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: 5.23.07 From: digest@rhizome.org (RHIZOME) Date: Wed, 23 May 2007 08:52:20 -0400 Reply-to: digest@rhizome.org Sender: owner-digest@rhizome.org RHIZOME DIGEST: May 23, 2007 Content: +opportunity+ 1. ana otero: OPEN CALL - PARAFLOWS 07 2. ana AT art21.org: Art21 is looking for a Web Producer/Editor 3. Marcelo Coelho: Call for Papers: Transitive Materials Ubicomp 2007 Workshop 4. Sreshta Premnath: Shifter 10 : Transparent White +announcement+ 5. Luis Silva: LX 2.0 new comission: Young-Hae Chang Heavy Industries 6. Eric Singer: [NYC] LEMUR News: Robosonic + Tranzducer 7. Huang mingfen: China: A New Book on Internet Art and A Planned Conference on New Media +interview+ 8. Turbulence: Networked_Music_Review: Interview: Miya Masaoka + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: ana otero <4anaotero AT gmail.com> Date: May 16, 2007 Subject: OPEN CALL - PARAFLOWS 07 :: OPEN CALL :: PARAFLOWS 07 EXHIBITION Vienna :: DEADLINE: 15th of June, 2007 PARAFLOWS 07 - Annual Convention for Digital Arts and Cultures The topic of the 2nd annual convention for digital arts and cultures in the city of Vienna is UN_SPACE. "A body is defined by having length, width and depth." (Euclid) In his Philosophy of Nature, Aristotle employs the three dimensions of the body as the basis for his theory of space. For Aristotle, space is the sum of all places occupied by bodies. Space is defined as the limit of the surrounding body toward what is surrounded. This is a theory of relations by which Aristotle rejects the definition of space as the void. Empty space is an impossibility since space is always occupied and there can be no in between. If aside from the space a body occupies an empty space existed which it enters, empty space and occupied space would overlap, resulting in an unnecessary duplication of space" (Aristotle, Physics). This year's Paraflows exhibition, titled UN_SPACE, is going to focus on inaccessible, invisible, theoretical, and immaterial space per se. Virtual spaces - a prominent issue in media and net art - as well as social and personal space dimensions and territories (see Erving Goffman, Territorien des Selbst) and real spaces like architectonic, geographic, or elementary, are to be compiled, visualised, and discussed according to their characteristics, their meaning, and their respective insufficiencies. We also think of UN_SPACE as the elimination of distances, borders and barriers interfering with cultural, social, political and media reality. Concepts dealing with the development of inaccessible territories, technical approaches and theoretical attempts are key aspects of this year's exhibition. Further information on PARAFLOWS: www.paraflows.at Please submit proposals featuring contemporary artworks dealing with the topics mentioned above. All proposals must be submitted via mail as PDF-files: un_space AT paraflows.at in special cases via snail mail to: paraflows paraflows headoffice c/o monochrom QDK, Museumsplatz 1 A-1070 Vienna AUSTRIA Mandatory information for submissions to PARAFLOWS 07 - UN_SPACE: 1) name, institution (if existing), address, e-mail, phone number, website/s 2) submitted work: title, medium, author/artist, year of production 3) work description: 1 page max., photos are recommended 4) technical details, room/space requirements, technical requirements (hardware, operating system, additional software) 5) additional information 6) biography 7) documentation of earlier projects and works ( url, website will do) Language: all submissions have to be in ENGLISH or GERMAN, projects dealing with text must have English and/or German subtitles We especially encourage international submissions. DEADLINE: 15th of June, 2007 paraflows 07 / CONTACT office at paraflows.at Festival-Management: Judith Fegerl, Guenther Friesinger Office: MQ Musumsquartier, paraflows headoffice, c/o monochrom, Quartier für digitale Kulturen A-1070 Vienna, Museumsplatz 1, Austria Paraflows07 is supported by the City of Vienna, MA7 - net culture + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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: tana AT art21.org <tana AT art21.org> Date: May 18, 2007 Subject: Art21 is looking for a Web Producer/Editor Web Producer/Editor Art21, Inc., New York, NY Art21 is a non-profit contemporary art organization dedicated to introducing a large national, and increasingly international, audience to artists working in the United States today. Art21 produces the Emmy nominated primetime PBS series, Art:21—Art in the Twenty-First Century. Art21 also produces extensive free educational resources and outreach programs; companion books published by Harry N. Abrams; and the websites www.pbs.org/art21 and www.art21.org (in development). Art21, Inc. seeks a full-time Web Producer/Editor to oversee further development/expansion of its websites: www.pbs.org/art21 and www.art21.org. The Web Producer/Editor reports to Art21’s Associate Curator and the Director of Education and Public Programs. Editorial skills, an entrepreneurial spirit, and knowledge of and passion for contemporary art are essential. Duties include: -Develop, edit, write content for and maintain websites; moderate and maintain Art21 blogs. -Make sure all content (rich-media and text) is up-to-date. Coordinate with various Art21 departments regarding events, up-coming broadcasts and all other time sensitive issues. -Gather content in collaboration with various Art21 departments. Suggest ideas to enhance websites and organizations goals. -Oversee all technical aspects of websites. Make changes; upload pages and multimedia content, act as liaison with independent designers and contractors as necessary. -Work with various Art21 departments to build audience for websites and increase traffic. Suggest online marketing and promotion initiatives. -Develop and distribute e-newsletters in collaboration with various Art21 departments. -Work with Art21 development department to expand system for online donations. -Capture/build Art21’s email lists. -Build alliances with other websites. -Oversee addition of video and audio components to websites, including any related licensing agreements and rights issues. -Ensure all independent contractors perform work on time and on budget. -Maintain record of website expenses and create budgets for new web projects. Qualifications: -3-4 years web production experience. -Experience with online content management tools. -Proficiency in web production—including photo manipulation, graphic creation, and advanced HTML, CSS and JavaScript. -Proficiency with video and other new media content; Familiarity with compression software for streaming video online -Experience with online social networking features. -Experience with web analytics. -Proven editorial and writing skills. -Strong communication and project management skills. -Background in art journalism a plus. -Knowledge of film/television production a plus. Salary Commensurate with Experience. Art21, Inc. is an equal opportunity employer. How to Apply: E-mail, cover letter, resume, urls, and salary requirements to job AT art21.org. PLEASE NO telephone calls. Position available immediately + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: Marcelo Coelho <email AT cmarcelo.com> Date: May 19, 2007 Subject: Call for Papers: Transitive Materials Ubicomp 2007 Workshop Call for Papers: Transitive Materials Ubicomp 2007 Workshop --------------------------------------------------------------------------------- http://ambient.media.mit.edu/transitive transitive AT media.mit.edu Important Dates ---------------------- Submission deadline: June 15, 2007 Workshop date: September 16, 2007 Transitive Materials: Towards an Integrated Approach to Material Technology -------------------------------------------------------------------------- The worlds of architecture, fashion and ubiquitous computing are rapidly converging. Shape-changing polymers, parametric design, e-textiles, sensor networks, and intelligent interfaces are now positioned to provide the underpinnings of truly ubiquitous interactivity. Seamless and effective integration will determine our ability to create more cohesive computational systems that extend invisibly from on-body to indoor environment to urban-scale structures, and can more meaningfully respond to our personal and social actvities. This workshop will focus on the use of responsive materials as the physical and computational bridge between form and function, body and environment, structures and membranes. Rather than overlaying computation using add-on patches or gadgets, we seek to define and emphasize the integration of novel “transitive materials” that blur the gap between computation and structure, and between disciplines that have traditionally stood apart. We hope to foster an open discussion between researchers and practitioners from the design (architecture, fashion, textiles) and scientific disciplines (ubicomp, wearables, computation, materials), in order to shed light on the possibilities and limitations brought forth by new material technologies. We also hope to explore how such transitive materials can function as the binding matter in the design of objects, garments and spaces that realize truly omnipresent interactivity. Workshop Format and Submission Instructions ------------------------------------------------------------- We invite researchers and practitioners from the design (architecture, fashion, textiles) and scientific disciplines (ubicomp, wearables, computation, materials) to submit their work. Full submission details are available at the workshop website (http://ambient.media.mit.edu/transitive). Organizers -------------- Marcelo Coelho (MIT Media Lab, http://web.media.mit.edu/~marcelo/) Sajid Sadi (MIT Media Lab, http://web.media.mit.edu/~sajid/) Pattie Maes (MIT Media Lab, http://web.media.mit.edu/~pattie/) Joanna Berzowska (XS Labs, Concordia University, http://www.berzowska.com/) Neri Oxman (MIT Department of Architecture, http://www.materialecology.com/) Program Committee ---------------------------- Michelle Addington (Yale School of Achitecture, http://www.architecture.yale.edu/drupal/index.php?q=node/436) Mette Ramsgard Thomsen (The Royal Academy of Fine Arts, CITA, http://cita.karch.dk/citapeople_mrt.html) Jennifer Leonard (IDEO, http://www.renegademedia.info) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Sreshta Premnath <rit.premnath AT gmail.com> Date: May 20, 2007 Subject: Shifter 10 : Transparent White Shifter 10 : Transparent White Welcome to Shifter's 10th issue, "Transparent White." This issue includes work by: Eric Anglès Kathleen Miller + Clifford Borress Joseph Bradshaw Mark Cooley Melissa Dubbin + Aaron S. Davidson Eric Gottesman Branden Koch Reuben Lorch-Miller Matthew McAlpin Kiki Petrosino André Spears Christopher Stackhouse David Samuel Stern Edwin Torres Genya Turovskaya Avinash Veeraraghavan Ruben Verdu Editor: Sreshta/Rit Premnath Co-editor: Pieter DeHeijde Transparent White “Milk is not opaque because it is white, - as if white were something opaque. If ‘white’ is a concept which only refers to a visual surface, why isn’t there a colour concept related to ‘white’ that refers to transparent things?” -Ludwig Wittgenstein, “Remarks on Colour” Things that can be imagined but not seen. Things that can be seen but not named. Things that can be imagined but not articulated, nor seen. Things that can be said but not seen or imagined. I think “Transparent White” belongs to the last of these categories. Of course, I use words loosely here. But imagine, for instance, contemplating a picture of a Martian landscape. We imagine a place, like a red desert. We look toward its hazy horizon as if we could actually see it. In a way, we imagine the object - the target of our gaze - knowing that we do not (cannot) actually stand on Mars. In fact the only way we can access the object is by seeing it in terms that are imaginable. We look from the wrong context, we are displaced, yet we transpose our horizon onto the picture’s and we see a desert. Desolate but nameable. Can a word mean without representing something? Or can a word be understood if we do not know or have not seen what it represents? Shifter’s 9th issue Ruin|Monument focussed on the way in which the empty ruin signifies. Like a vacuum it absorbs everything. Like a mirror it reflects back our pointing fingers. The Monument, it was proposed, is the past (memory) embodied, hurtling backwards towards the future. If the “Ruin” is an absence, which is transformed into object by our projections, then “Transparent White” is fully formed language which does not stick to an object. In a way they are mirror images of each other. While the Monument like the ruin exists physically (it occupies space, we can walk around it, we can photograph it), “Transparent White” occupies a conceptual site of contention. One is not sure if/ what it could represent. Yet one can imagine using the phrase “Transparent White”, in a poem for instance, and meaning something. Shifter’s 10th issue “Transparent White” will attempt to engage this untethering of utterances from straightforward representation. -Sreshta/ Rit Premnath This and all previous issues of Shifter can be downloaded at www.shifter-magazine.com --------------------- call for entries SHIFTER 11 : Intimate This topic was proposed by Steven Lam who will co-edit Shifter 11. The intimate is one of proximity and familiarity. As a relational category, intimacy is a quality of closeness, attachment, and belongingness. To be intimate with someone or some thing is to have an innermost connection. Intimacy, or intimus, designates interiority or an inward sensation, as in under one’s skin. To intimate is also to communicate with a hint, to imply subtly. This process requires a codified reception, a circle of acknowledgement and recognition. Intimacy not only designates issues pertinent to the discussion of home, sexuality, identity, the slippage between the private and public, but also relationships made out of kinship, friendship, and neighborliness. What mobilizes an intimate attraction? What prompts someone to have such a deep connection? Can it be collectively produced? How can one locate intimacy in this time of hatred, fanaticism, and terror? Can intimacy arise out of estrangement? What role does the intimate have on the construction of belief? Shifter's 11th issue will attempt to re-narrativize mechanisms of connectivity: it seeks to complicate notions of proximity, interiority, and attachment by inserting the concept of intimacy into a different economy of associations — one pertinent to the shifting language of globalization and its post-colonial realities. How can artists/theorists/designers, etc. remap a new thinking of intimacy pushing it away from a private emotional ideal frequently narrativized in consumer culture to a zone that seems capable of addressing our time of social upheaval marked by hatred, fanaticism, war, vulnerability, estrangement, and immobility? -Steven Lam + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2006-2007 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 2006-2007 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. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: Luis Silva <silva.luis AT netcabo.pt> Date: May 17, 2007 Subject: LX 2.0 new comission: Young-Hae Chang Heavy Industries Lisboa 20 Arte Contemporanea launches next Thursday, May 24th, LX 2.0 Project's new comission: Manhã dos Mongolóides (Morning of the Mongoloids) by Young-Hae Chang Heavy Industries. For LX 2.0 (http://www.lisboa20.pt/lx20), Young-Hae Chang Heavy Industries created the Portuguese version of Morning of the Mongoloids, the laughable, yet tragic (and extremely ironic) story of a white men that wakes up after a night of “drunken partying” to find himself no longer who he used to be. Without any motive or underlying logic, the man wakes up and gradually realizes he is Korean. He looks Korean, he speaks Korean and he lives in Seoul, when just the night before he was a white man living in a western country. The piece is a delightful insight on the prejudiced views towards Asian cultures and specially, Korean culture. Not only are we faced with the main character’s stereotypes of Asian people, as he gradually comes to terms with the improbable change, we, westerners, are confronted with our own biased views of the rest of the world. It is us, not “china men” who are being ironically portrayed. It is a mirror-like device and it is returning us our own p! rejudiced image of ourselves. Almost ten years ago, in 1999, in a net art workshop in Brisbane, Australia, Young-Hae Chang and Marc Voge, a Korean artist and an American poet, were learning how to work with Flash. Instead of fully mastering the digital tool, they concentrated in two of its basic operations, making text show up in the screen and setting an animation to music. These two features, which they came to master after a couple of days, would define Young-Hae Chang Heavy Industries' artistic practice in the years to come. Reacting against interactivity as a distinctive feature of new media art, and internet art in particular (the duo has openly stated their dislike for interactivity, comparing interactive art to a Skinner box, but without the reward given after the completion of the desired task), this Seoul-based duo has created fast paced Flash movies combining text and jazz music, drawing inspiration from concrete poetry and experimental film, and through which they have narrated stories in languages such as Korean, English, Spanish, German, Japanese or Portuguese. Their net art projects (if you are willing to compromise enough to call them that) are stripped of everything usually associated with the field: first of all, no interactivity whatsoever, no hidden buttons, no hipertextual aesthetics, the narrative is as linear and closed as a traditional novel; no graphics, no colours (black rules with a few exceptions of blue and red), no photos, no gadgets at all. It is a textual aesthetic that imposes itself through a web browser window and in which viewers are immersed in strong stories that everyone understands and can relate to. LX 2.0 (http://www.lisboa20.pt/lx20) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: Eric Singer <list AT ericsinger.com> Date: May 19, 2007 Subject: [NYC] LEMUR News: Robosonic + Tranzducer An exciting start to the summer for LEMUR...Robosonic Eclectic will be a not-to-be-missed event, with live performances by a spectrum of amazing composers and performers. I've been in on the composing sessions with the artists and can say that we're all in for a stellar night of human-meets-machine performances. Tickets are selling fast so get yours soon - don't miss out. Also, catch Tranzducer, our monthly performance/installation series next Friday. Eric Singer LEMUR ****** LEMUR: League of Electronic Musical Urban Robots presents Robosonic Eclectic: Live Music by Robots and Humans May 31 - June 2nd Performing Live: They Might Be Giants: Robots + John and John JG Thirlwell (Foetus): Robots + string quartet Morton Subotnick: Robots + live percussion George Lewis: Robots + virtuoso jazz trombone Plus Solo Robot Works by R. Luke DuBois and J. Brendan Adamson 3-Legged Dog Art and Technology Center 80 Greenwich Street, NYC May 31, June 1st & June 2nd, 8:00 pm Tickets: $20, available from http://brownpapertickets.com Tranzducer.005 Friday, May 25 8-11 pm LEMURplex, 461 3rd Avenue, Brooklyn $8 Featuring CJ Boyd: Ambient, virtuosic bass & harmonica improvisonics Mister Resistor: Art noise from Ranjit Bhatnagar and friends VOLT Collective: Immersive sound experience rendered on live instruments, turntables, sampling, synthesis and video Plus Videogame Tune sets by Season of the Bit (Jamie Allen & Mike Horan) Tranzducer is LEMUR's monthly performance/installation series, the last Friday of every month at LEMURplex. See http://lemurbots.org for more info. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Huang mingfen <mfhuang AT jingxian.xmu.edu.cn> Date: May 19, 2007 Subject: China: A New Book on Internet Art and A Planned Conference on New Media A new book on new media art appeared in China last December. It is my monography under the title of On Internet Art, published by Press of Culture & Art, Beijing. I would like to express my gratitude to Ms. Rachel Greene and Dr.Julian Stallabrass, for their relevant books have given inspiration to me. I am also grateful to Rhizome.org, for it provides me with many excellent examples. My new book is written in Chinese. Therefore, I think it is not so easy to sharing it with members of Rhizome.org. Is anyone interested in it? Please contact me (mfhuang AT xmu.edu.cn). I hope that we have the chance to exchange ideas face to face. I am going to organize an international conference and exhibition on new media art in Xiamen in October 2008. Welcome to our city! (Xiamen is a famous port city on China’s southeast coast, easily accessible by train, coach, ship and plane. It is the global winner in 2004 of “UNCHS Human Settlement Award”) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: Turbulence <turbulence AT turbulence.org> Date: May 21, 2007 Subject: Networked_Music_Review: Interview: Miya Masaoka >From Helen Thorington's Interview with Miya Masaoka "Miya Masaoka is a musician, composer and performance artist. She has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body... Helen: I have been impressed with your work with inter-species interactions. I wonder if you would tell us how you became interested in this and what made you think of other species as potential live performers? cockroaches_legs.jpg Miya: Hmmm. I have always been interested in insects, the sounds of insects, and the hobby of having crickets as pets, and the way that social insects communicate and organize their societies in hierarchical structures. I was also thinking about the idea of the body, race and gender, and wanted to illustrate the body as a blank canvas upon which societal constructs are created and assigned. Cockroaches are social, not everyone's favorite creature, and these from Madagascar make an incredible sound that sounds generated from a white noise filter. When I heard them, I immediately wanted to record their sounds and use them in a piece. Then I thought, why not use the actual bugs in the pieces, and have them create the composition with their movements? So when the roaches wander around on my body, while I'm lying on a table, their movements break the laser beams, and their amplified, pre-recorded sounds are heard in the space..." Continue reading at Networked_Music_Review: http://tinyurl.com/3393zu Miya is available for questions (via the comments section) until July 7, 2007. Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.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 20. Article submissions to list AT rhizome.org are encouraged. Submissions should relate to the theme of new media art and be less than 1500 words. For information on advertising in Rhizome Digest, please contact info AT rhizome.org. To unsubscribe from this list, visit http://rhizome.org/subscribe. Subscribers to Rhizome Digest are subject to the terms set out in the Member Agreement available online at http://rhizome.org/info/29.php. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + |
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-RHIZOME DIGEST: 10.21.05 -RHIZOME DIGEST: 10.14.05 -RHIZOME DIGEST: 10.07.05 -RHIZOME DIGEST: 9.30.05 -RHIZOME DIGEST: 9.23.05 -RHIZOME DIGEST: 9.16.05 -RHIZOME DIGEST: 9.9.05 -RHIZOME DIGEST: 9.2.05 -RHIZOME DIGEST: 8.26.05 -RHIZOME DIGEST: 8.22.05 -RHIZOME DIGEST: 8.14.05 -RHIZOME DIGEST: 8.07.05 -RHIZOME DIGEST: 7.31.05 -RHIZOME DIGEST: 7.24.05 -RHIZOME DIGEST: 7.17.05 -RHIZOME DIGEST: 7.10.05 -RHIZOME DIGEST: 7.03.05 -RHIZOME DIGEST: 6.26.05 -RHIZOME DIGEST: 6.19.05 -RHIZOME DIGEST: 6.12.05 -RHIZOME DIGEST: 6.05.05 -RHIZOME DIGEST: 5.29.05 -RHIZOME DIGEST: 5.22.05 -RHIZOME DIGEST: 5.15.05 -RHIZOME DIGEST: 5.08.05 -RHIZOME DIGEST: 4.29.05 -RHIZOME DIGEST: 4.22.05 -RHIZOME DIGEST: 4.15.05 -RHIZOME DIGEST: 4.01.05 -RHIZOME DIGEST: 3.25.05 -RHIZOME DIGEST: 3.18.05 -RHIZOME DIGEST: 3.11.05 -RHIZOME DIGEST: 3.04.05 -RHIZOME DIGEST: 2.25.05 -RHIZOME DIGEST: 2.18.05 -RHIZOME DIGEST: 2.11.05 -RHIZOME DIGEST: 2.04.05 -RHIZOME DIGEST: 1.28.05 -RHIZOME DIGEST: 1.21.05 -RHIZOME DIGEST: 1.14.05 -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 |