of
Tales.

Game/Play Writers:
Giles Askham / Jon Bird / Peter Bowcott / Javier Candeira / Rebecca Cannon
/ Ele Carpenter, Ruth Catlow, Louise Clements, Mary Flanagan, Marc
Garrett, Keiron Gillen, Mark R Hancock, Martijn Hendriks, Pat Kane,
Ana-Marija Koljanin, Maaike Lauwaert, Corrado Morgana, Patrick Lichty,
Christiane Paul, Thomas Petersen, Andy Pollaine, Jonathan Willett.

- enjoy the Ermajello performance of Plankton at Q Arts,
- test drive Mary Flanagan's [giantJoystick] at HTTP,
- view the works and connect and collaborate with visitors in both
galleries in the online, multiuser spaces of Furtherfield's VisitorsStudio
and Endless Forest by Tale of Tales.

Curated by Giles Askham, Marc Garrett, Ruth Catlow, Corrado Morgana &
Louise Clements.

Game/Play is funded by The Arts Council of England and Awards For All.

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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.

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8.

From: Turbulence <turbulence AT turbulence.org>
Date: Jul 18, 2006
Subject: Turbulence Commission: "SWM05: Distributed Bodies of
Musical-Visual Form" by Troy Innocent and Ollie Olsen with the Shaolin
Wooden Men and Harry Lee

July 18, 2006
Turbulence Commission: "SWM05: Distributed Bodies of Musical-Visual Form"
by Troy Innocent and Ollie Olsen with the Shaolin Wooden Men and Harry Lee
http://www.turbulence.org/Works/SWM05/

SWM05 features the distributed bodies of musical-visual form that are
inhabited by the Shaolin Wooden Men (SWM), a virtual band, a 'gang of
numbers' -- me(a)tacodeflesh. SWM require your assistance to manifest as
media creatures. They invite you to send them images of your local
environment in which they can appear. Sending images unlocks access to the
SWM05 mobile site which consists of downloadable micromusic ringtones and
small screen machinima performances. The SWM are everywhere. In a meshwork
of wireless entities, they are media creatures seeking a fragmented
existence to be consumed in the nanoseconds of play-time in the emerging
wireless net. SWM05 will transfigure the SWM by embodying them in a new
materiality.

"SWM05: Distributed Bodies of Musical-Visual Form" is a 2005 commission of
New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence
web site. It was made possible with funding from the Andy Warhol
Foundation for the Visual Arts.

BIOGRAPIES

The SHAOLIN WOODEN MEN are a 'gang of numbers' whose bodies are 'made of
sound'. In their various manifestations they have released three
full-length recordings - "S.W.M. " (1992), "The Hungry Forest" (1994) and
"Supermindway" (2001) - and a collection of singles and remixed released
on the Psy-Harmonics label. The S.W.M. work across image, sound and
interactivity and have performed at DEAF96 and exhibited at ISEA96.
Typically, they require the assistance of creative humans to manifest as
media creatures to be distributed across the net.

TROY INNOCENT has been exploring the 'language of computers' and the new
aesthetics of digital space since 1989. In recognition of this work,
Innocent has been described as "the first philologist of virtual reality".
His artificial worlds - Iconica (SIGGRAPH 98, USA), Semiomorph (ISEA02,
Japan), and lifeSigns (Ars Electronica 2004, Austria) and Ludea
(SIGGRAPH2006, USA) - explore the dynamic between the iconic ideal and the
personal specific, the real and the simulated, and the way in which our
identity is shaped by language and communication. He is currently Senior
Lecturer, Department of Multimedia and Digital Arts, Monash University,
Melbourne, Australia.

OLLIE OLSEN is an Australian composer, synthesist and sound designer who
has been producing and performing rock, electronic and experimental music
for the past thirty years. Projects include "Max Q," "NO," "Third Eye,"
"Orchestra of Skin and Bone," "Shaolin Wooden Men," and "I am the Server."
Some recent collaborations and projects include performing with
Negativland (from USA-2001); guest soloist with the Australian Art
Orchestra (2002); and recording with Japanese bands, BOREDOMS and AOA
(2001-2002.

HARRY LEE is a web developer working with Macromedia Flash, SQL, PHP and
related technologies. Recent projects include database development for
lifeSigns, exhibited at the Australian Centre for the Moving Image (ACMI)
in 2004, in addition to numerous corporate and education projects. He
lectures in multimedia and digital arts in the Faculty of Art & Design at
Monash University.

For more information about Turbulence please visit http://turbulence.org

Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 . Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

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9.

From: Ryan Griffis <ryan.griffis AT gmail.com>
Date: Jul 21, 2006
Subject: An Interview with Joel Slayton, by Ryan Griffis


+ Commissioned by Rhizome.org +

An Interview with Joel Slayton, by Ryan Griffis

An artist, writer, researcher, organizer, and educator, Joel Slayton has
contributed to a host of collaborative cultural ventures. As a professor
at San Jose State University, he directs the CADRE Laboratory for New
Media <http://cadre.sjsu.edu>, an interdisciplinary program in the SJSU
School of Art and Design dedicated to the development of experimental
applications involving information technology and art, and is the
Executive Editor of SWITCH <http://switch.sjsu.edu>, CADRE?s on-line
journal of new media discourse and practice. He currently serves on the
Board of Directors of Leonardo/ISAST (International Society for Art,
Science and Technology) and as Chair of the Leonardo-MIT Press Book Series
<http://lbs.mit.edu>, and most recently is Academic Chair for the ISEA
2006 Symposia/ZeroOne San Jose: A Global Festival of Art on the Edge
<http://isea2006.sjsu.edu>. Slayton's creative work includes the
exploration of theory, technology, corporate culture, and landscape with
his partners in the C5 Corporation, a hybrid form of authorship
intersecting research, corporate culture and artistic enterprise
<http://www.c5corp.com>.

RG: In your "Entailment Mesh" text, in which you discuss the art project
of the same name, you write, "The conceptual basis of this work is
centered within theoretical discourses of database and knowledge
engineering. Where as domains of cultural art production centered as
advocacy and critique are obsolete and in that the exposition of theory
has clearly situated art as code, a new conceptual terrain for art is
necessary. A terrain in which art as information system is understood in
its fullest capacity." I'm wondering if you could elaborate and unpack
some of these ideas, particularly the shift you describe in which art can
be best understood as an "information system" while an understanding based
on notions of advocacy and critique have become obsolete. When you say
that a "new conceptual terrain for art is necessary," necessary for what?
<http://www.c5corp.com/research/entailmentmesh.shtml>

JS: Advocacy and critique are two sides of the same coin, the yin and yang
of art contemporary art practice. I respect the intention but it does not
interest me that much. The complexities of modern politics and their
economies of attention have created a social dynamic that demands more.
More than art can give. It just doesn't have the gas. When I implicated
'domains' of cultural art production, I was making specific reference to
those that take the easy way out. I was suggesting, that there really is
little difference of approach or function for art that behaves this way.
What I mean is it operates like entertainment--which can be both good and
evil. We all know how the tools work to get that job done, and therefore
any impact is neutralized. Art that does this does not interest me.

This text was written in 2001 which makes it almost ancient if not
nostalgic. I hate being held to what I have said in the past. Oh well,
the necessity that I was attempting to draw attention to was that of the
nature of coding itself. I was trying to say something about how important
I felt it was we develop a theory of code. Granted, I used the terminology
very loosely and was guilty of 'advocating' myself. Caught in my own trap
so to speak. That said, the basic concept is sound. In the late 1970s,
Gordon Pask and Paul Pangaro described software for emerging knowledge
through conversational interaction in a process called DoWhatDo, a
software design that relied on relational procedures involving a network
of expert system based machines. The terminology of Entailment Mesh
referred to a mechanism of conversation for emerging a learning procedure
through an ever-refining conversational method. The point being that this
was the first process, to my knowledge, to adopt the notion that code
could be operational as a social form in and of itself. Perhaps it was the
first piece of software art, I don't know. Anyway, I stole the terminology
and used in my own work to produce a system for mediating human
conversation. All I was trying to say was that understanding art of this
type is a different thing than experiencing the commentaries of
individuals.

RG: I'm particularly interested in collaborative models employed and
occupied by artists, which has inspired a series of interviews with
various practitioners. While all of the individuals and groups I've
interviewed occupy various positions in professional, academic, and peer
networks, your range of activities is extremely broad within the very
focused "field" of technology and culture (what is generally referred to
as "new media"). This may be a sweeping question, but how do you
conceptualize your work with, to just name a few examples, ISEA2006, San
Jose State University's CADRE Lab, C5, and the Leonardo-MIT Press book
series? I'm curious if your understanding and theorization of systems and
social networking have an impact on your "on the ground" work within these
very different institutions.

JS: I assume so. On occasion I have gone so far as to describe myself as
an artist who designs collaboration models. Then I get nervous and back
off quickly as those sorts of qualifications get you into trouble very
quickly. From my point of view, every 'work' situation is different. Art
practice, critical and theoretical authorship, publishing, teaching,
business, research, family life, and my band. Well, ex-band. We broke up,
although that was part of the model, it was still painful. Each situation
is an opportunity to practice what you preach by instantiating some
manifestation of a chosen theoretical model. In doing so I tend not to
separate one instance of collaboration from another, it is rather more
like an engine with different mechanisms referencing and informing one
another. The one thing I would say is that my interest in information
mapping, autopoieses, social networks, and emergent behavior is pretty
central to everything. C5 is probably the most obvious in that regard in
that it functions on so many levels. Oh yes, then there is the practical
issue of getting interesting things done.

RG: Could you give some more concrete form to the last point, about
"getting interesting things done"? Specifically, I think it would be
interesting to know how the central interests that you mentioned play out
differently in C5 and ISEA2006. What are the significant differences here
if one looks at both of these as designed "collaboration models"?

JS: They are both designed as conversational systems through which
specific structures, mechanisms and outcomes emerge. I mean this in the
sense of Gordon Pask's elegant theory of learning systems. Pask viewed
intelligence as emerging from learning systems based in conversational
models of interaction and not as something resident in the head or
compiled in a box. I am no expert on Pask but this approach made sense to
me from the first time I encountered it, in the early 1980s, and has
influenced my approach to collaboration design. The goal has never been to
design for a pre-determined outcome but rather to formulate social systems
of interaction through which determinate trajectories emerge. You don't
exactly know what is coming until it comes and a lot of it depends on
having the right players involved. On the other hand, it is not a mystery
either. The trick is centering your personal control outside of the
interactions themselves. C5 is a pretty decent example. As a model, what
it does that is interesting is situate its outcomes in the blurred
territory of business, research, and art. Exactly how it does that is
directly dependent upon contractual legal and fiscal agencies that
determine the forms of interactions between its partners. The business
plan is simultaneously a binding contract and the artwork--the creative
products: artworks, research, critical authorship--is only important as a
reflection of the interactions. I am pretty proud of that. When C5 says it
is not ironic, that is what we mean.

ISEA2006 is a different animal all together. For one, as the organizers we
inherited a system that has a tradition of open calls for participation
reviewed by an international program committee. From the outset we decided
that we wanted to find out how ISEA might be 'organized' differently
accepting these 2 factors. In December of 2005, an on-line forum was held
to discuss appropriate strategies and structures for ISEA2006 response to
the symposium themes: Transvergence, Interactive City, Community Domain
and Pacific Rim. You can probably see the first element of strategy which
was to offer up a set of thematics that require critical interpretation as
to their relational dynamics. The Forum made numerous recommendations but
perhaps the most significant in terms of your question is that the
symposium should enable conversation and discussion. Certain decisions
were forthcoming: no reading of papers, pre-publishing of abstracts and
manuscripts on-line, limiting the number of tracks, offering of extended
sessions to encourage audience interaction, having moderators for each
session, a parallel track of nothing but artist presentations running
continuously, a re:mote symposium to telcon-in participants who could not
be present, a poster session staged in the main venue as an art
exhibition, web and video streaming, a rapporteur blogging the event, and
many other features. The International Program Committee was then able to
evaluate proposal submissions while seeing the symposium as a platform for
conversation that would take advantage of some of these mechanisms. Once
the evaluations were complete they were passed to a Host Committee to
review and structure into appropriate session configurations and
sequences. Over 1800 submissions were received for symposium and
exhibitions and over 400 artists, curators and researchers contributed to
the selection and shape of the event. The point is that the goal was not
only to produce the conversational model in a symposium but to also use
the mechanisms of inclusion and transparency in doing so. Oh yeah, and
then there is the entirety of having ISEA2006 as the platform for
establishing ZeroOne San Jose as a new North American biennale. We'll see
if this all works. Certainly worth a try.

RG: With your recent work in C5, the autopoietic is an important concept.
(See C5 member texts such as Brett Stalbaum's "Toward Autopoietic
Database" <http://www.c5corp.com/research/autopoieticdatabase.shtml> and
Gerri Wittig's "Expansive Order"
<http://www.c5corp.com/research/situated_distributed.shtml>, for example.)
This seems to be a way of getting to that "new conceptual terrain" that we
hit on earlier. Could you maybe discuss the importance of the autopoietic
in terms of C5's work and the work of others that you think are
significant here?

JS: Autopoieses is an important theoretical framework that has informed
much of C5's 'work.' It is a subject terrain that we are rather
passionate about. That said, C5 would never make the claim that we produce
autopoietic systems as an art form. Trying to make something autopoietic
is bit of an oxymoron. Autopoietic theory simply provides an alternative
model that addresses how self-referential interactions emerge the world we
perceive.

It is probably useful to be somewhat specific about the term because, it
is so overused. Developed by Maturana and Varela, autopoieses refers to
"the history of structural change in a unity without loss of organization
in that unity." A central component of the theory is the notion of
'consensual domain.' Maturana refers to behavior in a consensual domain as
'linguistic behavior.' This behavior scales across the cellular level to
the social. For example, a language exists among a community of
individuals, and is continually regenerated through their linguistic
activity and the structural coupling generated by that activity. C5
believes that autopoiesis, as related to data, code, software, and
networks, could potentially be realized in linguistic, consensual domains
as well and that procedural operations like searching and navigation which
rely heavily on self-referencing operate have autopioetic character. It is
all very poetic.

RG: Maybe as a closing question... Spatially-oriented practices have
seemed to gain a lot of currency in the international arts lately, but
looking through some of my own archives, it doesn't really seem all that
new of a development, with quite a few big exhibitions of contemporary
artists in the 1990s focusing on notions of site and location, Mary Jane
Jacob's 1991 "Places with a Past" at the Spoleto Festival being a prime
example. (For a review of the festival see
<http://query.nytimes.com/gst/fullpage.html?res=9D0CE0D6173CF934A15756C0A967958260>)
The connection with late 1960s/ early 1970s artists working in Krause's
"expanded field" seems to be pretty strong even today. But with new
geographic, networking, and imaging technologies, maybe the stakes have
been raised, both for artists and for the general condition known as
globalization. I'm wondering if you could summarize some of your thoughts
on this, from your perspective as both an artist with C5 and organizer for
ISEA2006, both of which exhibit a large investment in conceptions of the
"local," "community," and geographic identity.

JS: In 2001, C5 initiated a series of projects involving mapping,
navigation, and search of the landscape using GIS (Geographic Information
Systems). The projects are designed to take place over the next 3 years
and are an extension of C5's exploration into database visualization and
cooperative management systems. The Landscape Projects examine the
changing conception of the Landscape as we move from the aesthetics of
representation to those of database visualization and interface. (See C5's
"Landscape Initiative"
<http://www.c5corp.com/projects/landscape/index.shtml>.)

Over the past decade, the instrumentation necessary for creating a
detailed mapping of the earth's surface from space has become a reality.
The USGS, together with NASA, The Jet Propulsion Laboratory, and a host of
international partners are moving towards a complete mapping of the
earth's surface destined to be at one meter of resolution. Like the human
genome, the scope and implication of such a mapping points to tremendous
social, political, and economic considerations. Conception and interaction
with the Landscape is becoming an issue of database. I think it is fair
to say that conventional landscape knowledge emerges directly from
representational by-products of location, domain, and navigation and is
necessarily political, in every sense taking into account borders,
economies, and cultural ideology. Have the stakes been raised? Of course.

But this view is also restraining and has been responded to by artists
primarily as a critique of such overt political trajectories. As an
alternative, C5 has been thinking a lot about the Autopoietic Landscape
(data landscape). We see this as a reformulation of the very idea of
landscape as something less about the modernisms of observation and
representation and more about a languaged space in which social
consenuality is the terrain. Although it is mere speculation, it seems an
interesting trajectory to explore. The idea that the landscape functions
as transaction space suggests that the ontology of the landscape is a
product of consenuality and not merely a collection of media objects and
referentials. Terms like local, community, and geographic identity take on
completely new meanings.

For ISEA2006 we have been talking a lot about edges, rims, and terrains.
Of course, there is no single perspective or theory that serves to fully
illuminate these discourses. The point is to create a platform through
which the experiments can be both experienced and discussed.


Ryan Griffis is an artist and writer currently teaching at the University
of Illinois at Urbana-Champaign. His Tandem Surfing interview series
focuses on cultural producers working at the intersection of technology,
art, theory and collaboration. His creative work, including other
interviews in the Tandem Surfing series, can be found online at
<http://www.yougenics.net/griffis>.

LINKS:
+ http://cadre.sjsu.edu
+ http://switch.sjsu.edu
+ http://isea2006.sjsu.edu
+ http://www.c5corp.com
+ http://www.c5corp.com/research/entailmentmesh.shtml
+ http://www.c5corp.com/research/autopoieticdatabase.shtml
+ http://www.c5corp.com/research/situated_distributed.shtml
+ http://www.c5corp.com/projects/landscape/index.shtml


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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.

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Rhizome Digest is filtered by Marisa Olson (marisa AT rhizome.org). ISSN:
1525-9110. Volume 11, number 27. 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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