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: 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 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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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 |