The Rhizome Digest merged into the Rhizome News in November 2008. These pages serve as an archive for 6-years worth of discussions and happenings from when the Digest was simply a plain-text, weekly email.

Subject: RHIZOME DIGEST: 4.25.07
Date: Wed, 25 Apr 2007 17:52:10 -0700

RHIZOME DIGEST: April 25, 2007


1. Harmony: Call for Submissions: TempoRealities of Performance
2. ana otero: CALL FOR PAPERS - Invisible Culture
3. sarahannetodd AT Attn: Emerging Artists! Interaccess Electronic Media Center- Call for Submissions
4. sachiko hayashi: Call for Articles and Net Art

5. babel: UK Launch of the Electronic Literature Collection Volume 1, 17th May 2007, De Montfort University, Leicester
6. Turbulence: at Boston Cyberarts Festival + Cambridge Science Festival

+Commissioned by
8. Miguel Amado: Interview with Natalie Bewernitz and Marek Goldowski

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From: Harmony <harmonybench AT>
Date: Apr 18, 2007
Subject: Call for Submissions: TempoRealities of Performance

Extensions Journal Volume 4: TempoRealities of Performance
Call For Submissions

Extensions invites submissions for its forthcoming issue: TempoRealities of Performance. We welcome scholarly essays, experimental writing, interviews, reviews, media/Web-based art works/projects, and documentation of music, dance, visual, sound, and performance art that interrogate the relationship of temporality to performance.

Time, particularly “the present,” has been configured as the ontological force field that grounds performance. Yet, the present as a temporal category, and presence as material proof of that time, is being challenged on many fronts. For example, how have the virtual stages of new media shifted definitional assumptions about presence and performance, and of what constitutes a performance event? How have the space-time compressions of globalized capital and travel suggested simultaneous and sometimes competing geo-temporalities? Do performance sites create/condition/presuppose their own temporality? How do archival technologies figuratively and literally mediate performance?

Submission topics might include but are not limited to:
Intersections of spatiality and temporality
Technology and the archive
Ephemerality and endurance of performance
Lingering presents/presence
Futurity and/or historicity
Recyclings and (re)imaginings of pasts, presents, and futures
Foucauldian technologies of performance
Tempo, rhythm and other measurements of time
Performativity of time: spectacular, messianic, queer, etc.

Extensions: The Online Journal of Embodiment and Technology is an annual Web journal produced by the graduate students of the UCLA Center for Performance Studies ( Extensions follows the Center's mission to “engage performance at every front, to open and broaden the definition of performance and the texts that prompt them, to explore performance practices and test the ground on which they rest.” Extensions is further dedicated to interrogating performance according to new logics of embodiment and technology, opening those terms to methods and objects of contemporary scholarly and artistic inquiry.

Submissions should be received/postmarked by August 1, 2007.
Essays should be sent to Other files should be sent on CD or DVD to:

Extensions Journal c/o Harmony Bench
Glorya Kaufman Hall
120 Westwood Plaza, Suite 50 Box 951608
Los Angeles, CA 90095-1608 USA

Articles must be sent in full as MS Word documents and should follow MLA style. Images should be sent as .jpg files and video submitted in QuickTime. We are also happy to accept Flash (.swf) files. If applicable, please include a thumbnail image to accompany your submission. Inquiries regarding supportable file formats and other questions should be directed to Extensions requires hardcopy media files and 50-word bios from all accepted contributors. Artistic submissions should include an original statement that elucidates, expands or reflects on a conceptual or technological aspect of the work.

Contributors will be notified of acceptance by October 15, 2007. Our anticipated launch date is May 1, 2008.

Extensions Volume 3: Interactivity and Kinesthetic Sense can be viewed at

Extensions Journal
Glorya Kaufman Hall
120 Westwood Plaza, Suite 50 Box 951608
Los Angeles, CA 90095-1608 USA

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Organizational memberships with Rhizome

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

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From: ana otero <4anaotero AT>
Date: Apr 18, 2007
Subject: CALL FOR PAPERS - Invisible Culture

Invisible Culture, Issue 11, Fall 2007
Deadline for Papers: June 10, 2007
Issue 11: Curator and Context

In his 1965 book Museum Without Walls , André Malraux critiques museum conventions of display that deaden art of the past. In fact, over time the artworks have morphed, affected by their surroundings, and taken on new lives as different kinds of aesthetic objects. Three years later, Roland Barthes would identify the death of the author and the emergence of the reader in the making of meaning. These writers' prescient articulations of the fusions - and confusions - of art object, context, artist, and viewer foresaw today's hyper-interaction of art media and the overlapping of roles in the museum and beyond. What these texts leave out is the seemingly unmarked presence of an intermediary between the artwork and the viewer ╜ the curator ╜ and the world she has traditionally inhabited ╜ the museum. ⌠The gallery space is no longer neutral,wrote Brian O'Doherty in 1976, at a time when artistic practice turned the ideology of the gallery space upon its head. While underlining the pertinence of the museum's physical and contextual impact on the reception of art, he too neglects the curator. Douglas Crimp's seminal text On the Museum's Ruins laid bare the changing state of the museum by examining shifts in art practice and the rising significance of photography as challenges to the institution. To continue rethinking the museum as a site for art display and the interlinked roles of the artist, artwork, curator, and viewer follows in the steps of these theorists and their peers, to say the least of the decades of artists who have interrupted conventional modes of display in museums through strategic creative applications. As globalization gives way to new cosmopolitanisms, and new media art transforms the site of the museum into the virtual realm, what has become of the curator? By some accounts the role of the curator may be in decline as alternative art spaces, tactical art interventions, and virtual museums refute her role and the institutional power it implies. The other side might see instead a curat!
orial pr
ctice that takes on a multiplicity of roles ╜ as artist, as architect, as nation - and has increased significance in the frenzied world of the international art fair. Invisible Culture invites papers and projects concerned with contemporary (post-1960s) curatorial and museum practice. Submissions in the form of 2,500-6,000 word papers from all disciplines, as well as digital projects (virtual museums, online art exhibitions, and internet-based endeavors, for example) are welcome. Entries may include but are not limited to investigations of the following topics:
∙ the relevance and changing role of the curator
∙ artist as curator
∙ curator as translator
∙ criticism and interpretation of exhibitions
∙ models of curating and display
∙ new media projects, the virtual museum
∙ ethics of display
∙ histories of curating
∙ visual anthropology
∙ sense studies, anthropologies of the senses
∙ changes in culture and science museums, museums of natural history
∙ curator as mediator of cultural exchange
∙ architecture and context
∙ global visual culture
∙ problems of cultural translation
∙ alternative exhibition sites
∙ challenges to exhibition display: performance, video and installation
∙ the interactive exhibit
∙ hybrid art forms and multimedia displays
∙ museum studies
∙ communication/audience studies
∙ cultivation of art audiences
∙ curating and the expansion of global art markets
∙ collections, collectors and curators
∙ curating the biennial/international art fair
∙ cosmopolitanism, diasporas of artists and curators at home and abroad
∙ display and the politics of identity
∙ authorship
∙ emerging area and regional curatorial networks
∙ developments in institutional critique
∙ the location of the frame

Submissions and inquiries should be directed to Mara Gladstone, Graduate
Program in Visual and Cultural Studies at the University of Rochester at
mgladstone AT

Deadline for submission is June 10, 2007.

*Invisible Culture: An Electronic Journal for Visual Culture* is a peer-reviewed journal dedicated to explorations of the material and political dimensions of cultural practices: the means by which cultural objects and communities are produced, the historical contexts in which they emerge, and the regimes of knowledge or modes of social interaction to which they contribute.

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From: sarahannetodd AT <sarahannetodd AT>
Date: Apr 19, 2007
Subject: Attn: Emerging Artists! Interaccess Electronic Media Center- Call for Submissions

At InterAccess

Recent Grads: Submissions are now being accepted for the 2007 Emerging Artists Exhibition

We are looking for submissions of electronic, interactive and new media work, including works related to artistic genres such as sculpture, installation, video and performance art.

Each year InterAccess’s emerging artist exhibition showcases new media works by Ontario post- secondary graduating students and/or recent graduates. One of six exhibitions launched annually by InterAccess, the emerging artists show aims to provide students with professional experience and exposure.

The exhibition will take place at InterAccess in the main gallery space from June 12 to August 12. Artist fees will be provided for each artist selected. Artists will be responsible for the transportation of their works a week before the opening. The artist is chiefly responsible for installing his or her work, however InterAccess will provide technical assistance.

Deadline for Submissions is Friday, April 27th 2007

All submissions must include:
Artist statement (maximum 1 page)
Project Description (maximum1 page)
Description of technical requirements (listing materials provided by the artist, software and hardware requirements, as well as a budget and estimated installations time)
Audio visual support material for previous and/or proposed work (DVD and CD ROMS of jpegs are preferred)

Send submissions to:

Sarah Todd
Curatorial Intern
InterAccess Electronic Media Arts Center
9 Ossington Avenue
Toronto ON M6J 2Y8
sarah AT

Hours of operation:
Wednesday 12 — 5pm
Thursday 12 — 5pm
Friday 12 — 5pm
Saturday 12 — 5pm (during exhibitions only)
Phone: (416) 599-7206
Fax: (416) 599-7015

InterAccess is a non-profit artist run center that enables artists and the general public to explore the intersections of art and technology. Both a gallery and production facility InterAccess is devoted to the conception, construction, exhibition and discussion of electronic media art.

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From: sachiko hayashi <look AT>
Date: Apr 25, 2007
Subject: Call for Articles and Net Art

Call for Articles and Net Art

On-line journal Hz ( is looking for articles on New Media, Net Art, Sound Art and Electro-Acoustic Music. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal AT

Hz is also looking for Net Art works to be included in its virtual gallery ( Please send your URLs to hz-journal AT

Dead-line: 25 May, 2007

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, dancers, performance artists and video artists in Sweden.

For more information on Fylkingen, please visit or

Sachiko Hayashi/Hz

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2005-2006 Net Art Commissions

The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions.

For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art.

The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community.

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From: babel <babel AT>
Date: Apr 20, 2007
Subject: UK Launch of the Electronic Literature Collection Volume 1, 17th May 2007, De Montfort University, Leicester

UK launch of the Electronic Literature Collection Volume 1

Thursday 17th May 2007, 6.00pm - 7.30pm (doors open at 5.30pm for drinks)

at the Institute of Creative Technologies, De Montfort University, Leicester, UK (see for map and directions)

This event is free of charge and open to the public. The first 50 audience members will receive a complimentary copy of the ELC Volume 1.

The Electronic Literature Collection Volume 1 is an anthology of sixty works published by The Electronic Literature Organization and edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg and Stephanie Strickland.

Guests at this Salon will include

- Scott Rettberg (, writer, co-editor of ELC Volume 1, co-founder and first executive director of the Electronic Literature Organization)

And the UK-based writers who feature on the ELC Volume 1, who will show their work and discuss what Electronic Literature means for them:

- John Cayley (
- Jon Ingold (
- Chris Joseph (
- Kate Pullinger (

"Flaws or no flaws, this is an essential collection. Anyone interested in the field of electronic literature should take the trouble to get it on DVD. Some of this material is priceless, and it may not be available on the Web indefinitely."
- Edward Picot, The Hyperliterature Exchange

"In the breadth of work contained in it, as well as the innovative way the editors and authors have made it available, this is a generous collection."
- Tim Wright, Realtime Arts


- Electronic Literature Collection:
- Electronic Literature Organization:
- Furtherfield interview with Scott Rettberg of the ELO (writer, co-editor of ELC Volume 1, co-founder and first executive director of the Electronic Literature Organization):
- The Hyperliterature Exchange review of ELC Volume 1 by Edward Picot:
- Realtime Arts review by Tim Wright:

Download a flyer for this event as a Word doc ( , 70kb) or a PDF ( , 72kb)


The IOCT Salon ( ) is managed by Chris Joseph, Digital Writer in Residence at the Institute of Creative Technologies, De Montfort University. This residency is funded by Arts Council England: East Midlands.

For further information about the IOCT Salon please email Chris: info /at/ . To be notified of future events please join the mailing list on the Salon website.

The IOCT Salon is held at and staged by De Montfort University and the Insitute of Creative Technologies, and is supported by Arts Council England and the Literature Development Network.

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From: Turbulence <turbulence AT>
Date: Apr 21, 2007
Subject: at Boston Cyberarts Festival + Cambridge Science Festival

New Radio and Performing Arts, Inc./ has commissioned two works and co-organized two panel discussions for the Boston Cyberarts Festival and Cambridge Science Festival:

( by Carmin Karasic, Rolf van Gelder and Rob Coshow. Designed for HP iPAQ 6900 series smartphones, "Handheld Histories as Hyper-Monuments" uses GPS and mobile technologies to address historic bias in Boston's public monuments. The artwork gathers non-official stories to socially construct hyper-monuments that exist as digital doubles, augmenting specific historic monuments. Pick up a smartphone at Judi Rotenberg Gallery, 130 Newbury Street, Boston; April 21-28, 2007, Tues-Sat 10am-6pm. Funded by the LEF Foundation. Read more:

( by the Symbiotic Media Group. For the first time, two cities will be connected via the human pulse. This interactive art installation uses Internet and radio-frequency identification (RFID) technologies to allow people in Boston and Oklahoma City to experience one another's pulses. Co-presented with the Museum of Science, Boston and the Fred Jones Art Museum, Oklahoma; April 23 - 30, 2007. Funded by mediaThe Foundation, the Museum of Science,; and the University of Oklahoma Symbiotic Media Center and School of Art. Read more:

3. "OURFLOATINGPOINTS 4: THE ART OF LIVING A SECOND LIFE." A panel discussion with Wagner James Au (aka Hamlet Linden), John Lester (aka Pathfinder Linden), and John (Craig) Freeman (aka JC Freemont); moderated by Eric Gordon (aka Boston Borst). Co-presented with Emerson College and the Museum of Science. April 25, 7 pm; Museum of Science, Cahners Theater, Boston. Streamed live online and broadcast to Second Life. Funded by Emerson College. More information:

4. UPGRADE! BOSTON: "TECHNOLOGICAL FRONTIERS AND THE LIMITS OF NATURE: NETWORKED INTERVENTIONS." A panel discussion with Jane D. Marsching, Cary Peppermint and Brooke Singer; moderated by Shane Brennan. May 3, 7 pm at Art Interactive, 130 Bishop Allen Drive, Cambridge. Funded by the LEF Foundation. More information:

Cambridge Science Festival:
Boston Cyberarts Festival:

Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.:
New York: 917.548.7780 . Boston: 617.522.3856
Networked_Performance Blog:
Upgrade! Boston:
New American Radio:

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From: Marisa Olson <marisa AT>
Date: Apr 24, 2007

+ Please Forward +

Saturday, April 28, 2007

Presentations on the theory & practice of tactical media and contemporary protest art, by graduate students in the ITP program at NYU's Tisch School of the arts.

The presenters' talks will be grouped into three panels, to be moderated by their Professor, Marisa Olson (Editor & Curator, Rhizome), on the topics of Play & Consumption; Fear, Spectacle, and the Media; and the Interfaces and Architecture of Control. These panels will consist of both artist talks and analytical essays and audience members will be invited to give feedback on a few works in progress.

Venue: The Change You want to See Gallery
84 Havemeyer AT Metropolitan, Brooklyn, NY 11211
L to Bedford or Lorimer, G to Metropolitan, J/M/Z to Marcy

Hours: 12-5 pm, Saturday, April 28, 2007


12:00 Open Seating
12:15 Welcome & Introduction, Marisa Olson

12:30-2 Practicing Play & Consumption
Panelists: Kati London, Felipe Ribeiro, Tim McNerney, and Stefanie Wuschitz

2-3:30 Fear, Spectacle, and the Media
Panelists: Armin Cooper, Emery Martin, Anjali Patel, and Ben Yee

3:30-5 Interfaces & Architectures of Control
Panelists: Mushon Zer-Aviv; collaborators Nick Hasty, Josh Knowles, and Tim Stutts; and collaborators Kunal Gupta and Tristan Perich

About the venue:
The Change You Want To See is the gallery and convergence stage run by the activist arts collective Not An Alternative.

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From: Miguel Amado <miguel.rhizome AT>
Date: Apr 25, 2007
Subject: Interview with Natalie Bewernitz and Marek Goldowski

+Commissioned by
Interview with Natalie Bewernitz and Marek Goldowski,
by Miguel Amado

Cologne-based German artists Natalie Bewernitz & Marek Goldowski were recently featured in 'Volume,' a group show at Brooklyn's 3rd Ward that explored sound, 3D animation, and video as privileged media in contemporary art. Their participation in this exhibition followed a 6-month residency at New York's Location One, where they developed a new multi-stage project, 'Unveiled Presence (Secret Sounds),' the second part of which was on view in 'Volume.' As illustrated by this piece, Bewernitz & Goldowski employ technology in different yet significant ways to create emotionally powerful interactive installations often involving computer-based self-generating sound. Here, Rhizome Curatorial Fellow Miguel Amado interviews them about their practice.

MA: Tell me about your background...

NB/MG: We both studied at Cologne's Academy of Media Art and since 2000 we have been working together. Natalie has focused on photography, performance, and video while Marek has been involved in experimental sound related to theatre and film for about 15 years. We merged our skills and interests to develop a practice that touches these aspects, but is specifically concerned with the potential of sound as an artistic medium within an art context.

MA: You completed a residency at Location One in New York in the beginning of this year. What do you think of the New York art scene, especially in relation to sound, which plays a significant role in your practice?

NB/MG: New York has, of course, a dynamic art scene, with its museums, hundreds of galleries, and thousands of artists. It's difficult to stay aware of everything that is going on. But New York also has a strong lively experimental music scene. Usually, sound artists float between the art and/or music fields yet this is not what we felt in New York, as sound is truly respected as an artistic medium and artists with different backgrounds use it very legitimately.

MA: How was the residency?

NB/MG: The residency constituted a very exciting experience. Location One's staff has helped us a lot, introducing us to the New York art scene, with its different institutions, for example, and bringing us together with numerous fellow artists, curators, and critics. To be able to step into dialogue with them allowed us to examine our practice, as they provided fresh perspectives on our body of work and that gave us a different point of view on our projects.

MA: You have had the chance to develop a new project while you've been in New York. Can you discuss it?

NB/MG: We created a site-specific installation inspired in Marcel Duchamp's 'A bruit secret.' We were interested in recording what we call the secret sounds of the rooftop water towers found all over New York. For us, they look like Duchamp's assisted readymade and our starting point was he thought when he made the piece in 1916. We selected four different water towers around the Manhattan bridge. They are located as four corner points in a rectangular shape, two on one side and two on the other side. Their location would provide a rich and enclosed soundscape on which to make a recording--from all four water towers at the same time. However, it took a long time to get permission to make the recordings on the water towers, so we decided to start a second chapter of 'secret sounds' which has to do with the crying and whining sound of the subways. This work, 'Unveiled Presence (secret sounds 2),' was shown at Location One's group show featuring the artists in residence that was on view last February and March.

MA: In terms of its presentation, how does this work operate?

NB/MG: The piece is built up with a pair of nickeled wires, which are about an about 300 inches long and which are put under tension between two walls that function as fixing points. Both of these wires are parallel to each other and at the same height, about 30 inches. On the floor, under the wires, are mounted four loudspeakers, which are connected all together with a thin wire. The loudspeakers are playing back a composition of the crying and whining sounds of the subways. The vibrations on the wire are picked up with sensors and fed back into the mixer with the composition, the feedback sound merging with the similar-sounding subway composition.

MA: The piece is very allegorical...

NB/MG: The pair of nickeled wires alludes to the subway rails that, along with the vibrations, symbolize the veins of the city. Thus the trains act as the bloodflow under the skin of the streets and buildings. The crying metal sound provides a lively component to the abstract rendering of the installation and, as the well-known metaphor about New York puts it, the feedback suggests a never-sleeping organism.

MA: When will you conclude the first stage of this project?

NB/MG: The first stage is still under development and we are currently searching for an adequate visualization of the water towers. We are planning to combine the two chapters of 'secret sounds' in one large-scale installation that will become an abstract model of the soundscape of the DUMBO area around the Manhattan bridge.

MA: How does this work relate to your overall practice?

NB/MG: In other works, the collecting of 'real,' non manipulated material is very essential. We arrange this material with both computer-based techniques and analog/mechanic processes. This diverse use of technology, with high-tech and low-tech components, tends to be very advanced. For example, we utilize processes ranging from microphone field recording to multi-channel granular synthesis. This piece resorts to found sound and vibration recordings, which are presented in a minimal low-tech installation with a spatial dimension. In another work, 'The lightness...' (2002), we created a fictional farewell message of a female suicide assassin in which the mechanical granulation of the video picture through the sound of the voice is very much in this direction. We often work with the shredding of conventional media. 'EPG' (2003) works on a similar basis; namely, with the dissipation of a field recording of an interview in thousands of small samples, just to rearrange it with a computer-based mouth interface. Simulation is also an important topic, which is contained in works like 'Sweet Life' (2003) or 'SINUSINUS' (2002).

Dismantling, slicing, translating, rearranging, simulating, the failure of simulation: This is a very common structural sequence in our projects. Perception in both bodily and intellectual terms, as well as its relation to cultural codes, connects the basic components of our works, as we theoretically and practically explore the question of how a person can be mapped with his/her characteristics, his/her existence and the related peculiarities of his/her identities. Tracing the possibilities and limits of depicting the individual personality--its physical, spiritual, and psychological dimensions--is in the focus of our attention. Furthermore, our projects deal with the awareness of space and sound in the form of both interactive and passive multi-channel installations. This was the case in 'Windtuner' (1999/2004), 'Encounter One' (2001), and 'SINUSINUS.' Against this backdrop, we work with computer-based self-generating sound creation in real time (e.g. MAX/MSP), as well as the manipulation of the audio components within installations utilizing sensorial and other external controls. In some recent projects, we have been integrating independent sound systems in live performances in order to explore their instrumental character--as in 'Encounter One' (2001) and 'EPG' (2003.

MA: What are you working on, now, and what are your future projects?

NB/MG: We are preparing an exhibition in China. This project will be part of the:artist:network NY's SURGE at the 798 Art Festival in Beijing. We will show 'The lightness...' in a Mandarin-spoken version, specific to the local context. We will also develop a performance of 'EPG' with sound collected in Beijing. A controlling interface will be used for granulating field recordings that we will extensively make in Beijing. The exhibition will then travel to major museums in Shanghai and Shenzhen. We are very excited about this show and look forward to visiting China.

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Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency.

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Rhizome Digest is filtered by Marisa Olson (marisa AT ISSN: 1525-9110. Volume 12, number 16. Article submissions to list AT are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT

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