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: 1.17.07 From: digest@rhizome.org (RHIZOME) Date: Wed, 17 Jan 2007 17:45:48 -0800 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: January 17, 2007 Content: +editor's note+ The 1/17/07 issue of the Rhizome Digest is a double-issue, covering 1/3 - 1/17. Last week Rhizome installed Networked Nature, the exhibition that concludes our Tenth Anniversary Festival of Art & Technology, and this week we caught the flu! We apologize for any confusion caused by the delayed Digestion of last week's Raw posts. +opportunity+ 1. andres_wanner AT yahoo.de: 4. International Pixelstorm-Award 2. Vicente Matallana: DEADLINE EXTENDED ANOUNCEMENT - ARCO-BEEP NEW MEDIA ART AWARDS - OFF-ARCO - PRORROGA PLAZO DE INSCRIPCION 3. beate zurwehme: Prix Ars Electronica 2007 - Call for Entries +announcement+ 4. jonathon_keats AT yahoo.com: Conceptual Ringtone Silences Cellphones 5. michael mastrototaro: XT - Performance | 1 Kunstradio Webcast 6. Richard Rinehart: Announcing Berkeley Digital Art Symposium 7. info AT toshare.it: Exibition Piemonte Share Festival2007 8. Cary Peppermint: ECOARTTECH - Practical Quicktimes 9. ryan griffis: Fwd: hi 10. Christina McPhee: Sarai Reader 6 now available + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: andres_wanner AT yahoo.de <andres_wanner AT yahoo.de> Date: Jan 4, 2007 Subject: 4. International Pixelstorm-Award The International Pixelstorm-Award is a digital competition, in which all submissions are visible immediately on the web. When the award is announced, the platform www.pixelstorm-award.ch is usually open for submissions during three weeks. Within this timespan, participants are invited to upload their works. After a short check, the submissions are published online. A large number of designers and artists from all areas of the world compete with each other and submit entries every year. The intermediate result of the competition is always visible and encourages more people to participate. Even while the platform is open, the pixel-community will start evaluating the submissions, and electing their own audience award. The main price however ? the golden pixel ? is assigned by an international jury and given to the winners during the pricegiving ceremony. The ceremony is broadcasted on the Web through several Webcams and an online chat. The pixelstorm-award is an invention of Andres Wanner. The association "Friends of the pixelstorm" ? a group of alumni of the Basel School of Design ? is organizing it about once every year. The pixelstorm-award is a noncommercial event that tries to depend on a minimum amount of finance and strongly relies on the enthusiasm of the participants. The pixelstorm-award will be announced for the fourth time very soon. The deadline for participation will last from Jan 8th 2007 until Jan 30th 2007. The pricegiving ceremony will take place on Feb 24th in two locations in Basel and Zurich, and ? of course ? on the web. The highlights of the last years, and the recordings of the awards-ceremonies can be seen here: http://www.pixelstorm-award.ch + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 http://rhizome.org/info/org.php for more information or contact Ceci Moss at ceci AT rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: Vicente Matallana <ube AT laagencia.org> Date: Jan 10, 2007 Subject: DEADLINE EXTENDED ANOUNCEMENT - ARCO-BEEP NEW MEDIA ART AWARDS - OFF-ARCO - PRORROGA PLAZO DE INSCRIPCION SPANISH BELLOW. ARCO/BEEP NEW MEDIA ART AWARDS 2nd edition www.arco.beep.es DEADLINE EXTENDED UNTILL 18th of JANUARY A week more sometimes is a present. Following the rutine of these events, we extend the inscription deadline of the ARCO/BEEP NEW MEDIA ART AWARDS in the OFF-ARCO category until the 18th of January. We hope this new deadline allows you to recover the time and health lost in Christmas. Regards and good luck, Vicente Matallana Secretary of the Jury Premios ARCO/BEEP de Arte Electronico 2 edicion www.arco.beep.es AUMENTO DEL PLAZO DE INSCRIPCI=D3N HASTA EL 18 DE ENERO Una semana a veces es un regalo. Siguiendo la rutina de estos casos se pr=F3rroga el plazo de inscripci de los premios ARCO-BEEP de arte electr=F3nico en la categor=EDa OFF-ARCO hast= a el dia 18 de enero. Esperamos que este nuevo plazo os permita recuperar el tiempo y la salud, perdidos en las Navidades. Un saludo y suerte Vicente Matallana Secretario del jurado Vicente Matallana | LaAgencia | C/ de las Aguas n=BA 15; Nave | 28005 Madrid | Espa=F1a | Telf.: + 34 913668821 | Skype: vmatallana + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: beate zurwehme <beate AT zurwehme.org> Date: Jan 13, 2007 Subject: Prix Ars Electronica 2007 - Call for Entries The 21st Prix Ars Electronica 2007 - International Competition for Cyberarts has a few new features. The new Hybrid Art category, a new prize for Media.Art.Research, and the integration of Net Vision into Digital Communities are the most visible signs of the intensive work that is being done on the definition of the competition's categories. As always, the aim is to continually keep the Prix Ars Electronica updated in line with leading-edge developments in the dynamic field of cyberarts. Prix Ars Electronica 2007 Online Submission Deadline: March 9, 2007 Computeranimation / Film / VFX, Digital Musics, Interactive Art, Hybrid Art, Digital Communities, u19 - freestyle competition, [the next idea] grant, Media.Art.Research Award All details about the categories and the online submission are available online only at: <http://prixars.aec.at> Total prize money: 122.500 Euro DIGITAL MUSICS Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, as well as sound installations. Regardless of the media or style utilized by the respective artist, utmost consideration is given to the entry's musical qualities and sound artistry. Please feel free to forward this to all interesting/ed parties. best regards Iris Contact: Iris Mayr Project Manager Prix Ars Electronica AEC Ars Electronica Center Linz Museumsgesellschaft mbH Hauptstrae 2 A-4040 Linz Tel. ++43.732.7272-74 Fax ++43.732.7272-674 info AT prixars.aec.at http://prixars.aec.at + -- -- | interlinking of media | practice with gender related issues http://zurwehme.org/ http://www.myspace.com/beatezurwehme http://genderfashion.spreadshirt.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: jonathon_keats AT yahoo.com <jonathon_keats AT yahoo.com> Date: Jan 5, 2007 Subject: Conceptual Ringtone Silences Cellphones For Immediate Release Contact: jonathon_keats AT yahoo.com CONCEPTUAL RINGTONE SILENCES CELLPHONES Subscribers Hear Four Minutes and Thirty-Three Seconds of Silence Whenever Someone Calls Them... Artist Jonathon Keats Offers Silent Ringtone Free-of-Charge Through Leading Ringtone Provider Start Mobile... Silence May Go Platinum in 2007... JANUARY 5, 2007 - Since the beginning of time, pure silence has been available only in the vacuum of space. Now conceptual artist Jonathon Keats has digitally generated a span of silence, four minutes and thirty-three seconds in length, portable enough to be carried on a cellphone. His silent ringtone, freely distributed through special arrangement with Start Mobile, is expected to bring quiet to the lives of millions of cellphone users, as well as those close to them. "When major artists such as 50 Cent and Chamillionaire started making ringtones, I realized that anything was possible in this new medium," says Mr. Keats, whose previous art projects include attempting to genetically engineer God. "I also knew that another artist, John Cage, had formerly tried, and failed, to create a silent interlude." Mr. Cage once famously composed four minutes and thirty-three seconds of silence, which was performed on a piano, in front of a live audience, back in 1952. By all accounts, though, his silence was imperfect, owing to the limitations of the technology available at the time. "John Cage can't be blamed," says Mr. Keats. "He lived in an analog age." "My Cage (Silence for Cellphone)" dispenses with performer and piano and auditorium, instead utilizing a continuous stream of silence produced on a computer, and compressed to standard ringtone format. This silence can be heard whenever a call comes through, whether out on the street, at a noisy concert, or in the quiet of home. A remastering of Mr. Cage's classic, "My Cage" is also a remix, according to Mr. Keats. "It introduces serendipity into the equation, delivering performances unpredictably, whenever calls come unexpectedly. You never know." The silence may take place without the listener being aware of it. Or the listener may hear a call - phantom silence - when there's no one on the line. "'My Cage' is all-encompassing," Mr. Keats explains. "Even those who don't use it as a ringtone have the potential to experience it, in the silence of an unanswered call." While noting that Mr. Keats doesn't have a cellphone of his own, and may be less-than-qualified to make global pronouncements about them, Start Mobile CEO John Doffing believes that "My Cage" may be a platinum hit. "People want a respite," he says, "and not everybody has the time or money to go to a spa. The virtues of silence are unsung." Nevertheless, Mr. Keats is careful not to take credit for silence in general, and hopes that people will bootleg his creation, just as he was inspired by John Cage. Mr. Cage, who died in 1992, could not be reached for comment. "My Cage (Silence for Cellphone)" can be downloaded now at http://www.startmobile.net/433 * * * Jonathon Keats is a conceptual artist, novelist, and critic. For his most recent project, at the Judah L. Magnes Museum in Berkeley, he exhibited extraterrestrial abstract artwork. He has also attempted to genetically engineer God in a petri dish, in collaboration with scientists at the University of California, and petitioned Berkeley to pass a fundamental law of logic - A=A - a work commissioned by the city's annual Arts Festival. He has been awarded Yaddo and MacDowell fellowships, and his projects have been documented by KQED-TV and the BBC World Service, as well as periodicals ranging from The San Francisco Chronicle to New Scientist. He is represented by Modernism Gallery in San Francisco. For more information, please contact Mr. Keats at 415/673-9052 or jonathon_keats AT yahoo.com, or see http://www.modernisminc.com/artists/Jonathon_KEATS/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: michael mastrototaro <contact AT machfeld.net> Date: Jan 6, 2007 Subject: XT - Performance | 1 Kunstradio Webcast ---------------------------------------------- ***** english summary below ***** ---------------------------------------------- Wir möchten Sie/Euch herzlich zu folgenden Veranstaltungen einladen und würden uns über Ihr/Euer Kommen bzw. Zuhören und -sehen freuen: ALIEN PRODUCTIONS & MACHFELD - "XT" Performance und Live-Webcast in der Ausstellung CROSSOVER III - Fotografie und Medienkunst Donnerstag, 11. Jänner 2007, 19.00 F O T O G A L E R I E W I E N Währinger Straße 59/WUK, A - 1090 Wien Der Vorgang des Übersprechens (englische Bezeichnung crosstalk, abgekürzt XT) wird zum Ausgangspunkt für die etwa 40minütige gemeinsame Performance der beiden Künstlerkollektive alien productions (Martin Breindl, Norbert Math, Andrea Sodomka) und Machfeld (aka Sabine Maier und Michael Mastrototaro). Übersprechen ist eigentlich ein Begriff aus der Telefonie und bezeichnet ursprünglich einen Effekt, durch den man am Telefon ein anderes Gespräch leise mithören kann - daher der Name. Zugrunde liegt ein einfacher physikalischer Vorgang: ein Adernpaar stellt einen elektrischen Schwingkreis dar und kann daher sowohl als Sender als auch als Empfänger von elektrischen Feldern dienen. Wird nun ein elektrisches Signal, wie beispielsweise ein Sprachsignal, über ein Adernpaar übertragen, das gemeinsam mit mehreren anderen Adernpaaren in einem Kabel geführt ist, so wird dieses Signal auf andere Adernpaare eingekoppelt. Die KünstlerInnen bedienen sich des in der Technik an sich unerwünschten Effekts und legen ihrer Performance ausschliesslich gesprochene Sprache zugrunde. Sie sprechen in Mikrophone und triggern damit technische Geräte, wie etwa Synthesizer, Vocoder, Granularsyntheseprogramme oder Nadeldrucker, die ihrerseits zu "übersprechen" beginnen. Für Publikum und KünstlerInnen selbst wird das Originalsignal ausgeblendet, sodass nur die in Echtzeit verarbeiteten Klangereignisse hörbar bleiben. Strukturell werden dem Stück XT die vier Techniken des Xiangsheng zugrundegelegt, einer traditionellen chinesischen Performancekunst, die sich ursprünglich aus dem Nachahmen von Sprech- und Handlungsweise einer anderen Person entwickelt hat. Die vier Techniken sind: Sprechen, Imitieren, Necken und Singen. Die KünstlerInnen sprechen miteinander, sie sprechen übereinander und sie übersprechen einander; und am Ende werden sie den Maschinen zuhören, was diese zu sagen haben. Die Performance wird live als Webcast auf kunstradio.at übertragen und dient außerdem als Ausgangsmaterial für eine überarbeitete Radiokunstversion, die am 28. 1. 2007 um 23.05 auf Ö1 Kunstradio-Radiokunst erstgesendet wird. links: MACHFELD - http://www.machfeld.net alien productions - http://alien.mur.at/ kunstradio - http://kunstradio.at fotogalerie wien - http://fotogalerie-wien.at ---------------------------------------------- ***** english summary ***** ---------------------------------------------- We cordially invite you to our upcoming event, either as visitor on site or via internet: ALIEN PRODUCTIONS & MACHFELD - "XT" Performance and Live-Webcast as part of the exhibition CROSSOVER III - photography and media art Thursday, Jan 11th 2007, 7 pm (CET) F O T O G A L E R I E W I E N Währinger Straße 59/WUK, A - 1090 Wien The process of crosstalking (XT) is the point of departure for the conjoint performance of the artists' collectives alien productions (Martin Breindl, Norbert Math, Andrea Sodomka) and Machfeld (aka Sabine Maier und Michael Mastrototaro). In telecommunication and telephony, crosstalk is often distinguishable as pieces of speech or leaking from other people's connections - hence the name. The artists will use this - normally unwanted - effect and base their performance exclusively on spoken word. They use their voice to trigger technical devices like sythesizer, vocoder, stylus printers or granular synthesis programs which themselves start to "crosstalk". The original signal will be gated out for listeners and also for the communicating artists. What remains are the sound events, processed in real time. The performance will be webcasted live on kunstradio.at. It also will be used as material for a reworked radio-art version which will be broadcasted on ORF Oe1, Kunstradio-Radiokunst on Jan. 28th, 2007, 11.05 pm (CET) links: MACHFELD - http://www.machfeld.net alien productions - http://alien.mur.at/ kunstradio - http://kunstradio.at fotogalerie wien - http://fotogalerie-wien.at ---------------------------------------------- + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Richard Rinehart <rinehart AT berkeley.edu> Date: Jan 9, 2007 Subject: Announcing Berkeley Digital Art Symposium Hello Rhizomers, you are invited to... New Media & Social Memory Jan. 18, 2007 UC Berkeley Art Museum and Pacific Film Archive http://bampfa.berkeley.edu/ciao The UC Berkeley Art Museum and Pacific Film Archive is proud to present New Media & Social Memory, a public symposium to discuss strategies for preserving digital art at a time when digital technologies are evolving and becoming obsolete at an astonishingly rapid pace. While focussing on digital art, the symposium will also address larger concerns about the long-term conservation of our increasingly digital culture, including how we decide what digital materials - from Web sites to video games - are worth saving. The full day of presentations and panel discussions by leading experts in the field of digital preservation, including Stewart Brand and Bruce Sterling, will be held in the museum theater on Thursday, Jan. 18. This symposium is open to the public free of charge; however, due to limited space, online registration is required. See attached image for program. For more information or to register, visit http://bampfa.berkeley.edu/ciao. -- Richard Rinehart --------------- Digital Media Director & Adjunct Curator Berkeley Art Museum/Pacific Film Archive bampfa.berkeley.edu --------------- University of California, Berkeley --------------- 2625 Durant Ave. Berkeley, CA, 94720-2250 ph.510.642.5240 fx.510.642.5269 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: info AT toshare.it <info AT toshare.it> Date: Jan 9, 2007 Subject: Exibition Piemonte Share Festival2007 Event: ?Piemonte Share Festival 2007? Festival of culture and arts linked to the new media and digital technologies When: from Tuesday, 23rd January to Sunday, 28th January 2007 Where: Accademia Albertina di Belle Arti main premises Via Accademia Albertina, 6 - Torino website: www.toshare.it e.mail info AT toshare.it INAUGURATION: Accademia Albertina Tuesday 23rd January 2007 from 6 to 10 pm With aperitif and live performances EXHIBITION: Share Award 2007 >From Wednesday 24th to Sunday 28th January 2007 Accademia Albertina Wednesday, Thursday, Friday from: 10 am ? 8 pm /Saturday, Sunday from: 2 ?8 pm The works of the six Share Prize 2007 finalists will be exhibited in the Accademia Albertina exhibition rooms. The works that have been selected for the final phase are: Artist: Stanza (UK) Work: Sensity - The Emergent City Web: http://www.stanza.co.uk/sensity2/index.html Short description: Sensity is made from real time data that is collected across the city in real time and visualized as a dynamic public installation which is also viewable online. Sensity visualizes the patterns we make, the forces we weave, which are all being networked into retrievable data structures that can be re-imagined as artworks. These patterns all disclose new ways of seeing the world. The artist is attempting to move on towards a point where the landscape is a hybridized audio visual representation of the space. That is an audio visual experience based on the sounds and sights of the city pollutions, noise, traffic data , that are captured via sensor network. In other words sensors are used to environmentally monitor the city and the data output is used to create a public domain artwork describing the city data space. How we understand and value information is of great importance. It seems reasonable to suggest that visual metaphors might simplify our understanding of data in space. Artist: UBERMORGEN.COM, Paolo Cirio, Alessandro Ludovico (AT, USA, IT) Work: Amazon-noir.com web: http://www.amazon-noir.com/text.html Short description:The Bad Guys (The Amazon Noir Crew: Cirio, Lizvlx, Ludovico, Bernhard) steal copyrighted books from Amazon.com - by using sophisticated robot-perversion-technology coded by supervillain Paolo Cirio. A massive media fight and a brutal legal fight escalates into an online Showdown with the heist at the center of the story. Lizvlx from UBERMORGEN.COM has daily shoot outs with the global massmedia, Ludovico and Bernhard hardly resist kickback-bribes from powerful Amazon.com and Cirio violently pushes the boundary of copyright. Betrayal, blasphemy and pessimism splits the gang of bad guys. In the end the good guys (Amazon.com) win and drive off with the beautiful and seductive femme fatale (the massmedia). Amazon noir is a project by UBERMORGEN.COM, Paolo Cirio and Alessandro Ludovico (European based collective including Italy) provides a critique of propriety model of cultural production and distribution. The project exploits a legal loophole in amazon.com software that makes it possible to collect the single pages of the entire book making a sale / profit irrelevant. In this way, the project critically reflects on the issue of copyright and also plays with the inherent structures of the online media. Furthermore it proposes more open model for content use and distribution as we see developed in open source practice which is based on sharing content. Artist: Gregory Shakar (USA) Work: The Analog Color Field Computer (ACFC) web:http://www.moodvector.com/acfc/acfcShare.htm Short description: the Analog Color Field Computer is an interactive video and sound installation. It's sculptural computers produce surging pulses of colours and tones, conveying a symphony of sonic texture and luminescent patterns into the sparsely lit exhibition space. Each ACFC provides controls for users to adjust its hues, pitches and rhythms. Moodvector from Gregory Shakar is a beautiful landscape of computers and screens displaying basic colours and sounds. The work points to the earlier artworks researching the relationship between sound and color (Skriabin). It involves public on the level of manipulation of both sound and color in this installation. Simple, beautiful, elegant, easy. Artist: 5VOLTCORE (Emanuel Andel - Christian Guetzer) (AT) Work: Shockbot Corejulio web: http://www.5voltcore.com/index.html?/content/roboter.html Short description: ?Shockbot Corejulio? creates aesthetic information out of disfunction in the form of audio and visual output. Shockbot Corejulio is built out of three main parts: 1st the programme that controls the shockbot, 2nd the controlling circuit board, that operates, via relays, the (3rd) motors that then move the shockbot. Essential for the piece is the circular process between the computer and the shockbot. The computer sends impulses to the robot that subsequently moves on it's tracks targeting random points within the computer hardware. At the point of contact it creates a short-circuit that leads to fault current. This error is recognized as a command and in an attempt to interpret the disinformation, the computer creates, together with the shockbot, random pictures on the display. As the damage to the computer increases a proportional rise of dysfunction to the controll signal occurs. This overload of errors ends in a total collapse of the system. Roboter from Andel 5voltocore deconstructs the formal process of generating sound and image in the computer through the deployment of a small robot that randomly creates shortcuts in the circuits of the machine. In this way it creates unforeseen audio-visual outputs that are printed and displayed in the exhibition. By doing so it slowly destroys itself. The project emphasizes the idea of an error and dysfunction as part of the creative process. Furthermore, the destruction of the system itself is implemented as part of the performative act of the artists. Artist: Christophe Bruno (FR) Work: Human Browser web: http://www.iterature.com/human-browser Short description: A human being embodies the World Wide Web, the sum of all the speeches of mankind. Human Browser is a series of Wi-Fi performances based on a Google Hack, where the usual technological interface is replaced with the oldest interface we know: the human being. Thanks to its headset, an actor hears a text-to-speech audio that comes directely from the Internet in real-time. The actor repeats the text as he hears it. The textual flow is actually fetched by a programme that hijacks Google, diverting it from its utilitarian functions. Depending on the context in which the actor is, keywords are sent to the programme and used as search strings in Google so that the content of the textual flow is always related to the context. In the Human Browser project by the French artist Christophe Bruno, the visitor is getting into a conversation with an actor in the exhibitionspace. This conversation is manipulated and given direction by the Google search engine. This is possible because the actor, with whom the visitor is talking, carries a microphone, headphones and webcam which are wirelessly linked to the artist who is sitting at home, in France, behind his computer. He can follow the conversation through the webcam carried by the actor. So as the visitor talks to the actor, Bruno folows the conversation online via his computer. He picks out keywords from the conversation and types the into the Google search engine. A text to speech program he developed vocalises the search results and transmitts them to the actor's headphone. She or he, in turn, repeats these Google text results, including URLs, numbers and punctuation. Videos of these conversations are exhibited as part of the artwork. Human browser is a very funny artwork that directs the conversations in different kind of contexts as the output from Google is filtered, ranked and doesn?t discriminate between useless information and/or meaningfull information, something consciously played with in human conversation. The Human Browser tries to invest in language derivative by-products, in a deflationary global semantic market ? as was remarked on the website of The Thing. Artist: Mikro Orchestra Project (Jaroslaw Kujda (aka mikrokilla) ? leader, Pawel Janicki - vj, producer, Mariusz Jura, Agnieszka Kujda, Malgorzata Kujda, Tomasz,Prockow - vj, programmer) Work: Mikro Orchestra Project web: http://mikroorchestra.com/ Short description: Mikro Orchestra Project is an experimental sound - visual project, basing on the use of game console as a music instrument. Main assumption of project's authors is to create new sound space on the base of tones generated live from console during the performance. Group is active since 2001, currently with six players. Mikro Orchestra Project (formerly known as Gameboyzz Orchestra Project) is an art collective that emerged in 2001 from the context of WRO Media Art Centre based in Poland. The project addresses the issue of the adaptation of popular consumer technology ? Gameboy Console ? for creative experimentation. It involves low tech hardware (gameboy console) and a custom written software to generate visual and sound performances in real time. Although this is an already established project it has been selected to the shortlist in recognition of its recent new developments. Firstly, for the development of a vj software (SQJ software written in 2005) implemented in a visual aspect of the performance. Secondly, for its participatory and collaborative aspect of production expressed through the idea of public workshop that results in a public performance involving audience along with the Mikro Orchestra players. The jury is: Gefried Stocker (director of Ars Electronica, Linz) Alex Adriaansen (director v2 and DEAF, Rotterdam) Joasia Krysa (senior lecturer at the Faculty of Technology, University of Plymouth) Carolyn Christov Bakargiev (chef curator Castello di Rivoli, Torino) Vicente Matallana (director LaAgencia, Madrid) The Share Prize 2007 winner will be awarded the "Globe" on Saturday, 26th January at 7 pm. Where: Accademia Albertina di Belle Arti, in Turin. The "Globe" has been designed by the Industrial Design Degree Course at the Faculty of Architecture, Politecnico di Torino. The Crew Simona Lodi, artistic director: simona.lodi AT toshare.it Chiara Garibaldi, director general: chiara.garibaldi AT toshare.it Manuela De Caro, general coordinator: manuela.decaro AT toshare.it Luca Barbeni, curator: luca.barbeni AT toshare.it Organisation: The Sharing, via Rossini 3 ?10124 ?Turin Tel. 011.81.70.974, 011.5883693 www.toshare.it For images of the event: info AT toshare.it For the Festival logo: info AT toshare.it Go to www.toshare.it for the complete programme + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Cary Peppermint <cpeppermint AT colgate.edu> Date: Jan 11, 2007 Subject: ECOARTTECH - Practical Quicktimes The Department of Ecology, Art, & Technology Recent Works http://www.ecoarttech.net/quicktimes Image for Rhizome http://www.ecoarttech.net/images/wildernesstrouble_web.jpg ------------------- Wilderness Trouble V1.0, 2007 (9.2MB) http://www.restlessculture.net/mov/wildernesstroublev1_web.mov A Quicktime video and DVD, inspired by William Cronon?s article entitled ?The Trouble with Wilderness; or, Getting Back to the Wrong Nature.? This article, which was critical to ecocriticism?s recent shift from deep to social ecological models, argues that the concept of ?wilderness? has no basis in nature but is a historical and cultural construction. Cronon points out that the U.S. preoccupation with conserving ?natural? spaces untouched by humans was a guise of American colonialism (throwing indigenous people off their land to make national parks), and his concern is that it fails today to imagine new, healthy, and sustainable relationships between humans and their environments. This meditational DV attempts to add a consideration of the digital to this reevaluation of wilderness?by refusing to separate modern human life from relatively ?natural? environments and by thinking about nature and the digital technologies that make this work possible in the same frame. ------------------- Wilderness Information Network, Summer 2006 (31.8MB) http://www.restlessculture.net/mov/wildinfonetdoc2_web.mov Quicktime documentary of an installation at the intersection of artist-curation and collaboration. Initiated by Cary Peppermint, this project included sound-art works from over thirty international artists. WildInfoNet encouraged artists to create sound works in the ?voice? of ecological other, or to make works in which the artists? considered themselves as human animal; beings within ?nature? producing sound for unknowable others. The project was located 173 miles northwest of NYC, in the Catskill mountains of New York state, Hikers to the back-woods installation used wireless technologies and transistor radios to receive the information-art via .mp3 downloads and radio transmissions. This documentary is featured on DVD in the upcoming Sound:Space Sound Art Symposium, a day of artist talks, demonstrations, and performances exploring contemporary artistic use of sound and environment at the South Hill Park Digital Media Centre in Bracknell, United Kingdom (http://www.sound-s! pace.info). ------------------- A Series of Practical Performances In The Wilderness (3.4 - 11.2MB) http://www.restlessculture.net/mov/practical_quicktimes.html Quicktime performance database made in the woods and on rural backlots. Practical Performances is part of Cary Peppermint and Christine Nadir?s series of performance art videos begun in 2002. These videos document the performances that took place one summer when we spent too long in the woods and away from "civilization." Previously, however, we understood this video-performance work in the following way? http://www.ecoarttech.net/practicalperformance/index.htm ------------------- ECOARTTECH.NET Artistically & creatively imagining non-primitive, ecologically sustainable futures. ------------------- ------------------- ------------------- + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: ryan griffis <ryan.griffis AT gmail.com> Date: Jan 16, 2007 Subject: Fwd: hi Begin forwarded message: > M U L T I M E D I A L E p r e v i e w > > M a r k C o o l e y | A r t i s t T a l k > > I n t r o d u c t i o n b y M u l t i m e d i a l e c u r a t > o r N i e l s V a n T o m m e > c u r a t o r ' s o f f i c e > t h u r s d a y, j a n u a r y 1 8 7 p m > > curator's office > 1515 14th street nw > suite 201 > washington, dc 20005 > > 202.387.1008 > www.curatorsoffice.com > > > curator's office is pleased to present a free preview program for > the upcoming Multimediale festival in April of 2007. > Mark Cooley is a new genre artist interested in exploring politics, > economics, power, identity, and visual rhetoric in American popular > culture. His work has been shown internationally in online and > offline venues such as Exit Art, Postmasters Gallery, > Furtherfield.org and Rhizome.org. > > Multimediale is an innovative four day new media art festival > curated by Niels Van Tomme that brings together a multiplicity of > people and ideas around the theme, Art as Mediation. The festival > will run April 19-23, 2007 and will be headquartered at Provisions > Library and American University, Washington DC. > > http://selforganizingsystem.org/filter.html > http://www.multimedialedc.org (online soon) > > Called the hippest tiniest gallery in town by Jeffry Cudlin of "The > Washington City Paper", curator's office is a micro-gallery > dedicated to presenting progressive works and ideas. > > But we are a small space, so RSVPs are essential. > info AT curatorsoffice.com + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: Christina McPhee <christina112 AT earthlink.net> Date: Jan 12, 2007 Subject: Sarai Reader 6 now available http://www.sarai.net/ forward from the sarai list.............Sarai Reader 6 is now avai Message: 1 Date: Thu, 11 Jan 2007 10:13:11 +0100 (CET) From: aarti AT sarai.net Subject: [Reader-list] Review: Sarai Reader 06: Turbulence To: reader-list AT sarai.net Message-ID: <49518.203.101.19.125.1168506791.squirrel AT mail.sarai.net> Content-Type: text/plain;charset=iso-8859-1 Dear All, The first review of Sarai Reader 06: Turbulence is out in the Himal. I am pasting below with the link. Enjoy! and if you haven't bought or downloaded your copy yet, what are you waiting for ?? ;) love Aarti ++++++++++++++++++++++++++++ Fluid dynamics: A prediction for the 24th century http://www.himalmag.com/2007/january/review3.htm by | Siddharth Anand These are warning signs, the end of the world is nigh. – Kavita Pai, Turbulence Sarai Reader 06:Turbulence edited by Monica Narula, Shuddhabrata Sengupta, Ravi Sundaram, Jeebesh Bagchi Awadhendra Sharan and Geert Lovink Centre for the Study of Developing Societies, 2006 In a clue so cryptic as to discourage even the doughtiest crossword zealot, Turbulence, the latest Reader from the New Delhi-based new-media initiative Sarai, gestures towards a fast-forward future – one that has already arrived, and is very chaotic. Dubbed “a practice for and of a time that has no name” by an editorial collective based in Delhi and Amsterdam, Turbulence is the sleekest, edgiest and grittiest avatar yet of the Sarai Reader Series. Now in its sixth year, the Reader has acquired a reputation of being the wild child of the publishing calendar. It has become known for collections so ambitious and diverse that each preface over the years has included a defence of ‘eclecticism’ – and every review has chosen to comment on it. While proving that it is possible to be both eclectic and consistent, Turbulence seeks to push the boundaries beyond a mere celebration of communicative diversity, by setting out to map terrain that is, at times, unnerving. The title of this new volume is perhaps the most intriguing of any Reader to date. Turbulence, as any student of science knows, is a crucial factor of fluid dynamics, and refers to the opposite of the phenomenon of ‘laminar flows’ – an ordered flow of fluid such that information about future behaviour of that flow can be predicted by determining the exact nature of the present. Turbulent flow, on the other hand, while proceeding in the same general direction as laminar flow, has to contend with the additional complexity of randomly fluctuating velocities. A further engagement with physics reveals deeper, more profound, metaphors: turbulence is the transition from order to disorder; turbulence increases with an increase in velocity; turbulence increases with friction and grittiness, and remains one of the unsolved problems in physics. However, it is by only the most veiled of gestures – the cryptic clue mentioned at the beginning of this review – that Sarai Reader 06 reveals its intention to serve as an atlas-cum-almanac for the exact point of transition into turbulence: 2300 AD. This is, admittedly, a long shot. But as the opening quote of art writer Cédric Vincent’s “Mapping the Invisible: Notes on the reason of conspiracy theories” states, “there is no such thing as a coincidence Nothing happens in this universe unless an entity wills it to happen.” Apart from signalling the dawn of the 24th century, 2300 also happens to be the critical value of another scientific term – the ‘Reynolds’ constant’, at which a fluid normally shifts from laminar to turbulent flow. Hence, ‘Re 2300’ is the point at which turbulence is achieved in a fluid system under normal conditions. Ideological and obdurate Turbulence clarifies its intentions with R Krishna’s opening piece, “The Time of Turbulence”. From that point on, the collection sucks the reader into a compelling and chaotic world of pirates, profiteers, hyper- textual encounters and “modernity’s fractally germinating, ever questioning bastards”. Vincent’s succinct unpacking of the concept of the conspiracy theory sits shoulder to shoulder with anthropologist Michael Taussig’s excellent “Cement and Speed” – a text that somehow speaks simultaneously of the love of craft, the violence of development, and the collapse of time, space and distance. The Reader itself is divided into short sections that are both internally coherent and chronologically cohesive. Both Taussig’s and Vincent’s texts are found under the first section, “Transformations”. In the “Weather Report” section, the aftermath of Hurricane Katrina lies alongside a first-person account of the tsunami that struck Southasia’s southern shores in 2004. A funeral party mourning the killing of a 16-year-old girl in Kashmir by security forces is witness to the fury of the almighty in “Zalzala”, meaning ‘earthquake’. “Strange Days” is one of the most engaging sections of the Reader, and provides a historical context to the present-day flux. Ground-level texture from the ghadar of 1857 sits uneasily alongside Bangladeshi journalist Naeem Mohaiemen’s account of the deification and contested legacy of Shiraj Sikder, the leader of Bangladesh’s violent leftist Sharbahara Party. Meanwhile, Delhi literature professor Debjani Dengupta’s text is a narrative carefully pieced together around the Direct Action Day that took place in 1946 in Calcutta. As with the Sarai Readers that preceded it, Turbulence moves beyond the purely textual, with images by Ravi Aggarwal and Monica Narula, among others. “Like Cleopatra”, a graphic series by the Delhi- and Assam-based artist Parismita Singh, stretches the fabric of street-survival and alienation to breaking point, as it builds a seemingly innocuous narrative of life in Delhi University’s North Campus. Sarai Reader 06, like the rest of the series, works precisely because the contributions seem to have been edited by a thoughtful and light hand. Each text speaks out for itself, unburdened by the baggage of its neighbours. The Reader’s single underlying theme, if there is one, is probably best summed up by Berlin-based computer wizard Frank Rieger’s closing text. “If we don’t enjoy taking on the system, we will get tired of the contest,” he notes. “And they will win. So instead of being angry, ideological and obdurate, let’s be funny, flexible and creative.” ------------------------------ sarai READER 06 Turbulence In Turbulence - Editorial Collective - vii Transformations: Reflections on Uncertainty The Time of Turbulence - R. Krishna The Father of Long/Fat Tails: Interview with Benoît Mandelbrot - Hans Ulrich Obrist Place - Renée Green Notes from New York, July 2005 - Molly Nesbit Cement and Speed - Michael Taussig Mapping the Invisible: Notes on the Reason of Conspiracy Theories - Cédric Vincent Turbulent Spaces of Fragments and Flows - Felix Stalder The Terror of Having a Body - Baijayanta Mukhopadhyay Weather Report: Forces of Nature Disaster Signs - Pradeep Saha An Aesthetic of Turbulence: The Works of Ned Kahn - David Mather After the Deluge - Gyan Prakash Waterline - Legier Biederman Waves of Wrath - R.V. Ramani Zalzala (Earthquake)! - Kavita Pai Troubleshooting: Technologies of Communication in Turbulent Times A Candle in My Window - Peter Griffin Support Iraqi Bloggers: Interview with Cecile Landman - Geert Lovink Locative Dissent - Jeremy Hight Once upon a Flash - Nishant Shah Altered States: Experiencing Change Pixels of Memory on the Hypertextualised 'I’ - Deb Kamal Ganguly Playing Wild! - Andreas Broeckmann Download Downtime - Trebor Scholz A Science of Liberalisation and the Markets It Produces - Siva Arumugam The Visibility of the Revolutionary Project and New Technologies - Raoul Victor Light from the Box - Franco La Cecla, Stefano Savona + Piero Zanini The Neurobiopolitics of Global Consciousness - Warren Neidich In Search of the Centre - Vlado Stjepic Like Cleopatra - Parismita Singh Strange Days: The History and Geography of Turbulence “Jahan se Dekhiye Yak Shor-e Shor-angez Nikle Hain (A Riot of Turbulence, Wherever You Look)”: The Dehlvi Ghadar - Mahmood Farooqui The Silent Memorial: Life of the Mutiny in Orchha’s Lakshmi Temple - Rahaab Allana Buccaneers, Pirates and Privateers - Vijayalakshmi Balakrishnan A City Feeding on Itself: Testimonies and Histories of ‘Direct Action’ Day - Debjani Sengupta “Kothai Aj Shei Shiraj Sikder (Where Today Is that Shiraj Sikder)?”: Terrorists or Guerrillas in the Mist - Naeem Mohaiemen Remembering Communism: The Experience of Political Defeat - Philip Bounds The Dynamic Balkans: A Working Model for the EU? Interview with Kyong Park and Marjetica Potrc - Nataša Petrešin GuateMex: No-Man's-Water - Marcos Lutyens Paisajes - Sergio De La Torre Ceuta and Melilla Fences: A Defensive System? - Guido Cimadomo + Pilar Martínez Ponce Shifting Sediments - Dane Mitchell Signal Disturbance: Questions - Media / Art / Identity What Hit the News-Stand?! Introduction to a Dialogue - Nasrin Tabatabai, Babak Afrassiabi + Kianoosh Vahabi The Sand of the Coliseum, the Glare of Television, and the Hope of Emancipation - Nancy Adajania Be Offended, Be Very Offended - Linda Carroli The Khushboo Case File: Reverse Culture Jamming - Tushar Dhara Seeking Chaos: The Birth and Intentions of Queer Politics - Gautam Bhan Close Encounters: Witnessing Turbulence Family/Families - Ashim Purkayastha Liberal Nightmares: A Manual of Northeastern Dreams - Tarun Bhartiya Poetry in a Time of Terror - Robin S. Ngangom Turbulent Indigo and the Act of Cautious Reassemblage - Sampurna Chattarji The Man Who Could Walk through In-Between Positions - Sureyyya Evren This Morning, This Evening: Beirut, 15 July 2006 - Walid Raad Who Didn’t Start the Fire...? Reflections on Bombs over a Cup of Coffee - Simran Chadha A Kashmiri’s ‘Encounter’ with Delhi - Bismillah Gilani On Listening to Violence: Reflections of a Researcher of the Partition of India - Sadan Jha Unstable Structures: Improvisations with Infrastructure Contingent - Emeka Okereke Turbulence before Take-Off: Life Trajectories Spotted en Route to a Brazilian Runway - David Harris Casting Village within City - Yushi Uehara Tapping In: Leaky Sovereignties and Engineered (Dis)Order in an Urban Water System - Karen Coelho A 'Legitimate' Business Activity: Unofficial Stock Exchanges of Vijayawada - S. Ananth Notes from Beseiged Neighbourhoods Nangla’s Delhi - Cybermohalla Practitioners Alt/Option Collaboration: The Dark Side of the Multitude - Florian Schneider We Lost the War. Welcome to the World of Tomorrow - Frank Rieger SARAI READER 06: Turbulence Produced and Designed at the Sarai Media Lab, Delhi Editors: Monica Narula, Shuddhabrata Sengupta, Ravi Sundaram, Jeebesh Bagchi Awadhendra Sharan + Geert Lovink Associate Editor: Smriti Vohra Translations: Shveta Sarda Editorial Collective: Monica Narula, Shuddhabrata Sengupta, Ravi Sundaram, Jeebesh Bagchi Ravi S. Vasudevan, Awadhendra Sharan + Geert Lovink Design: Mrityunjay Chatterjee Design Intern: Mrinalini Aggarwal Cover Design: Mrinalini Aggarwal Back Cover Photo: Monica Narula Published by The Director Centre for the Study of Developing Societies 29 Rajpur Road, Delhi 110054, India Tel: (+91) 11 2396 0040, Fax: (+91) 11 2392 8391 E-mail: dak AT sarai.net www.sarai.net Delhi 2006 ISBN 81-901429-7-6 Any part of this book may be reproduced in any form without the prior written permission of the publishers for educational and non- commercial use. The contributors and publishers, however, would like to be informed. Sarai Reader 06: Turbulence is part of 'the Documenta 12 Magazines Project’ <http://www.documenta12.de/english/magazines.html> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 12, number 2. 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
-RHIZOME DIGEST: 3.12.08 -RHIZOME DIGEST: 3.5.08 -RHIZOME DIGEST: 2.27.08 -RHIZOME DIGEST: 2.20.08 -RHIZOME DIGEST: 2.13.08 -RHIZOME DIGEST: 2.6.08 -RHIZOME DIGEST: 1.30.08 -RHIZOME DIGEST: 1.23.08 -RHIZOME DIGEST: 1.16.08 -RHIZOME DIGEST: 1.9.08 -RHIZOME DIGEST: 1.2.08 -RHIZOME DIGEST: 12.19.2007 -RHIZOME DIGEST: 12.12.07 -RHIZOME DIGEST: 12.5.07 -RHIZOME DIGEST: 11.28.07 -RHIZOME DIGEST: 11.21.07 -RHIZOME DIGEST: 11.14.07 -RHIZOME DIGEST: 11.7.07 -RHIZOME DIGEST: 10.31.07 -RHIZOME DIGEST: 10.24.07 -RHIZOME DIGEST: 10.17.07 -RHIZOME DIGEST: 10.10.07 -RHIZOME DIGEST: 10.3.07 -RHIZOME DIGEST: 9.26.07 -RHIZOME DIGEST: 9.19.07 -RHIZOME DIGEST: 9.12.07 -RHIZOME DIGEST: 9.5.07 -RHIZOME DIGEST: 8.29.07 -RHIZOME DIGEST: 8.22.07 -RHIZOME DIGEST: 8.15.07 -RHIZOME DIGEST: 8.8.07 -RHIZOME DIGEST: 8.1.07 -RHIZOME DIGEST: 7.25.07 -RHIZOME DIGEST: 7.18.07 -RHIZOME DIGEST: 7.11.07 -RHIZOME DIGEST: 7.4.07 -RHIZOME DIGEST: 6.27.07 -RHIZOME DIGEST: 6.20.07 -RHIZOME DIGEST: 6.13.07 -RHIZOME DIGEST: 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-RHIZOME DIGEST: 1.08.05 -RHIZOME DIGEST: 1.01.05 -RHIZOME DIGEST: 12.17.04 -RHIZOME DIGEST: 12.10.04 -RHIZOME DIGEST: 12.03.04 -RHIZOME DIGEST: 11.26.04 -RHIZOME DIGEST: 11.19.04 -RHIZOME DIGEST: 11.12.04 -RHIZOME DIGEST: 11.05.04 -RHIZOME DIGEST: 10.29.04 -RHIZOME DIGEST: 10.22.04 -RHIZOME DIGEST: 10.15.04 -RHIZOME DIGEST: 10.08.04 -RHIZOME DIGEST: 10.01.04 -RHIZOME DIGEST: 9.24.04 -RHIZOME DIGEST: 9.17.04 -RHIZOME DIGEST: 9.10.04 -RHIZOME DIGEST: 9.03.04 -RHIZOME DIGEST: 8.27.04 -RHIZOME DIGEST: 8.20.04 -RHIZOME DIGEST: 8.13.04 -RHIZOME DIGEST: 8.06.04 -RHIZOME DIGEST: 7.30.04 -RHIZOME DIGEST: 7.23.04 -RHIZOME DIGEST: 7.16.04 -RHIZOME DIGEST: 7.09.04 -RHIZOME DIGEST: 7.02.04 -RHIZOME DIGEST: 6.25.04 -RHIZOME DIGEST: 6.18.04 -RHIZOME DIGEST: 6.11.04 -RHIZOME DIGEST: 6.04.04 -RHIZOME DIGEST: 5.28.04 -RHIZOME DIGEST: 5.21.04 -RHIZOME DIGEST: 5.14.04 -RHIZOME DIGEST: 5.07.04 -RHIZOME DIGEST: 4.30.03 -RHIZOME DIGEST: 4.16.04 -RHIZOME DIGEST: 4.09.04 -RHIZOME DIGEST: 04.02.04 -RHIZOME DIGEST: 03.27.04 -RHIZOME DIGEST: 03.19.04 -RHIZOME DIGEST: 03.13.04 -RHIZOME DIGEST: 03.05.04 -RHIZOME DIGEST: 02.27.04 -RHIZOME DIGEST: 02.20.04 -RHIZOME DIGEST: 02.13.04 -RHIZOME DIGEST: 02.06.04 -RHIZOME DIGEST: 01.31.04 -RHIZOME DIGEST: 01.23.04 -RHIZOME DIGEST: 01.16.04 -RHIZOME DIGEST: 01.10.04 -RHIZOME DIGEST: 01.05.04 -RHIZOME DIGEST: 12.21.03 -RHIZOME DIGEST: 12.13.03 -RHIZOME DIGEST: 12.05.03 -RHIZOME DIGEST: 11.28.03 -RHIZOME DIGEST: 11.21.03 -RHIZOME DIGEST: 11.14.03 -RHIZOME DIGEST: 11.07.03 -RHIZOME DIGEST: 10.31.03 -RHIZOME DIGEST: 10.25.03 -RHIZOME DIGEST: 10.18.03 -RHIZOME DIGEST: 10.10.03 -RHIZOME DIGEST: 10.03.03 -RHIZOME DIGEST: 9.27.03 -RHIZOME DIGEST: 9.19.03 -RHIZOME DIGEST: 9.13.03 -RHIZOME DIGEST: 9.05.03 -RHIZOME DIGEST: 8.29.03 -RHIZOME DIGEST: 8.22.03 -RHIZOME DIGEST: 8.17.03 -RHIZOME DIGEST: 8.09.03 -RHIZOME DIGEST: 1.17.03 -RHIZOME DIGEST: 1.10.03 -RHIZOME DIGEST: 1.03.03 -RHIZOME DIGEST: 12.20.02 -RHIZOME DIGEST: 12.13.02 -RHIZOME DIGEST: 12.06.02 -RHIZOME DIGEST: 11.29.02 -RHIZOME DIGEST: 11.22.02 -RHIZOME DIGEST: 11.15.02 -RHIZOME DIGEST: 11.01.02 -RHIZOME DIGEST: 10.25.02 -RHIZOME DIGEST: 10.18.02 -RHIZOME DIGEST: 10.11.02 -RHIZOME DIGEST: 10.04.02 -RHIZOME DIGEST: 9.27.02 -RHIZOME DIGEST: 9.20.02 -RHIZOME DIGEST: 9.13.02 -RHIZOME DIGEST: 9.6.02 -RHIZOME DIGEST: 8.30.02 -RHIZOME DIGEST: 8.23.02 -RHIZOME DIGEST: 8.16.02 -RHIZOME DIGEST:8.9.02 -RHIZOME DIGEST: 8.02.02 -RHIZOME DIGEST: 7.26.02 -RHIZOME DIGEST: 7.19.02 -RHIZOME DIGEST: 7.12.02 -RHIZOME DIGEST: 7.5.02 -RHIZOME DIGEST: 6.28.02 -RHIZOME DIGEST: 6.21.02 -RHIZOME DIGEST: 6.14.02 -RHIZOME DIGEST: 6.7.02 -RHIZOME DIGEST: 6.2.02 -RHIZOME DIGEST: 5.26.02 -RHIZOME DIGEST: 5.19.02 -RHIZOME DIGEST: 5.12.02 -RHIZOME DIGEST: 5.5.02 -RHIZOME DIGEST: 4.28.02 -RHIZOME DIGEST: 4.21.02 -RHIZOME DIGEST: 4.14.02 -RHIZOME DIGEST: 4.7.02 -RHIZOME DIGEST: 3.31.02 -RHIZOME DIGEST: 3.23.02 -RHIZOME DIGEST: 3.15.02 -RHIZOME DIGEST: 3.8.02 -RHIZOME DIGEST: 3.3.02 -RHIZOME DIGEST: 2.24.02 -RHIZOME DIGEST: 2.17.02 -RHIZOME DIGEST: 2.10.02 -RHIZOME DIGEST: 2.1.02 -RHIZOME DIGEST: 1.27.02 -RHIZOME DIGEST: 1.18.02 -RHIZOME DIGEST: 1.12.02 -RHIZOME DIGEST: 1.6.02 -RHIZOME DIGEST: 12.30.01 -RHIZOME DIGEST: 12.23.01 -RHIZOME DIGEST: 06.29.01 -RHIZOME DIGEST: 12.2.00 |
