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: 3.14.07 From: digest@rhizome.org (RHIZOME) Date: Thu, 15 Mar 2007 01:16:57 -0400 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: March 14, 2007 Content: +opportunity+ 1. ana otero: CALL for entries - :::::Res-Qualia:::: 2. mauri.kaipainen AT tlu.ee: Interactive Media and Knowledge Environments spring admission 3. Alan Smith: Residency Opportunities - 'Base Elements' 4. Stephanie Dinkins: Digital Arts, Culture and Technology Teaching Positions 5. Tara McPherson: Call for 2007 Vectors Fellows! 6. jonCates: MediaArtHistories Practice low residency Course open for enrollment +announcement+ 7. Jim Andrews: Videogames and Art 8. marcin ramocki: "Random Access Poetics" at vertexList 9. nat muller: UPGRADE! AMSTERDAM: [TAG & TRACK] - 21 March 10. ana otero: OPENING PROGRAMME - LABORAL Centre for Art and Creative Industries 11. Frank Terhorst: European Media Art Festival Osnabrueck 12. Jim Andrews: FIRST SCREENING by bpNichol -- Computer poems from 1984 13. Ryan Griffis: US Attorney Misleads Public About “Danger” of Harmless Bacteria in Case of Professor Kurtz + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: ana otero <4anaotero AT gmail.com> Date: Mar 8, 2007 Subject: CALL for entries - :::::Res-Qualia:::: :::::Res-Qualia:::: CALL FOR ENTRIES We would like to invite you to collaborate in res-qualia.net. You can introduce your projects or texts related to the themes: art-science and evolution of consciousness. res-qualia.net aims to create an working collaborative environment among artists that are working on the proposed themes. To know all the works that are related to this area and to make them public in different events such as conferences, press, publications, etc. We ask for your participation to know that your work "does exist". Further information: http://www.res-qualia.net/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: mauri.kaipainen AT tlu.ee <mauri.kaipainen AT tlu.ee> Date: Mar 12, 2007 Subject: Interactive Media and Knowledge Environments spring admission The Tallinn University international new media master program Interactive Media and Knowledge Environments (IMKE) calls for students with an interest in virtual communities, social software, locative and mobile media concepts or information visualization. The program has a particular focus on social and cognitive aspects of interactive media. IMKE is part of the expanded curricular exchange system Tallinn Media Cluster, which constitutes one of the strongest media culture and knowhow concentrations in the Baltic area. The spring admission has been opened particularly for applicants outside of the EU region, in order to allow sufficient time for arrangements before the fall term. The deadline for this call is April 15. Detailed information about the program and the application procedure is available at http://imke.tlu.ee, or by email imke AT tlu.ee. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Alan Smith <Headalan AT aol.com> Date: Mar 13, 2007 Subject: Residency Opportunities - 'Base Elements' ACA - Allenheads Contemporary Arts 2 Residency Opportunities "BASE ELEMENTS" 'The properties of elements often reflect the properties of life itself - volatile, inert, lustrous, precious, brittle…' Primo Levi Allenheads Contemporary Arts (ACA) would like to receive proposals from artists interested in following a line of research into the earth's base elements. The project aims to explore in broad terms, how we comprehend and relate to the matter of our planet. Artists will be able to invite a collaborator from any field of the arts or sciences, to bring their knowledge and experience to the project. These 2 residencies are the first in the Base Elements series, which will collectively present a broad picture of our complex relationship with planet earth. It is planned that the series will culminate in a conference, exhibition and publication. Each residency is for a flexible period of up to 3 months taking place between May and December 2007. Artist's fee: £1800 pcm + travel, accommodation, studio and production expenses. Application Deadline: April 18th 2007 For more information and application details visit www.acart.org.uk/future.htm + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Stephanie Dinkins <sdink AT yahoo.com> Date: Mar 13, 2007 Subject: Digital Arts, Culture and Technology Teaching Positions Consortium for Digital Arts, Culture, and Technology Six Positions As part of a major, multi-departmental hiring initiative in Digital Arts, Culture, and Technology, Stony Brook University seeks scholars, artists, composers, and technology specialists in digital media. Successful candidates will teach and engage in creative/scholarly activities, help to build a research consortium, and develop an interdisciplinary major. Promising artists, composers, and technologists who can demonstrate innovation with digital technologies -- and scholars who critically engage the digital arts and larger digital culture -- are encouraged to apply. We hope to fill one position each in new media art, computer composition and/or digital sound design, digital media research in computer science, along with three positions for digital culture scholars from cultural studies, art history, and musicology/ethnomusicology. Preference will be given to applicants with a demonstrated interest in intra- and interdisciplinary work. Please see individual descriptions for further details. Each successful candidate will hold a faculty position in the appropriate University department (Art, Music, Comparative Literary and Cultural Studies, or Computer Science) and will also be affiliated as a cohort of the consortium. New Media Arts - Consortium For Digital Arts, Culture, And Technology Stony Brook University, as part of a major multi-departmental Digital Media Arts, Culture, and Technology hiring initiative, seeks an artist with the beginnings of a national/international reputation and an emphasis in new media art production. The successful candidate will have strong digital technical skills. Desirable areas of specialization include: 3D modeling, animation, and 3D printing/rapid prototyping; art games; information visualization; mobile and locative arts; physical computing, robotics and hardware engineering; digital narrative; flash animation and net.art; and performance with media interfaces. We especially seek candidates with interest in and evidence of collaboration with other disciplines, especially music, media theory and studies, computer science, and/or engineering. Responsibilities will include undergraduate and graduate instruction, supervision of student research and writing, thesis direction, advising, as well as departmental and University service. The successful candidate will teach a wide array of courses in digital arts. We anticipate hiring at the rank of assistant professor; exceptional candidates may be considered at higher rank. MFA or equivalent, an exhibition record, and teaching at levels appropriate to rank are expected. Application review to begin March 20 and will continue until the position is filled. Please send letter of application, C.V., portfolio, statement of teaching interests/philosophy, and at least three current letters of reference to: Digital Media Search, Office of the Provost, 407 Administration Building, Stony Brook University, Stony Brook, NY 11794-1401. Visit www.stonybrook.edu/cjo for complete job description and to apply online. Equal Opportunity/Affirmative Action Employer. Women, people of color, individuals with disabilities, and veterans are encouraged to apply. Digital Visual Culture - Consortium for Digital Arts, Culture, and Technology Stony Brook University, as part of a major, multi-departmental Digital Media Arts, Culture, and Technology hiring initiative, seeks one or more scholars whose focus is popular, Western, non-Western or transnational digital cultural studies. Desirable areas of specialization include, but are not limited to, the following: critical perspectives on new media arts; the study of visual, aural and/or sonic culture as mediated by technology, participatory digital culture; interactive games and virtual spaces; globalization and diasporic culture in the digital era; and the history and/or philosophy of technologically informed musical and/or artistic practices. Responsibilities will include undergraduate and graduate instruction, supervision of student research and writing, dissertation direction, advising, as well as departmental and university service. The successful candidate will be based in Art but may also teach in Cultural Studies or Music as appropriate. We especially seek candidates interested in collaboration across and within these disciplines. We anticipate hiring at the rank of assistant professor; exceptional candidates may be considered at higher rank. Ph.D. and a record of scholarship and teaching at levels appropriate to rank are expected. Application review to begin March 20 and will continue until the position is filled. Please send letter ofapplication, C.V., sample of your work, statement of teaching interests/philosophy, and at least three current letters of reference to: Digital Media Search, Office of the Provost, 407 Administration Building, Stony Brook University, Stony Brook, NY 11794-1401. Visit www.stonybrook.edu/cjo for complete job description and to apply online. Equal Opportunity/Affirmative Digital Cultural Studies - Consortium for Digital Arts, Culture, and Technology Stony Brook University, as part of a major, multi-departmental initiative in Digital Arts, Culture, and Technology, seeks scholars whose focus is digital cultural studies. Desirable areas of specialties include visual culture; new media arts; participatory digital culture; diasporic cultures, globalization and cross-culturally in the digital era; history/philosophy of digital media/art/music/technology; digital narrative, games and gaming. Responsibilities will include undergraduate and graduate instruction, supervision of student research and writing, dissertation direction, advising, and departmental and University service. The successful candidate will be based in Comparative Literary and Cultural Studies but may also teach in Art or Music as appropriate. We anticipate hiring at the rank of assistant professor. Exceptional candidates may be considered at higher rank. Ph.D. and a record of scholarship and teaching at levels appropriate to rank are expected. Application review to begin March 20 and will continue until the position is filled. Send letter of application, C.V., at least three letters of reference, statement of teaching interests/philosophy, and a representative writing sample to: Digital Media Search, Office of the Provost, 407 Administration Building, Stony Brook University, Stony Brook, NY 11794-1401. Action Employer. Women, people of color, individuals with disabilities, and veterans are encouraged to apply. Composition/Digital Music - Consortium for Digital Arts, Culture, and Technology Stony Brook University’s Department of Music, as part of a major multi-departmental Digital Media Arts, Culture, and Technology hiring initiative, seeks a composer with a specialization in digital music and an established record of or potential for productivity. The successful candidate will have a strong technical background, as well as a solid background in common practice period and contemporary art music. We are especially interested in candidates with interest in and evidence of collaboration across discipline boundaries within music, and/or with other disciplines, especially dance, theater, computer science, or engineering. Teaching experience is preferred. Responsibilities include oversight of the Computer Music Studios, undergraduate and graduate instruction; supervision of student research, creating, and writing; dissertation direction; advising; and departmental and University service. We anticipate hiring at the rank of assistant professor; exceptional candidates may be considered at higher rank. PhD or DMA in Composition and a record of scholarship and teaching at levels appropriate to rank are expected. (Exceptional ABD candidates may be considered with an appointment level of Lecturer). Application review to begin March 20 and will continue until the position is filled. Send letter of application; curriculum vitae; at least three current letters of reference or references dossier; statement of teaching interests and philosophy; and a representative sample of your work to: Digital Media Search, Office of the Provost, 407 Administration Building, Stony Brook University, Stony Brook, NY 11784-1401. Visit www.stonybrook.edu/cjo for complete job description and to apply online. Equal Opportunity/Affirmative Action Employer. Women, people of color, individuals with disabilities, and veterans are encouraged to apply. Musicology/Ethnomusicology - Consortium for Digital Arts, Culture, and Technology Stony Brook University’s Department of Music, as part of a major multi-departmental Digital Media Arts, Culture, and Technology hiring initiative, seeks a music scholar of late-20th and 21st century music with particular expertise in digital musical practices, as they relate to any type of late-20th or 21st century art or popular music: Western, non-Western, or transnational. The successful candidate should be conversant with interdisciplinary approaches in the humanities as well as with historical and theoretical perspectives on technology-related issues. We especially seek candidates who are interested in developing innovative curricula in conjunction with other areas within the Music Department and with other fine arts departments, as well as participating in interdisciplinary programs. Responsibilities will include undergraduate and graduate instruction; supervision of student research and writing; dissertation direction; advising; and departmental and University service. We anticipate hiring at the rank of assistant professor, exceptional candidates may be considered at higher rank. PhD in Musicology/Music Theory/Ethnomusicology and a record of scholarship and teaching at levels appropriate to rank are expected. (Exceptional ABD candidates may be ! considered with an appointment level of Lecturer). Application review to begin March 20 and will continue until the position is filled. Send letter of application; curriculum vitae; at least three current letters of reference or references dossier; statement of teaching interests and philosophy; and a representative sample of your work to: Digital Media Search, Office of the Provost, 407 Administration Building, Stony Brook University, Stony Brook, NY 11784-1401. Visit www.stonybrook.edu/cjo for complete job description and to apply online. Equal Opportunity/Affirmative Action Employer. Women, people of color, individuals with disabilities, and veterans are encouraged to apply. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Tara McPherson <tmcphers AT usc.edu> Date: Mar 13, 2007 Subject: Call for 2007 Vectors Fellows! Vectors: Journal of Culture and Technology in a Dynamic Vernacular is pleased to announce its fourth annual summer fellowship program to take place June 18-22, 2007 at the University of Southern California's Institute for Multimedia Literacy. We are seeking proposals for projects related to upcoming issues devoted to the themes of Reading (vol. 4 no. 1) and Noise (vol. 4 no. 2). Vectors publishes work which need necessarily exist online, ranging from archival to experimental projects. We invite you to consider submitting an application or to circulate this email to your peers and graduate students. Vectors' fellows not only attend our summer workshop but also have the opportunity to work over several months with a world-class design team in realizing the scholar's vision for online scholarship. You may download the Call For Proposals for the 2007 Vectors Summer Fellowships here: http://www.vectorsjournal.org/pdf/VectorsCFP2007.pdf Please feel free to circulate this document widely. Completed proposals are due by April 15, 2007. Best wishes, Tara McPherson & Steve Anderson http://www.vectorsjournal.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: jonCates <joncates AT criticalartware.net> Date: Mar 14, 2007 Subject: MediaArtHistories Practice low residency Course open for enrollment // this program may be of interest to ppl onList // jonCates // http://systemsapproach.net MediaArtHistories Practice low residency Course open for enrollment http://www.donau-uni.ac.at/mahpractice The new unique program combines a practice-oriented introduction to artistic forms of digital culture with its theory and history. Students are being provided with the possibility for gaining valuable practical experiences and discuss new developments in the field with experts such as Christiane PAUL (Whitney Museum), Prof. Paul SERMON, Monika FLEISCHMANN & Wolfgang STRAUSS (http://www.netzspannung.org), Christa SOMMERER, Steve DIETZ (Curator of ISEA 2006), Margit ROSEN (ZKM), Edward SHANKEN, Lev MANOVICH or Oliver GRAU. Participants are invited to start on May 18th 2007 with MediaArtHistories Practice. This course consists of two modules of 13 and 11 days supplemented by online training activities. Artists and programmers give new insights into the latest and most controversial software, interface developments and their interdisciplinary and intercultural praxis. Keywords are: Strategies of Interaction & Interface Design, Social Software, Immersion & Emotion, and Artistic Invention. A core theme will be the latest knowledge of Curation, Collection, Documentation and Archiving of Media Art. Experts present their new tools for collective web archives. Excursions to the ZKM and the re:place conference in Berlin are integrated into the curriculum. An internationally unique asset of the program is access to originals from a variety of historical and contemporary image forms. The program offers maximum flexibility in designing education. Should you combine the MediaArtHistories Practice - program with two more theory modules you attain the MASTER OF ARTS. Setting, Location and Technical Facilities The Center for Image Science (CIS) is situated in the beautiful landscape of the Wachau, Austria a UNESCO World Heritage Site in the 1000 year old Goettweig Monastary. The idyllic surroundings, home to first-class wines and food, with a rich and wide variety of cultural events, plus facilities for a wide range of sports, all offer students the highest quality of life. Additional resources for students use: - The Goettweig Monastery s collection of 30,000 prints (15th-20th century). - The Database for Virtual Art (http://www.virtualart.at), the large pioneering archive of digital art. - The library for European Art History containing 24,000 volumes. - The new Text and Video Database on media art history (http://www.mediaarthistory.org). - The slide collection with 130,000 original records of European art history, including lost works. Applications for admission are possible NOW! For further information, and application please refer to Sabine Lindner Department for Image Science, Danube University Krems Dr.-Karl-Dorrek-Str. 30, A-3500 Krems Tel: +43(0)2732.893.2569 Fax: +43(0)2732.893.4550 sabine.lindner AT donau-uni.ac.at http://www.donau-uni.ac.at/cis MediaArtHistories Practice http://www.donau-uni.ac.at/mahpractice + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: Jim Andrews <jim AT vispo.com> Date: Mar 7, 2007 Subject: Videogames and Art 'Videogames and Art' is a collection of essays edited by Grethe Mitchell and Andy Clarke. The book is published by the University of Chicago Press. http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/226001.ctl CONTENTS - Introduction (10,000 words) by Grethe Mitchell and Andy Clarke - "From Appropriation to Approximation" by Axel Stockburger - "Meltdown" by Rebecca Cannon - "Videogames as Literary Devices" by Jim Andrews. Looks at degrees of subordination of videogame to art in art/games by Regina Célia Pinto, Natalie Bookchin, Neil Hennessey, and Jim Andrews. - "High-Performance Play: The Making of Machinima" by Henry Lowood - "Cracking the Maze Curator's Note" by Anne-Marie Schleiner - "An Interview with Brody Condon" by Andy Clarke - "In Conversation Fall 2003: An Interview with Joseph DeLappe" by Jon Winet - "The Idea of Doing Nothing: An Interview with Tobias Bernstrup" by Francis Hunger - "The Isometric Museum: The SimGallery Online Project" (interview with K Isbister and R Straus) by J Pinckard - "The Evolution of a GBA Artist" by Paul Catanese - "From Fictional Videogame Stills to Time Travelling with Rosalind Brodsky 1991-2005" by Suzanne Treister - "Virtual Retrofit (or What Makes Computer Gaming so Damn Racy?)" (an essay on Hillary Mushkin and S. E. Barnet) by M. A. Greenstein - "Perspective Engines: An Interview with JODI" by Francis Hunger - "Independent Game Development: Two Views from Australia" (an interview with Julian Oliver and Kipper) by Melanie Swalwell - "Medieval Unreality: Initiating an Artistic Discourse on Albania's Blood Feud by Editing a First-Person Shooter Game" by Nina Czegledy and Maia Engeli - "Should Videogames be Viewed as Art?" by Brett Martin - "Some Notes on Aesthetics in Japanese Videogames" by William Huber - "The Computer as a Dollhouse (excerpts)" by Tobey Crockett - "Networking Power: Videogame Structure from Concept Art" by Laurie Taylor - "Fan-Art as a Function of Agency in Oddworld Fan-Culture" by Gareth Schott and Andrew Burn - "Will Computer Games Ever be a Legitimate Art Form?" by Ernest W. Adams + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: marcin ramocki <mramocki AT earthlink.net> Date: Mar 9, 2007 Subject: "Random Access Poetics" at vertexList VertexList space has the pleasure to present “Random Access Poetics”, featuring new media projects by: [dNASAb], Ernesto Klar, Prize Budget for Boys and Lance Wakeling. “Random Access Poetics” focuses on the processor-based new media work dealing with exposing invisible aspect of information. This exhibition brings together young Brooklyn new media artists and the Harlem/Toronto based collective Prize Budget for Boys. The reception will take place on Friday, March 16th 2007, 7pm - 10pm. In conjunction with the reception party Ms. PacMondrian will perform "Trance Dance Seance" at 8.30pm. (free admission) The exhibition will be on display until Sunday, April 22th 2007. On display: [dNASAb] I-Pod Sculptures http://www.tc43.com/ The I-Pod, now being 5 years old, is deeply integrated into the lives of millions globally, and speaks of the fetishism that modern consumers have for new electronic mobile devices. [dNASAb] sees these new devices as raw materials for artistic creation. Thus the beginning of the I-pod sculpture series. The first group are continuously looping, wall hanging, painted audio/video sculptures. The sculpture actually provides the energy, and audio components to make the I-Pod have a life and voice, It is a symbiotic relationship. Each I-Pod has its own unique custom video and video playlists relating to the sculptural elements. [dNASAb] also has started to work directly onto the I-Pod screens sculpturally, integrating an image in motion on a two-dimensional screen is a visionary artistic precursor to the actual future technological advancements of video fabrics, holographic projection screens, and virtual reality. Ernesto Klar Parallel Convergence http://www.klaresque.org/ "Convergenze parallele" is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in real-time by a custom software system. The installation reacts to both natural and artificial air movements in the exhibition space, prompting the viewer to interact by blowing air towards the light and to observe the amplified sound-image relationships. The custom software system integrates computer vision and sound synthesis algorithms. The software pulses one electric fan with a dust receptacle that saturates the system at random intervals, and deploys a video camera to track the location of individual dust particles. This data is then translated into sound in real-time, mapping dust particles data to synthesized sound particles in a surround sound field. The visualization projected on the wall consists of an image-processed view that reveals the particles trajectory. "Convergenze parallele" explores the poetic po! tential of revealing and transforming the imperceptible, in the attempt to "see the invisible, or if you like, take a sounding on the incommensurable. Prize Budget for Boys Calderoids http://pbfb.ca/ Calderoids is an irreverent mash-up of fine art and video games, where you dodge and destroy Alexander Calder's kinetic mobiles in the triangular ship of Atari's space shooter Asteroids. The ubiquitous mobiles we hang over baby cribs were originally conceived by Calder as fanciful models of the universe: "There is of course a close alliance between physics and aesthetics." Based on a physically exact model of mobiles in space, Calderoids frees you from gravity to fly around and zap Calder's sculptures in your cosmic spacecraft. Lance Wakeling Study for Portrait of the Internet (static)_ http://canarymagazine.net/ Without crawlers roaming the internet and archiving links, images, and keywords, no one would have any idea how to find anything online. Search engines rely on crawlers to traverse links and chart the internet; spammers need them to harvest email addresses. My crawler is a simple creature, it makes 'slideshows' from images that people post on web pages, the images of the sites they link to, and the images of the sites linked to from there, and so on, and on. 'Study for Portrait of the Internet (static)' is a never-ending slideshow of GIF, JPG, and PNG images that runs off a modded xbox. A lot of the images that are downloaded are navigation widgets. As we move through larger landscapes of information with increasing speed, the apparatus for navigation becomes more and more the dominant component of our experience. Eventually, the experience of moving through data becomes more about interacting with the navigational apparatus and less about the environment being traversed--li! ke the difference between riding a bicycle and piloting a jet. Ms. PacMondrian : "Trance Dance Seance" Inspired by the outrageous costumes and antics of 80s London club god Leigh Bowery and the exuberant theatrics of contemporary videogame cosplay, The Ms. Pac-Mondrian Trance Dance Seance Performance reincarnates Piet Mondrian's spirit through ecstatic dance. Ms. Pac- Mondrian, the psychedelic shaman, dances a burlesque to the boogie woogie sound effects of the game. Guided by Mondrian's firm theosophical belief that he was an old soul reincarnated many times, the PBFB invite you to a kinaesthetic/synaeasthetic extravaganza to raise the dead and bring back the boogie + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Aurora Picture Show (Houston,TX) announces their fourth annual Media Archeology Festival: Below-Fi. Get ready for three mindbending days of audiovisual kinesis featuring hackers, benders, builders, and overall enthusiasts of the analogue aesthetic. These artists invent their own instruments of sound and light, and find new uses for technologies of the past to create future-forward entertainment. Curated by Nick Hallett, Aurora's Media Archeology: Below-Fi takes over Houston for three nights from April 19-21 at three unique venues. Performances include Bruce McClure and Ray Sweeten (Thursday, April 19 at Aurora Picture Show, 800 Aurora St.); Dynasty Handbag and Nautical Almanac (Friday, April 20, 8:30pm at Domy Bookstore, 1709 Westheimer); Tristan Perich and Quintron and Miss Pussycat (Saturday, April 21, 8:30pm at The Orange Show, 2402 Munger St.) Lighting designed by Mighty Robot. http://www.aurorapictureshow.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: nat muller <nat AT xs4all.nl> Date: Mar 12, 2007 Subject: UPGRADE! AMSTERDAM: [TAG & TRACK] - 21 March ************************************************************************ ** UPGRADE! AMSTERDAM: [TAG & TRACK] When: Wednesday March21st 2007 || 20.30 hours Where: Melkweg, Theater, Lijnbaansgracht 234 A, Amsterdam | free entrance | URL: www.melkweg.nl/upgrade LIVE webcast: www.fabchannel.com ************************************************************************ **** 'Locative media' are hot: from cell phones to GPS, to other means of satellite communications. A world without the latter seems unthinkable, or perhaps even non-navigationable. Experiments with locative media within the arts have mostly focused on and taken place within an urban context. Upgrade! Amsterdam [tag & track] offers a counterbalance and highlights projects where the technology itself is not the main feature, but rather how their usage functions within specific contexts, and generates a multitude of meanings and experiences: from Fulani nomads in Nigeria to the migratory routes of the Montagu’s Harrier between Groningen and Mauritania. | Introduction by Assia Kraan | Assia Kraan wrote an article on locative media for ‘Open – magazine for art and the public domain’, titled ‘Public action through geo-annotation – social encounters by ways of locative media arts’. http://www.assia.nl | Nomadic Milk – Esther Polak – Michiel de Lange | NomadicMILK aims to raise awareness about migratory patterns of the Fulani nomads in Nigeria through an artistic visualization of dairy routes, achieved by combining new media such as global positioning systems, mobile telephones and a GPS. | Capturing the migration of Montagu’s Harrier – Ben Koks c.s. | Not only are the migratory routes of the harriers (equipped with tiny 7gr satellite backpacks) between the Netherlands Mauritania, Senegal and Nigeria of interest here, but also the narratives connections they forge between Dutch ornithologists and farmers in Western Africa. http://www.grauwekiekendief.nl | Just van den Broeke | Since 2005 involved in projects based on GeoTracing, an Open Source platform initiated by Just for tracking and tracing. http://www.justobjects.nl -------- UPGRADE! AMSTERDAM is a series of gatherings for and by new media aficionados, artists, geeks, media makers and breakers, and the generally curious. Point of departure is the premise: “No upgrade without a downgrade.” UPGRADE! AMSTERDAM is organised by Nat Muller & Lucas Evers, is actively hosted by de Melkweg, and kindly supported by VSB Fonds and Mondriaan Foundation. UPGRADE! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. Since April 1999, a group of new media artists and curators have gathered in New York City. The first meeting took place at a bar in the east village with Tim Whidden & Mark River [MTAA], Mark Napier and UPGRADE! founder Yael Kanarek. http://www.theupgrade.net/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 10. From: ana otero <4anaotero AT gmail.com> Date: Mar 12, 2007 Subject: OPENING PROGRAMME - LABORAL Centre for Art and Creative Industries LABORAL Centre for Art and Creative Industries is an exhibition centre specifically focused on the production and exhibition of art, science, technology and creative industries. This interdisciplinary space pays special attention to workshops for vocational and professional training, and to research into the intersection between creativity and new technologies. LABORAL is based in Gijon [Asturias] - Spain http://www.laboralcentrodearte.org/ ---------------------------------------------- Opening Programme March 29 to April 1, 2007 ---------------------------------------------- FEEDBACK An exhibition focusing on art responsive to instructions, input, or its environment and creates one possible narrative of the history of 'new media art'. Featuring historical and current art works that are all based on technology and systems of response, the exhibition traces the history of contemporary artistic practice involving digital technologies. Curators: Christiane Paul, Curator of New Media Arts, Whitney Museum of American Art, New York; Jemima Rellie, Director of Digital Programmes, Tate Modern, London Curatorial Advisor: Charlie Gere, Research Professor in New Media, University of Lancaster Exhibition Design: Leeser Architecture ---- GAMEWORLD Gameworld explores the videogame as a designed experience and cultural force. The exhibition features a selection of historical games recognized for their design innovation, alternative and experimental games that explore the possibilities of the medium, and artworks that demonstrate videogames' influence on modern life. Curator: Carl Goodman, Deputy Director, Museum of the Moving Image, Astoria (New York) Associate Curator: Daphne Dragona Curatorial Advisor: Helen Stuckey Exhibition Design: Leeser Architecture ---- LABcyberspaces Following an open invitation to artists all over the world to present works with a major component of digital creation and net art. The entries received will be evaluated by a jury and the 10 selected works will be put on show as a snapshot or overview of artistic creation associated with technology and cyberspace as new challenges and new frontiers. Jury: Alex Adriaansens, Director, V2 and DEAF, Rotterdam; Rosina Gómez-Baeza, Director of laboral Centre for Art and Creative Industries, Gijón (Asturias); Christiane Paul, Curator of New Media Arts, Whitney Museum of American Art, New York; Gerfried Stocker, Art Director, Ars Electronica, Linz Exhibition Design: Quero-Kawamura-Ganjavian ---- EXTENSIONS-ANCHORS This project is an open coordinated network of exhibitions and/or interventions conceived to connect the new Centre for Art and Creative Industries with its surrounding environs and artists, with a goal of recovering the tradition of dialogue between arts and industry. The project will feature work by young artists or those particularly engaged with non-commercial and minority idioms, with a total of fourteen exhibitions or interventions in two phases. Curator: Francisco Crabiffosse, independent curator, Oviedo ---- THE E-IMAGE ERA Seminar International essayists and thinkers ponder the reach of the electronic image in art today. Pencilled in are François Bucher, Jordan Crandall, Pedro A. Cruz, Alexander Galloway, Anna María Guasch, Lev Manovich, Juan Martín Prada and Jose Luis Brea, Siegfried Zielinsky Series Director: José Luis Brea ------------------------ Other Programmes ------------------------ LED THROWIES WORKSHOP Collaborators: Graffiti Research Lab at Eyebeam R&D OpenLab Two members of the Graffiti Research Lab will lead a workshop to instruct monitors in the basic principles of putting together LED Throwies. The workshops will be open to youth organisations to show young people how to make them. The workshop will conclude with a LED throwing session with large numbers of young people throughout the whole of Asturias. ---- LEV FESTIVAL (Visual Electronic Lab) March 23-24, 2007 Organised by Datatrón Contemporary digital art and experimental music show, a first in Asturias, with the participation of precursors of electronic music and up and coming names. http://www.levfestival.com/ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 11. From: Frank Terhorst <presse AT emaf.de> Date: Mar 14, 2007 Subject: European Media Art Festival Osnabrueck EUROPEAN MEDIA ART FESTIVAL festival: April 25 - 29 2007 exhibition: April 25 - May 20 2007 fon: ++49 -(0)541-21658 fax: ++49 -(0)541-28327 web: www.emaf.de postal address: Lohstrasse 45a D - 49074 Osnabrück Germany 20 Years of the European Media Art Festival - the forum for Expanded Media in Europe The meeting point for audiences and guests from home and abroad. Around 250 new works of media art, including world premieres, will be presented. The festival shows film as a contemporary work of art in cinemas and exhibitions, both performed and using multimedia. //Exhibition The exhibition "Final Cut" directs our view to the relationship between media art and cinema. From 25 April to 20 May an artistic look at the dream machine "cinema" will be given at the Kunsthalle Dominikanerkirche. International artists will demonstrate their fascination with cinema, but will also question the values, codes and patterns behind the films. Works will be presented by artists such as Paul McCarthy, Alex McQuilkin, Mischa Kuball, Klaus vom Bruch, Candice Breitz, Mark Lewis, Christoph Girardet, Bjørn Melhus, Peter Tscherkassky, Christoph Draeger, Clemens von Wedemeyer and Pierre Huyghe. There will also be plenty of opportunity to participate in talks with the artists and attend lectures on the subject. The exhibition is funded by the Federal Cultural Foundation // Anniversary A review of media art will be given by our special guests, the director of the ZKM, Peter Weibel, Lynn Hershman, Birgit Hein of the Hochschule für Bildende Künste Braunschweig and Malcolm LeGrice, who will be showing their personal selection of films. // Cinema Around 180 current experimental shorts, feature-length films and videos have been selected from a total of roughly 2000 works submitted from around the world. They range from narrative approaches to documentary/analytical views of war events and environmental problems. Visually walking the borderline between real and virtual areas of communication is also selected as a central theme. We are focussing this year on the countries of Mexico and Cuba. // Awards Three awards will be presented at the festival: the "EMAF Award" for a trend-setting work in media art, the "Dialogpreis" of the German Ministry of Foreign Affairs for the promotion of intercultural exchange and the "Preis der deutschen Filmkritik" for the best German experimental film. // Expanded Cinema The new edition of SHOOT SHOOT SHOOT curated by Mark Webber (LUX London) provides an insight into Expanded Cinema from the 1960s and 70s. Two historic works will be screened live. // Performance The performance LATITUDE presents a new work by the English group D-Fuse, known for their international DJ/VJ acts. Another highlight will be the YouTube Party by and with the artist Bjørn Melhus. // Congress Besides taking stock and giving an outlook, the current determination of the position of media art is also the focus of lectures and panel discussions. How has digitisation changed artistic production? Which interrelationships exist between artistic and commercial media production? How have these interrelationships affected aesthetics, form and content? // International Student Forum The contact and exchange point for projects and offerings in higher education: the Hochschule für Gestaltung from Karlsruhe, the Dutch Minerva Academy from Groningen, the Hochschule für bildende Künste Braunschweig and the Hochschule der Künste Bern. For further information: www.emaf.de + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 12. From: Jim Andrews <jim AT vispo.com> Date: Mar 13, 2007 Subject: FIRST SCREENING by bpNichol -- Computer poems from 1984 FIRST SCREENING (1984) Computer Poems by bpNichol http://vispo.com/bp In 1983 and 1984, bpNichol used an Apple IIe computer and the Apple BASIC programming language to create First Screening, a suite of a dozen programmed, kinetic poems. He distributed First Screening through Underwhich, an imprint he started in 1979 with a small group of poets. The Underwhich edition of First Screening consisted of 100 numbered and signed copies distributed on 5.25" floppies along with printed matter. However, the Apple IIe soon became obsolete and the poems became essentially inaccessible. But in 1992, four years after the death of bpNichol, J. B. Hohm, a student at the University of Calgary in Alberta, Canada, began creating a HyperCard version of First Screening with the approval of Ellie Nichol, bp’s widow, and with assistance from Dennis Johnson and Fred Wah. In 1993, Red Deer College Press published this version on a 3.5" floppy disk for the Macintosh computer. This HyperCard version of First Screening was a careful re-creation and recoding of the original, and it extended the life of the poems of First Screening a few more years. Still, HyperCard eventually died, leaving the poems unavailable to all but the few who owned a functioning old Mac or an even older Apple IIe and a readable diskette (unlikely, since the usual lifetime of a diskette is approximately five years). In 2004, Apple stopped selling HyperCard, and OSX’s Classic mode was the last Mac operating system on which it was possible to view HyperCard works. So we are very happy to present to you four different versions of First Screening. 1. The original DSK file of the Underwhich edition with a freely downloadable Apple IIe emulator (available for PCs and (maybe) Macs), along with scanned images of the printed matter distributed with the Underwhich edition. This version is closest to the original. 2. An online JavaScript version of First Screening created by Marko Niemi and Jim Andrews. 3. A streaming Quicktime movie of the emulated version. 4. The original HyperCard version, which may, perhaps, become easier to view in the future via a HyperCard Player emulator or some other means. We’ve also posted scans of the printed matter of this version. This project has taken us almost three years. We’ve learned much about bpNichol’s First Screening and how the destiny of digital writing usually remains the responsibility of the digital writers themselves. As a group and individually. This project illustrates that work can indeed survive the obsolescence of technologies if others are still interested in the work and the artist has provided what is required to implement the work using later technologies. bpNichol originally created 100 copies of First Screening and distributed them widely, which was important to the propagation of the bitstream. Fortunately, the source code was relatively easy to extract and fairly simple to understand. First Screening is some of the earliest programmed, kinetic poetry. This historical significance, together with the quality of the work itself and bpNichol’s literary stature (he was awarded Canada’s highest literary honour in 1970), have also motivated us to complete this project. The recovery started in 2004 when Lionel Kearns showed Jim Andrews the HyperCard version on an old Mac. Lionel also had three 5.25" floppy disks bpNichol had given him. Jim took those floppies to Information Services at the University of Victoria, Canada, where Jeff Rivett, a data analyst, recovered the data using his own functioning Apple IIe at home. That version of First Screening turned out to be incomplete; Barrie Nichol must have given Lionel these disks while still writing the piece. Geof recognized that the disk was missing some of the poems in the published version and that Lionel’s disk presented the remaining poems in a different order. In an attempt to preserve these poems, Geof had stored his 5.25" floppy of the Underwhich edition carefully, made a silent videotape of the poems as they played on the Apple IIe, and printed out the source code. He could no longer view his floppy, since he no longer had an Apple II series computer, but the printout and the video indicated that three poems were missing from Lionel’s draft copy: “Reverie,” “Any of Your Lip,” and “Off-Screen Romance,” along with some initial and final bibliographic matter. Following unsuccessful efforts by the University of Albany to recover the data from Geof’s 5.25" floppy of the Underwhich edition, Geof shipped the floppy from New York to Dan Waber and Jason Pimble in Pennsylvania. Dan and Jason were able to recover the full version from Geof’s 22-year-old floppy using a functioning Apple IIe computer and a range of open source software. O ye digital poets: the past of the art is in your hands and it is you who must recover and maintain it. Although the history of digital archiving is more than two decades old, most professional archivists have little interest or training in the process of preserving and ensuring functional access to digital materials. For instance, although bpNichol’s work is archived at Simon Fraser University in Vancouver, no one there had or could copy the data from the Underwhich edition floppy to contemporary media. They were not uninterested, however, and many thanks to Tony Power for trying. The secret to this project has been a combination of passion and knowledge. None of us understood the entirety of the situation facing us at the outset. Each of us brought a different set of skills to the task, and all of us brought our love of Nichol’s work and our desire to make sure that others could once again see these early digital poems. We hope our efforts prove worth it for those who visit http://vispo.com/bp now and into the future. Jim Andrews Geof Huth Lionel Kearns Marko Niemi Dan Waber + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 13. From: Ryan Griffis <ryan.griffis AT gmail.com> Date: Mar 14, 2007 Subject: US Attorney Misleads Public About “Danger” of Harmless Bacteria in Case of Professor Kurtz FOR IMMEDIATE RELEASE Contact: media AT caedefensefund.org MORE DECEPTION FROM THE DEPARTMENT OF JUSTICE US Attorney Misleads Public About “Danger” of Harmless Bacteria in Case of Professor Kurtz March 13, 2007, Buffalo, NY—Today, in response to a local news report featuring a YouTube video about the Orwellian case of internationally acclaimed artist and SUNY Buffalo Professor Steven Kurtz, U.S. Attorney Terry Flynn deceived Buffalo viewers. Flynn claimed on WGRZ-TV News that the Department of Justice is pursuing charges against Kurtz because harmless bacteria used in his art were “dangerous,” “not available to the general public,” and that Kurtz had “misled investigators.” These outrageous allegations fly in the face of the prosecution’s own admissions in court, of the charges against Kurtz, and of scientific consensus about the harmless nature of Serratia marcescens, Bacillus subtilis, and gut Ecoli. The three bacteria were used in Kurtz’s participatory science-theater performances with Critical Art Ensemble, an art and theater group Kurtz co-founded in 1987 with his wife Hope Kurtz. Prior to Kurtz’s detention he and Critical Art Ensemble had safely used these bacteria in performances and projects at many of the world’s most important cultural institutions, including the London Museum of Natural History, Schirn Kunsthalle Frankfurt, the London ICA, The New Museum in NYC, the Henry Art Gallery in Seattle, and many others. The bacteria cultures, frequently used by science hobbyists and in classrooms, are available from most science supply outlets and require no license or government authorization to obtain. These bacteria are not restricted by law, and are not governed by any government regulations. The prosecution admitted this in a pre-trial hearing on May 17, 2005 under questioning by Magistrate Judge H. Kenneth Schroeder. The other claim, that Kurtz mislead investigators, is also completely false. Kurtz cooperated with investigators until advised by his attorney to stop. Kurtz has not been charged with lying to the FBI or obstruction of justice. CONTINUED PUBLIC PRESSURE CRITICAL In order to counter the ongoing smear campaign by the Department of Justice (DoJ), the CAE Defense Committee has launched a new education fund. The CAE Education Fund will focus on producing and distributing information to the public that is factual and grounded in the realities of the case, as well as on creating other opportunities and events that will explain how supporters can help and how to keep public pressure on the DoJ. The current corruption scandal in which the DoJ has been transformed by the Bush administration into a conservative political enforcement agency makes such action more necessary than ever. BACKGROUND TO THE CASE As detailed in the short film “Steve Kurtz Waiting” < http://youtube.com/watch?v=bExpRb7vryA >, Kurtz’s surreal nightmare began when his wife of 20 years died of heart failure. Medics arrived, became suspicious of Kurtz’s art, and called the FBI. Within hours the artist was detained as a suspected "bioterrorist" as dozens of agents in hazmat suits sifted through his work and impounded his computers, manuscripts, books, his cat, and even his wife’s body. Today Kurtz and his long-time science consultant Dr. Robert Ferrell, former Chair of the Genetics Department at the University of Pittsburgh Graduate School of Public Health, face up to 20 years in jail on trumped-up “mail fraud” and “wire fraud” charges. For more information about the case, please visit http://www.caedefensefund.org. To donate to the CAE Education Fund, please visit http://www.caedefensefund.org/donate.html. To receive updates by email, please join http://groups.yahoo.com/group/CAE_Defense. CONTACT: media AT caedefensefund.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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 10. 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 |