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: 11.22.06
Date: Wed, 22 Nov 2006 17:57:33 -0800

RHIZOME DIGEST: November 22, 2006


1. Kanarinka: CALL FOR WORK: A Thousand Tiny Sexes
2. amackey AT Subtle Technologies 2007 Call for Submissions
3. shawn brixey: Assistant Professor | DXARTS | University of Washington | Mechatronics, Robotics, and Telematics

5. Pau Waelder: NOW: Meetings in the Present Continuous
6. redazione AT Digicult Screen Music Program
7. Darko Fritz: Exhibition . Darko Fritz . XXX [body . technology . desire . porno] : moving images
8. Neural: Resistant Maps, conference in Genoa 25-26 November 2006
9. Jordan Crandall: Under Fire conference Seville 24-25 Nov
10. drew hemment: Futuresonic 2007 dates and themes announced

11. Turbulence <turbulence AT>, salvatore.iaconesi AT, Annie Abrahams < AT>, Michael Szpakowski <szpako AT>, mez breeze <netwurker AT>, patrick lichty <voyd AT>: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty

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Organizational memberships with Rhizome

Sign your library, university or organization up for a Rhizome organizational membership! Give your community access to the largest online archives of digital art and new media art-related writing, the opportunity to organize member-curated exhibitions, participate in critical discussion, community boards, and learn about residency, educational and professional possibilities. Rhizome also offers subsidized memberships for qualifying institutions with limited access to the Internet. Please visit for more information or contact Ceci Moss at ceci AT

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From: Kanarinka <kanarinka AT>
Date: Nov 18, 2006
Subject: CALL FOR WORK: A Thousand Tiny Sexes

/*********/ please forward /***********/

A publication edited by Jaimes Mayhew and kanarinka


To imagine that there are only two sexes - M & F - is an absurdity. There are at least 1000 sexes. The daily lived reality of transgender and intersexual people (and gay, lesbian, queer and all other people, for that matter) proves this over and over again, yet many people continue to operate as if 'M' and 'F' are the only sexes, the only options, the only expressions, the only goals, the only way ("the way it is").

Help us imagine 1000 more sexes. Describe them, imagine them, invent them, publish them, use them, realize them, perform them.

A Thousand Tiny Sexes is an art-book-research-action project to collect and publish 1000 proposals for TINY SEXES which are not Male or Female. We are setting out to collect a thousand more sexes - imaginary ones, as-yet-unrealized ones, or real ones- in the hopes that these one thousand might make for one thousand more after that. In so doing, we hope to contribute to a collective reimagining of sex as a legal, biological, political, economic, cultural, and political category.


The collection of A Thousand Tiny Sexes will be published as a book with an introductory essay by the editors, Jaimes Mayhew and kanarinka. We are seeking publishers. The publication will be available for sale once published. Submissions must meet the criteria below and the editors reserve the right to reject any submission.


* Deadline: No deadline, we will keep collecting until we have 1000 good ones.
* You may not propose a sex such as Male or Female that has been legally codified and naturalized as "the way things are".
* You may propose "in-between" sexes which are combinations of Male-Female, but we will favor sexes that seek to entirely reimagine sex as a biological, cultural, political, and social category.
* Multiple submissions OK.
* We prefer visual submissions to text, though both are ok. Diagrams and drawings with fine lines are especially encouraged.
* Original artwork will not be returned.


* Download and Complete the submission form on the website -
* Attach your Drawing, Image or Text. 1.5 inches x 1.5 inches (3.8 cm x 3.8 cm) or less in dimensions. B&W, no Color.
* Email 300dpi electronic submissions to 1000tinysexes AT or mail them to: Jaimes Mayhew, 102 Longwood Ave #3, Brookline, MA, 02446.


* Email us at 1000tinysexes AT
* Visit the site at


"If we consider the great binary aggregates, such as the sexes or classes, it is evident that they also cross over into molecular assemblages of a different nature, and that there is a double reciprocal dependency between them. For the two sexes imply a multiplicity of molecular combinations bringing into play not only the man in the woman and the woman in the man, but the relation of each to the animal, the plant, etc.: a thousand tiny sexes." (Deleuze and Guattari, A Thousand Plateaus).

"There is nothing about a binary gender system that is given." (Judith Butler, Undoing Gender)

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From: amackey AT
Date: Nov 21, 2006
Subject: Subtle Technologies 2007 Call for Submissions


Subtle Technologies 2007

in situ
art ? body ? medicine

May 24th ? May 27th 2007
University of Toronto, Toronto Canada

Submission Deadline January 3, 2007.

Subtle Technologies is a four-day multidisciplinary Festival exploring complex and subtle relationships between art and science. The annual international event combines symposia, exhibitions, workshops and performances that juxtapose cutting-edge artistic projects and scientific exploration.

For the 10th Annual Festival, Subtle Technologies invites practitioners of arts, sciences and medicines, and those who study their context, historians, ethicists, and other critical thinkers to contemplate how these disciplines can work together and reshape perspectives on the body.

As scientific and technological breakthroughs prominently occupy our culture, we ask where the boundaries are. We are interested in investigating how we relate bodies in situ: as parts, as a whole, as systems; how we identify, map, modify, protect, violate, and heal.

We invite a wide interpretation of bodies including the molecular, physical, cultural, economic, legal, political, energetic, electrical and spiritual.

A range of approaches are welcome, including interdisciplinary work, specialized presentation proposals that focus on a single topic in depth, and general discussions that draw upon multiple topics. We welcome a diversity of presentation formats, including those practitioners who may not emphasize the use of science and technology.

Proposals for the following will be considered:
workshops, performances, poster sessions, and symposium presentations.

How to Apply:
Details are available on the online submissions form:

Examples of possible topics include:

Racial and Personalized Medicine
Pharmaceuticalized Body
Organ Trafficking
Inter- Species Communications
History of Medicine
Reproductive Technologies
Addictions and Obsessions
Sexual / Gendered Body
Body Machine Interfaces and Sensors
Violated Body
Embryoid Bodies and Stem Cells
Infectious Agents and Diseases
Local or Traditional Healing Practices
New Therapeutic Paradigms
Population Dynamics and the Environment
Spiritual Body
Extropian and Post Human Investigations
Body and Performance, Body and Rituals
Trangenic Bodies and Tissue Engineering
Genomics Proteomics Metablomics and other -omics

For Questions, contact us at:
(email) programs [at] subtletechnologies [dot] com
(phone) 416.532.5018

Subtle Technologies is hosted by the University of Toronto, and supported by Canada Council for the Arts, Ontario Arts Council. Toronto Arts Council, Canadian Heritage.

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Associated Content is the people's media company. We run a massive library of content where you can share your work and earn extra cash. Explore scores of articles, videos, essays, reviews, how-to's and contribute your own. kShow what you know at

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From: shawn brixey <shawnx AT>
Date: Nov 21, 2006
Subject: Assistant Professor | DXARTS | University of Washington | Mechatronics, Robotics, and Telematics

University of Washington - Center for Digital Arts and Experimental Media

Multidisciplinary Arts Faculty Position in Mechatronics, Robotics, and Telematic art forms at the Center for Digital Arts and Experimental Media at the University of Washington in Seattle. Established in 2001, DXARTS is a pioneering Arts unit on campus with exciting undergraduate and doctoral degree programs. DXARTS brings together current and new faculty from Art, Music, Computer Science, Electrical Engineering, Physics, Dance and Design in a pioneering research environment dedicated to the invention and exploration of new forms of digital and experimental art.

The position is a full-time, tenure-track position to begin in September 2007, at the rank of Assistant Professor. Applicants must be practicing artists with an Minimum of a Masters Degree in one or more allied arts and sciences fields, should demonstrate the ability to teach at the university level, and must have the potential to supervise doctoral students.

We seek an individual who is an accomplished artist who makes innovative cross-disciplinary use of digital technologies in their works, as well as someone with a strong background in advanced computing based research areas such as mechatronics, robotics, sensing and control systems, systems based art forms, AI, programming for interactive and distributed environments, physical computing, rapid prototyping, and CNC machining, etc. Applicants should also demonstrate an ability to assimilate art history, theory and practice through their research and teaching. Previous experience in teaching and resourcing such research areas is highly desirable. The position includes responsibilities for research and teaching undergraduate and graduate interdisciplinary arts courses in one or more of these areas.

Application must include: CV, artist statement, statement on pedagogy, and a cohesive portfolio of professional creative work. Support materials must include three references with phone numbers, mail and e-mail address, samples of previous course design and recent student work. Portfolio work may be formatted for viewing on any platform and may include video. Please include a SASE for return of materials.

Application materials should be addressed to: Professor Shawn Brixey, Director DXARTS, Chair, Digital Arts Search Committee, DXARTS, Box 353680, University of Washington, Seattle, Washington 98195-3680. Priority will be given to applications received before January 19, 2007. The University of Washington is building a culturally diverse faculty, and strongly encourages applications from female and minority candidates.

The University of Washington is an Equal Opportunity, Affirmative Action employer.

A competitive recruitment and selection process is being conducted and if a U.S. worker or permanent resident is not selected pursuant to this process, an application for Alien Employment Certification may be filed on behalf of an alien to fill the job opportunity.

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From: Nick Hallett <nick AT>
Date: Nov 16, 2006

DARMSTADT: Classics of the Avant-Garde performance series at Galapagos celebrates its second anniversary with an annual performance of Terry Riley's In C.

Join hosts Zach Layton and Nick Hallett for DARMSTADT "Classics of the Avant Garde" as we observe our now-annual tradition of performing In C along with an "all-star" ensemble of instrumentalists, singers, electronic sound artists, and visualists. As was proven last year, this is by no means a "traditional" interpretation of Terry Riley's seminal 1964 work.

All Star Lineup includes: Luke Dubois, David Linton, Chika, Adam Kendall, Tristan Perich, O.Blaat, Sawako, Richard Garet, Joshua Gabriel, Amy Cimini, Amy Kohn, Dafna Naftali, Hans Tammen, David Linton, Ray Sweeten, Emily Manzo, Danny Tunick, Christine Bard, Ian Riggs, Claire Chase, Nick Hallett, Brock Monroe, Zach Layton, and some surprise guests as well.

DARMSTADT: Classics of the Avant Garde presents
2nd annual performance of Terry Riley's In C
November 30th at 8pm
70 n6th street (between kent and wythe)

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From: Pau Waelder <pau AT>
Date: Nov 21, 2006
Subject: NOW: Meetings in the Present Continuous

NOW is a working platform that will take place at the CCCB from 2006 to 2009. The project reflects on the present on the basis of the scientific, technological, artistic, social and spiritual transformations taking place at the start of the 21st century ? because today it is no longer possible to explain art and culture without interiorizing scientific concepts and working with a systemic view of the world.

NOW is a process of research, creation and diffusion bringing together different local and international agents involved in promoting a change of paradigm in the information and knowledge society and in globalized cultures

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From: redazione AT
Date: Nov 21, 2006
Subject: [Rhizome] Digicult Screen Music Program

Digicult productions presents:


Festival della CreativitE0
November, 30th - December, 3rd 2006
Fortezza da Basso - Teatrino Lorenese

Free Entrance

Audio/Video Livesets: Sleeparchive, Otto Von Shirack, Errorsmith, Alex Dragulescu, Motomichi Nakamura, Otolab, Kinotek, Boris&Brecht Debackere, Bern, Autobam/Tibor Fabian, Scary Grant, Micromusic 8 bit closing party

Screenings: Visual Music program (Semiconductor, Ryoichi Kurokawa, Reline 2, Tez, Karl Kliem, Meta, Jeffers Egan, Montevideo, Argos), Next Vision program (SUE.C, Agf, Matmos, Scanner, City Pulse, One Minute Suite, Clip Art, N.Est), Zerofeedback


Screen Music is an idea of Gianni De Simone and is curated by Marco Mancuso, the creator and director of Digicult (, with the precious collaboration of Andrea Mi, director of Videominuto ( and Federica Linke from Basebog (

Screen Music is part of the programme of the Festival della CreativitE0 (Creativity Festival) , a new and innovating public performance promoted by Region Tuscany to affirm its role of "knot" in the net of global creativity, a "pop" event with a "high profile" communication that has the declared goal of becoming an interactive show window for the excellences of the different creativity fields, of innovation and of research.

In contemporary experimentation within new multimedia areas, artists invited to present their recent video productions and to realize live shows inside the marvellous location of Teatrino Lorenese della Fortezza da Basso in Florence , represent in different ways perfect examples of what today is said to be considered the most advances electronic research.


Music, video, audiovisual synaesthesis, spirit of research, improvisation, design; elements that are present in each of the projects showed in Screen Music in an emotive crescendo starting from glitch and algid audio-video experimentations realized by artists such as the Italian project IDNLNY of the duo Autobam/Eclat, the Belgian electronic brothers Boris & Brecht Debackere with their incredible performance Rotor and the electronic audiovisual experimentation group from Milan Otolab who will present the new project Op7 developed on the subject of The Seven Heavenly Palaces of the artist Anselm Kiefer, following in the chaotic and absolutely live sound stream of real geniuses such as Errorsmith, the American experimenter Otto Von Shirak,
and the new phenomenon of minimal techno, the German Sleeparchive.

Finally, the rhythmic compulsions of djs and experimenters of electronic beat such as the wholly Italian new project Scary Grant (ex Eclat) , the French dj of the moment Bern and the crazy group of 8bit micromusic in Micromusic Closing A/V party (music realized with the old Atari by Stu and Schmx, and videos realized with an old style Amiga by Otro).

The vj sets of some of the best national and international talented artists will accompany the performances of all the musicians : designers and video-artists who will build instantly the perfect scenarios, perfect to go with the widespread sounds of the Teatrino Lorenese. The renowned project Kinotek of Mattia Casalegno , the Japanese genius Motomichi Nakamura and the Romanian Alex Dragulescu , will know how to combine live the visual demands which is the central element of this kind of events with the spirit of improvisation and technique, which has changed the vjing from background element of the early days to major pawn of the present area of the media performances.


A rich programme of projections with the video works of some of the international major figures of the contemporary digital creativity will open each of the three days of the festival.

- Visual Music is an exhibition managed by Mancuso for Digicult and requested by Festival Dissonanze 2006 , organized as an articulated path of utilization of the spontaneous and relentless analysis process which has characterized the audio-visual research of the last years, involving artists and projects which are part of performative which seem more fit to take our feelings towards the probable aesthetics of tomorrow. The monograph area regards artists like Karl Kliem, Semiconductor, Ryoichi Kurokawa and Jeffers Egan, which are considered essential for the development of the most updated digital aesthetics, while programmes as Montevideo, Argos and Reline 2 Project represent many of the collaborations between musicians and visual designers from which we must expect the most advanced hypothesis of the audio-visual culture.

- Next Vision is a programme realized by Andrea Mi for the XIV edition of Videominuto as a combination of research and experimentation in different areas of electronic production: the poetic shots of SUE.C accompanied by the music of AGF , the Slomo videos of Matmos and Scanner which play with the concept of slowed down time, musical videoclip of the programme ClipArt , and the audio-video jams of One Minute Suite , and the Chilean urban symphonies of City Pulse and the Parthenopean ones of N.est .

Zerofeedback is a total preview of Screen Music dedicated to the first of the homonymous net-label, developed as a collection of audio-visual projects on DVD, realized in cooperation with the Japanese label Dejine-rec regarding the idea of social networks with Italian artists (among others Progetto Antenna, Besegher, Influx) and musicians (from Japan, England and the United States) part of the community of Myspace.


- THURSDAY 30th November 2006

19.00 - 20.30:
Visual Music Program - Monografie: Tez, Jeffers Egan - 60'
Next Vision - AGF+Sue.C (Ger) / Clip Art / One Minute Suite #4 - 30'

23.00 - 00.00:
Audovideo performance:
Autobam/Elec- Italy (IDNLNY)

00.00 - 01.00:
Live set + Video set
Errorsmith (Germany) + Kinotek (Italy)

01.00 - 02.30:
Dj set + Vj set
Bern (France) + Kinotek (Italy)

- FRIDAY 1st December 2006

19.00 - 20.30:
Visual Music Program - Monografie: Karl Kliem, Semiconductor - 60'
Next Vision - The Next Big Idea (Usa) / Slo-Mo (USA) - 30'

23.00 - 00.00
Audiovideo performance:
Boris&Brecht Debackere - Belgium (ROTOR)

00.00 - 01.00
Live set + Video set
Otto Von Schirack (Usa) + Motomichi Nakamura (Usa/Japan)

01.00 - 02.30
Dj set + Vj set
Scary Grant (Italia) + Motomichi Nakamura (Usa/Japan)

- SATURDAY 2nd December 2006

23.00 - 00.00
Audiovideo performance
Otolab - Italy (op7)

00.00 - 01.00
Live set + Vj set
Sleeparchive (Germany) + Alex Dragulescu (Usa/Romania)

01.00 - 02.30
Micromusic Closing 8 Bit Party
Stu + Schmx + Tonylight + Otro - Switzerland/France/Italy

- SUNDAY 3rd December 2006

18.00 - 22.00
Visual Music Program - Monografie: Reline 2 project, Ryoichi Kurokawa, - 90'
Visual Music Program - Montevideo Program / Argos program - 50'
Next Vision - City Pulse (Chile) / N.est (Ita) - 40'
Zerofeedback (Ita/UK/Jap/USA) - 50'


Marco Mancuso
Journalist, critic, curator
Digicult Director
Label electronic music editor
Mixed Meda festival curator
Ripa di Porta Ticinese 39
20143 - Milan - Italy

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From: Darko Fritz <fritz.d AT>
Date: Nov 21, 2006
subject: Exhibition . Darko Fritz . XXX [body . technology . desire . porno] : moving images


XXX [body . technology . desire . porno] : moving images
by Darko Fritz

VN Gallery . Zagreb . Croatia
23 - 25 . 11 . 2006 . opening . 23rd Nov 20 h

exhibited works:
Darko Fritz . XXX [body . technology . desire . porno] . documentary .
first showing!
Cryped TV porn [analogue]
Cryped TV porn [digital]
The Birth of an Unborn Nation


Darko Fritz . XXX [body . technology . desire . porno]

project in progres
by Darko Fritz
since 1997

Internet Porno / Internet Porno Weekends
digital prints on canvas

Images taken from the commercial porno sites are digitally manipulated and then printed on canvas. The first several works in this series censor the uncensored portion of the image thus inverting the methodology of censorship applied to each two-dimensional image.

Cryped TV porn [analogue] stills
digital prints / temporary installation at public space . Artwalk .

This series consists of digital prints of the TV-stills taken from scrambled television signals. TV broadcasters encrypt the video signal for those who don't pay subscription fees. Nevertheless, such signals are present in both the air and on cable TV. In particular, TV programmes with hard-core porno films was recorded in its scrambled state.

Cryped TV porn [analogue]

A one hour video was made by capturing such a signal in one take. The only editing technique used was freezing the TV image on-the-fly while recording it, in order to reveal video stills. As video signal is out of synch, even these stills are not quite still. The rest of the image processing just happened by itself by capturing the unsyncronised video signal.

Cryped TV porn [digital]
3 [and 5] channal video installation

During the transfer of analogue to digital video signal, a new quality of image is achieved. Each track of the multi-channal video installation utilized video captures of scrambled TV programmes in one-take without any editing at all. The installation makes use of looped tracks which are 1 hour in duration.

The Birth of an Unborn Nation
internet animation / video / temporary installation at public space .
Artwalk . Amsterdam

A temporary installation was set-up on the streets of Amsterdam. An image the size of two by twometers is printed on a special plastic designed for backlight. Two strobe-lights placed behind the print create a constant flickering effect.

Dream Factory
installation at the Tvornica theatre . Zagreb

A permanent installation was set up in the then-newly opened Factory theatre in Zagreb, in 1999 alongside works by conceptual artists Mladen Stilinovic and Goran Trbuljak. The works were curated by Tihomir Milovac from the Museum of Contemporary Art from Zagreb. The walls were covered in newly designed wallpapers. The intensity of the red colour within the image is propelled by both red and ultraviolet light and ceiling which was also painted red.

soundscape / sound installation

Initial sound samples taken from porno film soundtracks were multilayered and reprogrammed as a one-hour soundscape. A sound installation is created within empty gallery spaces illuminated with ultraviolet light.

p.sound [remix]
network project

A copyleft three minute version is displayed on the internet and ready to be used by other artists. Here is a permanent open call for contributions. Feel free to join! Make your remix and participate in the network art project! Upload multimedia or sound work directly via the web. All contributions will be displayed with no filtering.

p.sound [megamix]
live sound performances

The final steps of this process are live sound performances by different sound artists and DJ's. The only commission they have in common is to use all works created within this project. Audio recordings of live performances are available and published on an audio CD by EGOBOO.bits.

more info:

VN Gallery:

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From: Neural <a.ludovico AT>
Date: Nov 22, 2006
Subject: Resistant Maps, conference in Genoa 25-26 November 2006

Resistant Maps,
artistic actions in the interconnected urban territory.

Villa Croce Contemporary Art Museum,
via Jacopo Ruffini 3, Genoa (Italy)
25-26 November 2006

Resistant Maps, artistic actions in the interconnected urban territory is a conference and exhibition produced by the 'Leonardi V-Idea' Association (Genoa, Italy) and curated by Alessandro Ludovico, Gianfranco Pangrazio,
Tommaso Tozzi, Marco Villani.

The representation of territory holds a historical role in the privileges of power. Geographical data has always been in its hands. The regaining of this representation goes through description and sharing practices (often in personal perspectives too). This is possible thanks to collaborative tools and the consequent
value shifting of maps. Maps are not granted anymore by structures of power, but built by individuals who, drawing on the ideas of the psychogeographical movements, redraw the urban space according to fresh new coordinates.

- Conference:


4 PM - 7 PM

Nicola Bucci
Sandro Ricaldone
Tommaso Tozzi
Decoder (Raffaele Scelsi)


10 AM - 1 PM

Alessandro Ludovico, "Maps to the People"
Wikiartpedia (Tommaso Tozzi)
Cartografia Resistente (Lorenzo Tripodi)
Guerrigliamarketing (Andrea Natella)

Lunch break

3:30 PM - 7 PM

Vittore Baroni, "Functional Schemes, Creative
Diagrams, Psychic Maps, from mail art to United
FUNtastic Nations"
Arturo Di Corinto, "You're here!"
Franco 'Bifo' Berardi, "Projections"
Brian Holmes, "Network Maps, Energy Diagrams"

Further essays sent by Giuseppe Chiari, Gianni
Emilio Simonetti and Mirella Bandini.

- Exhibition:, 'Vopos'
Cartografia Resistente, 'Triangolazione'
Les Flottants, 'Lasciare libero il passo'
Giuseppe Chiari, 'Musica verit', 'Suonare la citt', 'Che cos' un happening'
Vincenzo Agnetti, 'Spazio perduto e spazio costruito'
Guy Debord, 'In girum imus nocte et consumimur igni'
Ernesto Fialdini, Matteo Dentoni, 'Debordare'

This exhibition has been organised with the
support of the Genoa City Council, the Genoa City
Council Head of Culture, the Villa Croce
Contemporary Art Museum and the Association
'Amici dei Musei'.

Catalogue by neos.edizioni.

Alessandro Ludovico
Neural Magazine - English
( Italian
Latest Printed Issue -
Subscribe -

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From: Jordan Crandall <jcrandall AT>
Date: Nov 22, 2006
Subject: Under Fire conference Seville 24-25 Nov



University of Seville
International Biennial of Contemporary Art of Seville
24-25 November 2006

Presentations by Friedrich Kittler, Gema Martn Muoz, Osfa/Jos Prez de Lama, Julian Reid, Pablo de Soto, Ana Valds, Caleb Waldorf, and Eyal Weizman. Moderated by Jordan Crandall.

This Under Fire event generates multiple perspectives onto war and political violence -- deriving from the fields of political science, sociology, visual art, architecture, and media theory. What emerges is an assemblage of disciplinary approaches to the study of armed conflicts, functioning at the level of both practice and theory, anchored in several key sites of contention -- including Lebanon, the West Bank and Gaza, Iraq, and the Strait of Gibraltar.

The conference is divided into two sessions. The first session begins by making the case for a biopolitical understanding of war -- or violence understood in terms of the struggle over the political constitution of life -- and suggests political grounds that must be established for posing anew the problem of "life." Next, it inquires into the (mis)representation of Islamic culture in the West, positioning the role that such representations play in the construction of otherness and the perpetuation of conflicts in the Middle East. And finally, it deconstructs the codes of suspicion, showing how a heightened sense of vigilance, generated by security culture, infiltrates contemporary ways of seeing. The second session inquires into the intersections of combat operations, urban space, and discourse -- delving into the Israeli military's appropriation of poststructuralist theory in urban warfare. Following from this event's geographical specificity in southern Spain, it then!
presents tactical mappings of the Strait of Gibraltar, positioning the Strait as representative of larger global transformations and exploring the possibilities of counter-reconnaissance. And finally, it looks at the reality of hardware and communications networks, deriving from western military apparatus, provoking understandings of military operations in terms of their media-technological infrastructures.

Under Fire is an ongoing art and research project that delves into the structural, symbolic, and affective dimensions of armed conflicts. This instantiation of Under Fire is sponsored by the International Biennial of Contemporary Art of Seville and the University of Seville. For further information please see


11:00 am - 2:00 pm; 5:00 pm - 8:30 pm
University of Seville
Atula de Grados de la Facultad de Filologia
Palos de la Frontera s/n Sevilla



JULIAN REID, Lecturer in International Relations, King's College, London
"Biopolitics of the War on Terror"

GEMA MARTN MUOZ, Director of Casa Arabe and the International Institute of Arab and Islamic Studies, Madrid
"Interpretations of Middle East Violence from Western Societies"

Respondent: ANA VALDS


"Ecologies of Suspicion"


EYAL WEIZMAN, Architect, Director of the Centre for Research Architecture, Goldsmiths College, University of London
"Tactics of Lesser Evil"

PABLO DE SOTO, collaborator,
OSFA/JOS PREZ DE LAMA, collaborator,; Associate Professor, University of Seville School of Architecture
"Tactical Cartography of the Straits"

Respondent: ANA VALDS


FRIEDRICH KITTLER, Professor of Media History and Aesthetics, Humboldt University, Berlin
"Media-Technological Infrastructures of War"


11:00 am - 2:00 pm
International Biennial of Contemporary Art of Seville

Roundtable discussions:



Friedrich A. Kittler is a literary scientist and a media theorist. His works relate to media, technology, and the military. He is Professor of Media History and Aesthetics at Humboldt University-Berlin's Institute for Aesthetics. In 1993, he received the media arts prize for theory from the ZKM Karlsruhe (Zentrums fr Kunst und Medientechnologie); from 1995 to 1997, he headed a Federal Research Group on Theory and History of Media. His recent books include Eine Kulturgeschichte der Kulturwissenschaft (2000), Vom Griechenland (With Cornelia Vismann - 2001), and Optische Medien (2002). Earlier books include Discourse Networks, 1800/1900 (1987); Gramaphone, Film, Typewriter (1986); Literature, Media, Information Systems (1997).

Gema Martn Muoz is Director of Casa Arabe and the International Institute of Arab and Islamic Studies in Madrid. She has a PhD in Arabic and Islamic Studies and carried out the postgraduate studies in Cairo University (Egypt) for three years and numerous research stays in Algeria, Morocco, Tunis, Jordan, Iran, Israel and Palestinian Territories. She has been visiting Professor in Harvard University, Roma Tre University, Colegio de Mejico, La Habana University, Institut for Political and International Studies (IPIS) of Tehern (Irn). Her research interests include the sociopolitical situations in Middle East countries; Islamist movements and Muslims in Europe. She is editor of Islam, Modernism and the West: Cultural and Political Relations at the End of the Millennium (1999) and author of Arab State: Crisis of Legitimacy and Islamist Reactions (2000) and Iraq, a Failure of the West (2003). She is also the author of various publications, including: Aprender a conocerse, Percepciones sociales y culturales entre Espaa y Marruecos (Madrid: Fundacin Repsol-Fondation Hassan II pour les Marocains Rsidant l'tranger, 2001); El Estado rabe: Crisis de legitimidad y contestacin islamista (Barcelona: Ediciones Bellaterra, 2000); El Islam y el Mundo rabe: Gua didctica para profesores y formadores (Madrid: Publicaciones de la Agencia Espaola de Cooperacin Internacional, ICMA, 1996, 2nd edition 1998); Mujeres, desarrollo y democracia en el Magreb (Madrid: Ediciones Pablo Iglesias, 1995).

Jos Prez de Lama, aka osfa is an architect and Associate Professor at the University of Seville School of Architecture. With Sergio Moreno and Pablo de Soto, he forms the core of, a collaborative network that undertakes practical and theoretical research into the emerging territories of information and communication technologies, new social networks and the traditional physical space. has produced such events as la multitud conectada (?the connected multitude?, La Rbida, Huelva, 2003) and fadaiat 2004 and 2005 (Tarifa - Tangiers). It also took part actively in Euro May-Day-Sur 05, and promotes Indymedia Estrecho.

Julian Reid is Lecturer in International Relations at King's College, London. He taught previously at the University of Sussex and the School of Oriental and African Studies (SOAS). He holds a PhD in Politics from the University of Lancaster, an MPhil in International Political Economy from the University of Amsterdam, and a BA in War Studies from King?s College London. He is the author of The Biopolitics of the War on Terror, to be published in the Reappraising the Political series (edited by Jon Simons and Simon Tormey) in late 2006 by Manchester University Press. He is currently working on a second book, The Liberal Way of War, which focuses on the relations between war, liberalism, and biology

Ana Valds is a writer, an activist and a social anthropologist, working in the space between texts, images and social networks. She has been active in the fields of art, literature and activism for many years, driving together with the visual artist Cecilia Parsberg the artist run network Equator, Her latest project is called Crusading, the investigation of the meeting between Islam and Christianity,

Caleb Waldorf is an artist currently pursuing his MFA in the Visual Arts Department at the University of California, San Diego. Caleb graduated in 2001 from the University of Pittsburgh, where he studied the History of Art and Religious Studies. From 2002 to 2004 he worked at Brown University's Watson Institute for International Studies where he was an Events Coordinator and a Researcher for the Information, Technology, War and Peace project. Caleb?s artwork and research focuses on representation, the aesthetics of information technology, and violence. He explores how the politics of vision shape and are shaped by cultural, technological, and discursive forces as well as how the body/spectator/observer is a continuing confluence of these multitudes. His current research looks at the intersection of terrorism, personal media and subject formation in the United States post-9/11.

Eyal Weizman is an Architect and Director of the Centre for Research Architecture, Goldsmiths College, University of London. His architectural projects include the rebuilding of the Ashdod Museum of Art, stage sets for the theatre, and several prizes in architectural competitions. Weizman has worked with a variety of NGOs and Human right groups in Israel/Palestine. The exhibition and the publication A Civilian Occupation, The Politics of Israeli Architecture he co-edited/curated was based on his human-rights research. These projects were banned by the Israeli Association of Architects, but later shown in New York, Berlin, Rotterdam, San Francisco, Malmoe, Tel Aviv and Ramallah. Weizman has taught, lectured and organised conferences in many institutions worldwide. His books include The Politics of Verticality [forthcoming with Verso Press], A Civilian Occupation, Territories 1,2 and 3, Yellow Rhythms and many articles in journals, magazines and books. Weizman is now a Contributing Editor for Domus Magazine (Milan) and for Cabinet Magazine (New York).

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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.

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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From: drew hemment <drew AT>
Date: Nov 22, 2006
Subject: Futuresonic 2007 dates and themes announced

10-12 May, Manchester UK

Futuresonic, the urban festival of electronic arts and music, is
moving from July to May, back to the Spring date it occupied in 2004.

See below for next year's highlights and special advance discounts on
delegate passes.


In 2007 the centrepiece of Futuresonic Live will be a celebration of all things audiovisual and a homage to 40 years of multimedia events.

40 years ago there were the first multimedia events of the kind that we would understand today. While the rest of the world was celebrating the soft-centred Summer of Love, a fusion of artforms and a crossover between avant garde and popular was taking place. This was the moment when events like Futuresonic became possible...

To celebrate the 40th anniversary of these seminal events, Futuresonic Live goes back to the future - revisiting one of the inspirations of the first Futuresonic festival in 1996 - to look at the cutting edge of immersive sound and image today.


Urban Play is the art and technology strand of the festival featuring exhibitions, workshops and interactive projects in the city streets. It was introduced in Futuresonic's 10th anniversary year, reflecting Futuresonic's focus since 2004 on artworks in urban space, and has since been mirrored in other events in the UK and Europe.

Thirty years after Brian Eno's MUSIC FOR AIRPORTS, Futuresonic 2007's Urban Play presents ART FOR SHOPPING CENTRES, an exhibition of interactive artworks in a major shopping centre.

Urban Play will also feature FREE-MEDIA activities in association with Mongrel, MediaShed and Access Space, including a UK first implementation of the free-media Video Toolkit developed by MediaShed and Eyebeam (more TBA).


A competition and showcase for the best new and ground breaking events from around the world.

EVNTS is a strand of the Futuresonic festival which enables artist groups and event organisers to participate in the festival. Since its introduction in 2005, EVNTS has grown into a community of people who each year return to give the festival an extra edge.

INVITATION FOR SUBMISSIONS: Futuresonic now invites anyone working in music or media arts to take part in EVNTS 2007, with the EVNT Competition offering financial support for a limited number of events.

For further details announced soon. Visit for more info, or sign up to Futuresonic's subscriber list to receive regular updates.


A major international conference exploring the creative and social potential of new technologies, bringing together leading figures to explore "a whole new way of doing things in the air".

In 2007 a focus of the Social Technologies Summit is FREE-MEDIA. Free-media is about finding inspiration and resources in our built and natural environment that were previously dismissed as being without value or irrelevant. It doesn't cost much because it makes use of public domain Free and Open Source Software, and recycles freely available old equipment, waste materials and junk (FOSS). Free-media increases access to media technologies, especially to the people who need it most and can afford it the least, and lowers environmental impact of the media we produce and consume.

The 2007 Summit will also host a network meeting for ENVIRONMENT 2.0, a new initiative joining the dots between locative media and environmental calamity, being launched by Futuresonic to assess and offset the environmental footprint of future arts and culture.

And it will play host to THE MAP DESIGNERS, an event drawing together map hackers, artists, cartographers, DIY technologists, architects, game programmers, bloggers and semantic web philosophers.

Delegate Pass - Advance discount available. See Below.


Visit the website or subscribe to Futuresonic updates for upcoming calls for submissions, job offers and volunteering opportunities.


Delegate Pass - 25 (Normally 45)

The Delegate Pass gives you access to all Futuresonic seminars and talks, the Social Technologies Summit, and entrance to Futuresonic Live events over the festival weekend. You must reserve your discounted Delegate Pass before December 31st 2006 and make payment by January 31st 2007. To reserve email tickets2007 AT stating your name, address and contact details. You will be sent purchasing information from the festival box office by January 8th 2007.

*Futuresonic 2007 may burn when exposed to oxygen.

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From: Turbulence <turbulence AT>, salvatore.iaconesi AT, Annie Abrahams < AT>, Michael Szpakowski <szpako AT>, mez breeze <netwurker AT>, patrick lichty <voyd AT>
Date: Nov 17-20, 2006
Subject: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty

+ Turbulence posted: +

Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by
Patrick Lichty

Both static and dynamic digital images have often been represented as 'translated' images, reinterpreted from an intermediate image file stored on the web. Beginning with these files, Lichty has translated the images and videos to pure HTML code. As such, they represent a very 'direct' method of representation in the browser. In addition, there is a time-based element that occurs when the tables load into the browser. Thus, "HTML Cinema" has two dimensions; the time of the load, and the time of the serial.

Many of these images are excerpts from Lichty's wristcam photography and video works. After conversion to pure code, several of the pages were unmanageable; therefore, they are a hybrid of code and console handicraft by the artist.


Patrick Lichty is a technologically-based conceptual artist, writer, independent curator, animator for the activist group "The Yes Men," and Executive Editor of Intelligent Agent Magazine. His work spans over 15 years, dealing with media narrative/criticism and information aesthetics, in many different contexts. He works in diverse technological media, including painting, mobile media, printmaking, kinetics, video, VR, generative music, and neon. Venues in which Lichty has been involved with solo and collaborative works include the Whitney Biennial and the International Symposium on the Electronic Arts (ISEA). Lichty is a faculty member in the Interactive Arts and Media Department at Columbia College Chicago.

For more Turbulence Spotlights please visit

+ salvatore.iaconesi AT replied: +

i know i don't have all the "titles" and that it might sound a foolish question:

but haven't loads of folks been doing this stuff?

even i've been doing this stuff, and i'm the laaaaaast little meaningless one of a crowd...

yes, yes, i know, you/we all grab stuff and attach meanings to it. we all do.
and blablabla...

but isn't there something more interesting to "Spotlight"? :)

this is meant to be a constructive criticism.

+ Annie Abrahams replied: +

Dear Salvatore
This might be a good question.
I must say I do like "Tabula Viusum a lot" and I have also seen more work in this vein (maybe yours)
It could be something about the context of presentation that makes you think, react to it in a certain way.
I guess for me it's the relation to film, the time element that makes the difference.

Could you please send us the url of your work doing this stuff?

+ salvatore.iaconesi AT replied: +

I'm not saying that I don't like Patrick's work, because I actually do like it! :)

What I was saying is that too many times you stick a concept on something only with words. The word "narrative" has a lot to do with it.
Infact, I love Patrick Lichty's work for reasons that are totally different from the ones expressed in the statement and review.

Me? :)

I once did a lot of stuff using html tables. The narrative ones seemed to me like "another guy making graphical artifacts, still or moving, using HTML tables". Just lookup the terms on google and you'll be flooded with works from several people. With some very interesting distorsions, as well.

So what I did at the time was to release a single, playful toy which you can find at

and just about all over the rest of the website. I even released javascript libraries to program the stuff, and they have been used a lot.


thank you for the kind answer!

+ Michael Szpakowski replied: +

Hi Salvatore
I don't see why things always have to be new.
Sometimes the most interesting art is that which consolidates rather than makes technical or even aesthetic breakthroughs.
Schoenberg made a breakthrough in 20th century art music but his pupils Berg and Webern are much the more interesting and durable composers.
I realy like this work by Patrick.
It is elegant in the extreme - it appeals to our appreciation & understanding of his technical skill & of his own sense of where he lies in an ongoing tradition ( both of his and others' making -he is truly the *Prince of the Pixel*), but the end result is also somehow touching (not in a weak sentimental sense, but in the sense of reaching us emotionally in a complex way). So complex stuff to chew on but to an affective end...enough to make an excellent start in
my book..
I would like to ask three questions of Patrick:
(1)Is there some software that automates pixel by pixel or small chunk by small chunk colour analysis of the images, or did you have to do it by hand with the eye dropper thing ( forgive me if there *is* & everyone but me knows it!)
(2) Why a width of 5 or 3 and not single pixels -does the html page become impossibly big at 1?
(3) Why is the refresh rate on the movies set so long? --10 secs, I think--was it trial and error to do with load time? I longed for pseudo cinematic motion, [which can, in fact, be achieved by the viewer, once the images have cycled through once, by using the browser forward & back buttons]

+ mez breeze replied: +

> Schoenberg made a breakthrough in 20th century art
> music but his pupils Berg and Webern are much the more
> interesting and durable composers.


give me x.perimental + m.permanent anyday:
- "durable"? rings of the hollowness of historicised "prosperity" 2 me.


+ patrick lichty replied: +

Thanks for the discussion, everyone...
It's getting close to end of semester, and I'm a little ebaked, so I'll be pretty brief.

(1)Is there some software that automates pixel by pixel or small chunk by small chunk colour analysis of the images, or did you have to do it by hand with the eye dropper thing ( forgive me if there *is* & everyone but me knows it!)

I could, but I got started with some of the images with Don Relyea's Reductionizer software, now mentioned on the page. The thing is that it doesn't give you centering, background color, and the files are too large to deal with any WYSIWYG editor, so I have to reformat them in Notepad.

(2) Why a width of 5 or 3 and not single pixels -does the html page become impossibly big at 1?

Not really - the images get small. What you see is the original resolution of many of the files. Many of them are wristcams (120x120). So, I wanted them to be larger.

(3) Why is the refresh rate on the movies set so long? --10 secs, I think--was it trial and error to do with load time? I longed for pseudo cinematic motion, [which can, in fact, be achieved by the viewer, once the images have cycled through once, by using the browser forward & back buttons]

OK, here's where it gets complex.

I was looking for a negotiation between 'browser time' and "gallery time'.
What I mean by this is that installation (gallery) time is something that privileges slower changes (read: Viola/Aitken). Browser time is much faster as it refers to near-straight download time for the unfolding of a work.

The BIG problem here is that If I adhered to browser time, I would not be able to load the images quickly enough on slower bandwidth to accommodate for the refresh statement. Therefore, the morphology of the piece is also dependent on the bandwidth of the user.

In addition, the piece is designed for gallery installation as well as browser viewing. For example, loops of the digital shadow puppets would allow for gallery goers to have a sip of their chardonnay and see a change after a minute of chat. Gallery time is a much more 'Lush' time than that of the browser, and ten seconds seemed like a good negotiation.

Would it be appropriate to post a "5 second flavour" and a "1 Second Flavour" (playfully referring to denotation of variation within Eastern Media?")

+ salvatore.iaconesi AT replied: +

Michael Szpakowski wrote:
>Sometimes the most interesting art is that which
>consolidates rather than makes technical or even
>aesthetic breakthroughs.

we are living on an edge. now.
we are right in the middle of the evolution of the things we are talking about. it just isn't possible to look at things from a distance: how is it possible to consolidate anything? anything that isn't just an unsignificant personal view, that is.

my message wasn't a negative critique on Patrick's work, as i actually like and appreciate it.

it was a critique on the way things get shown, funded, pushed.

most galleries and exhibitions are insignificant. and "old", conceptually obsolete. The structure through which works get evaluated, promoted, funded has nothing in common with the contemporary era, with the concepts expressed, with the structure of the works themselves.

+ patrick lichty replied: +

I am going to (playfully) take up your avant gardist polemic!

we are living on an edge. now.
As have we for many years in many eras. However, we live in the history of the future, and we are in one of many eras of rapid development. So, to consider us that 'unique' or 'edgy' is a matter of scope. Not saying that this time is not interesting, but I would say that the time we are in now is made so seem exciting (perhaps more than it is) as a function of desire, dare I say marketing? I merely urge a sense of reflection; one that is perhaps more than we are used to in the technoculture.

we are right in the middle of the evolution of the things we are talking

Of course! But there is _some_ history to discern our position from.

It just isn't possible to look at things from a distance:

Again, of course - there cannot be a view outside the system one is in. With a little self-reflection and acknowledgemtnt as such, should this be a problem? As long as the awareness of the problem is understood and part of our discussion, this should be the first step to sufficiency.

how is it
possible to consolidate anything? anything that isn't just an
personal view, that is.

That's quite a pointed remark. Hmm. On one hand, arts and humanities have the element of the subjective, but in artistic experiments, one can draw on historical references, draw contrasts between forms (a media dialecticism), and make suggestions. I would prefer the words "informed hypothesis" to what I think is being suggested. Insignificant? I'll leave that for others to say.

it was a critique on the way things get shown, funded, pushed.

Mr. Iacones -
As a bit of information, this body (as with much of my work) is totally un-funded. Although I am a new member of the academy after 15 years as a contemporary artist (mostly un-funded, had to pay for most of it from my own pocket), most of my work is non-funded. Turbulence has merely offered the kindness to give my work another venue.

No money.

Rhizome isn't rich, Neither is Thing, Turbulence, HTTP, and many other new media sources. Same for our org, Intelligent Agent. Many of us have subsistence-workable budgets (never lavish), if we have budgets at all. We strive to contribute to the community best we can, and to give as much largesse to our compatriots in the community as best we can, because we believe that our movement is worth supporting, and it is beginning to be recognized through those efforts.

I feel, and I hope that others chime in, that our model of community support is one thing that is unique to our movement. Actually, it is pretty different than times before it. Sure, there are many of us who are straddling the high art/New Media communities, but I love the supportiveness of our community.

Therefore, I would suggest a little more clarity when comparing the nature of the New Media community when comparing it to the larger contemporary scene, and the late 20th century contemporary art milieu. They are not the same. We are often un-funded, more generous, and perhaps more self-propelled than previous imperatives. These might be some differences that New Media might have with history. Hmmm.

I am mainly saying that you might be comparing methods and practices which may not be in context with your argument. Comparing the New Media community to the same old contemporary art scene is a serious misnomer, at least in my estimation.

I hope I've sufficiently taken the bait. ;)

+ salvatore.iaconesi AT replied: +

.... finally, we get to talk a bit on the list :)

>patrick lichty said:
>we are living on an edge. now.
>As have we for many years in many eras. However, we live in the history
>of the future, and we are in one of many eras of rapid development. So,
>to consider us that 'unique' or 'edgy' is a matter of scope.

perfect! i agree completely!

my message wasn't about your work.

in my point of view you are not important, nor am i. just as no one else is..

we shouldn't have "important" people. because it doesn't make any sense in this kind of world.

even better: why don't we all just go anonymous and stop signing what we do?

>we are right in the middle of the evolution of the things we are talking
>Of course! But there is _some_ history to discern our position from.

yes, but everything is always too focused on the "people". and on an obsolete point of view. when i say _obsolete_ i don't say it because i would love it to be avantgardist or technologically socially artistically advanced, but just because it doesn't fit in this world. like the children toys where you stick geometrical blocks into the holes: it's like trying to stick a cube inside the triangular hole.

>Again, of course - there cannot be a view outside the system one is in.
>With a little self-reflection and acknowledgemtnt as such, should this
>be a problem? As long as the awareness of the problem is understood and
>part of our discussion, this should be the first step to sufficiency.

so what you say is that i should/might just as well settle, relax, take a deep breath and wait for something to happen... :)

>it was a critique on the way things get shown, funded, pushed.
>No money.


again: the original mesage doesn't talk about _you_.

and that's the whole point. _you_ don't make any sense. _i_ don't either. neither does anyone else.

i don't have any money either. i usually get money by making security systems for companies, and use it for me, my dogs and art.

but that's not the problem.

the problem is that new media art (i hate the term) is art. and that it doesn't make any sense when we say "us" and "them". and thet the "outdated" "useless" thing is the other one : the institutional contemporary art, the institutional art world, etcetera...

so why do we mimic them? why do we need stars? (as there are "stars" among new media artists ... sorry if i throw up if i say n.m.a. again)

the whole attitude (not mine or yours.. the whole) is that of someone who criticizes sociey/culture/media/... and that uses out_of_the_box society/culture/media/... to do it. honestly: can i "protest" against war by making a war, without even distorting a single concept? i focus on _process_, not on _products_.

many of you create some really astounding things: things that make important statements, conceptually, aesthetically and in the actions that they perform or suggest.

but humans are weak. they need appreciation. _personal_ appreciation.

the whole "system" is based on desire/satisfaction, used as a weapon. with media acting as the hypnotizing/consensus_forming force.

we put too much emphasis on singularities. we observe all with the eye of yesterday. we impersonate. we _want to appear_. we _quote_. we refer to a history that has probabily rewritten a couple of times alltogether.

this is the sense of what i wrote.

>Rhizome isn't rich,
>Neither is Thing, Turbulence, HTTP, and many other new media sources.
>Same for our org, Intelligent Agent.

i know all of this, and i always had the deepest respect for all of you/them, even by contributing economically whenever i could afford it...

again, to clarify what i wrote with an example: why don't we all resign from our identities ? it's the only important statement that we can make.

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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN: 1525-9110. Volume 11, number 44. Article submissions to list AT are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT

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