RHIZOME DIGEST: April 3, 1998に掲載されたアレックス・ガロウェイ(Alex Galloway)、リチャード・グリーン(Rachel Greene)、マーク・トライブ(Mark Tribe)の「RHIZOME.org」についてを転載する。ただし、データベース管理上問題になる文字は近い文字に変換した。また、この論文をどのように読むかは読者自身で判断して欲しい。2002年からはRHIZOMEの電子メール配信が有料になり、その後1年間は無料配信を受けることができるが、1年後にUS$5以上のコミッションを払わないと配信が中止されるという、非営利団体による有料情報電子メール配信になった。詳細情報はURL(http://rhizome.org/support)で知ることができる。今後、経営の苦しい非営利団体による情報配信は有料化される可能性が高くなった。ただし、配信される情報の内容によってはユーザーを激減させ、配信中止に追い込まれる可能性も高い。情報を転載するに当たって、データベース管理上問題になる文字は近い文字に変換した。
Your Rhizome.org membership has just expired. :-(
Please renew your one-year membership now by making a contribution of $5 or more. As usual, we offer cool thank-you gifts for contributions of $10 or more.
We accept contributions online via secure credit card transaction or PayPal at http://rhizome.org/support.
We also accept checks, money orders or cash mailed to Rhizome.org, 180 Varick Street, 11th Floor, New York, NY 10014.
The Rhizome Crew
+ + +
Rhizome.org is a not-for-profit 501(c)(3) organization. For U.S. taxpayers, contributions to Rhizome are tax-deductible, minus the value of any goods or services received, to the extent allowed by law.
[RHIZOME DIGEST: April 3, 1998の全文]
From: Alex Galloway (email@example.com), Rachel Greene (firstname.lastname@example.org), Mark Tribe (email@example.com)
Yesterday, Rhizome announced its new legal status as a non-profit organization. This shift won't affect RHIZOME operations or function so much (except the new domain name URL(http://www.rhizome.org), and accompanying domain addresses)-- but it changes the character of our work: RHIZOME's commitment to being a community space and resource has been refreshed.
RHIZOME's founder and Creative Director Mark Tribe, Associate Editor Alex Galloway, and I have put together some history, some of our own thoughts about why RHIZOME is important and precious, and some of our plans, practical and otherwise, for the future.
+ + +
RHIZOME started on February 1, 1996 as an email list that I set up on desk.nl, a new media art space in Amsterdam. I was living in Berlin, and going around to festivals like Ars Electronica and DEAF (Dutch Electronic Art Festival). I noticed that people all over the world were suddenly very interested in web art, robots, computer-aided performance, cd-rom art, etc. and that even though these people were almost all online, nobody had set up a common online communication platform. So I started RHIZOME.
Over the next two years, RHIZOME grew from a labor of love into a commercial publication. Since August 2, 1996, RHIZOME DIGEST has gone out every Friday (minus one or two holidays). We put up the web site around the same time, and have updated the FRESH page every Monday, Wednesday and Friday since. The CONTENTBASE has grown to over 1,000 texts and 200 images. We've collaborated with the museum of modern art and ada 'web and telepolis. Most importantly, the RHIZOME community (defined as total subscribers to both RAW and DIGEST) has grown to over 1,500 people.
By october, 1996, it had became clear that RHIZOME would not be profitable on its own. so we started Stockobjects, the first new media stock library. Stockobjects has been quite successful.
On February 1, 1998, RHIZOME and Stockobjects split. RHIZOME is now Rhizome Communications Inc., an independent nonprofit organization. We have received fiscal sponsorship from the New York Foundation for the Arts, which enables us to receive tax-deductible contributions, as well as generous in-kind support from Postmasters Gallery and The Thing.
RHIZOME has met a real need in the new media art community, and I'm thrilled with how its developed in the past two years. I'm very much looking forward to its future.
+ + +
[RHIZOME is precious]
A mailing list-based publication creates special intellectual and social dynamics between its readers and writers. RHIZOME is especially precious in this regard -- not only have RHIZOME's editorial channels always been very open -- with RHIZOME RAW being an unmoderated space for publication and communication, but Alex, Mark and I make a deliberate effort to make connections between readers, writers, artists, organizations, etc. It was, in fact, the mystery and promise of these rhizomatic, non-hierarchical, subtle forms of interaction that piqued my own interests in online communities, and made me want to be involved with RHIZOME.
While one of RHIZOME's great successes has been to demonstrate this new model of a viable, productive, intellectual and social structure, it has also been tremendously gratifying to serve a purpose in the new media art community. Had it not been for the interest, sincerity, enthusiasm and commitment in RHIZOME's field of reception, I don't think Alex, Mark or I would be so devoted to preserving RHIZOME as a community center and critical platform.
On that note, thanks to all those who have been so involved, engaged, and enthused. As RHIZOME goes through changes on an organizational level, by becoming a non-profit enterprise and by collaborating with contemporary art spaces like The Thing and Postmasters, we also hope that new kinds of relationships and interactions within RHIZOME's online community will develop. I encourage people to contact me with feedback, suggestions, and ideas. On our web site, we quote from Deleuze and Guattari's 'A Thousand Plateaus:'
'Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states. The rhizome is reducible neither to the One nor the multiple... It is composed not of units but of dimensions, or rather directions in motion.'
(A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Felix Guattari. Translated by Brian Massumi. University of Minnesota Press, Minneapolis, 1987.)
+ + +
[Goals for the Future]
RHIZOME has always been easy to describe, it's where people write about new media art. The instinct to write about, to 'think' about new media art has made RHIZOME important. Unlike other online communities that focus just on politics, or just on new technologies, or just on art, RHIZOME gathers these many threads together into one conversation on the aesthetics of new media. We hope this conversation will continue to include commentary on the relationships of new media art to contemporary and historical art practices, hacking, design, sexuality and online identity, image-making with new technologies, the nature of netspace, virtual reality, the history of the web, marginality and resistance, and the relationships between art and commerce.
What is RHIZOME's theoretical position? Well, there is certainly some sort of intimate relationship with Deleuze, that's clear! More specifically, there are the RHIZOME Keywords (www.rhizome.org/query). These not only index each piece of text in the RHIZOME CONTENTBASE, they also implicitly reveal a theoretical position. They are our attempt to exhaustively describe the theoretical terrain of new media art, something which ultimately is an impossible project. They determine what we want to see and what we can see. From this long list, several Keywords jump out...
1) RHIZOME asserts that the 'interface' is central to techno art;
2) RHIZOME endorses new types of digital architecture and 'design';
3) RHIZOME entertains the possibility of 'artificial life';
4) RHIZOME argues that 'community' interaction is crucial;
5) RHIZOME claims that issues of 'identity' are concomitant with a new aesthetics;
6) RHIZOME is committed to 'marginality' and the exploration of alternate networks and artistic spaces. Each Keyword is an access point for a broad new politics of media art.
As Rachel mentions above, RHIZOME invites more readers/subscribers/supporters to participate and get involved. Submissions, reviews and discussion from a range of voices, at a range of levels, are welcome. RHIZOME will continue to provide important listings for jobs, festivals, opportunities and art works internationally via our four channels (RAW, DIGEST, FRESH and the CONTENTBASE). Each channel has a different personality and purpose: RAW is an unfiltered, anything-goes email list for new media art; DIGEST is its filtered, edited counterpart; on the RHIZOME web site, the CONTENTBASE (www.rhizome.org/query) remains the only searchable archive for critical writings on new media art; FRESH (www.rhizome.org/fresh) features new additions to the CONTENTBASE and is updated three times a week.
As part of our shift to non-profit, the technology behind RHIZOME will grow in exciting new ways. We are currently working on the development of the RHIZOME CONTENTBASE and query function into an intelligent browsing interface, one which makes our archived content easier to find and easier to read. Also in development is a rotating splash page featuring art work from leading designers and net.artists. And we are going to extend a root into print -- a RHIZOME Book is on the horizon! More on this in coming months.
+ + + + + + + + + + + + + + + + + + + + +
RHIZOME DIGEST is edited by Rachel Greene and Alex Galloway.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
RHIZOME would like to thank The ThingのURL(http://www.thing.net/) and Postmasters Gallery for their generous support.
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
-- RHIZOME COMMUNICATIONS
-- post: firstname.lastname@example.org
-- questions: email@example.com
-- answers: URL(http://www.rhizome.org)
+ + +
ubscribers to RHIZOME DIGEST are subject to all of the terms and conditions set out in the Subscriber Agreement available online at URL(http://www.rhizome.org).
RHIZOME.ORG NET ART COMMISSIONS
The Futile Style of London
The Alchemical Imaginary
File Not Found 404
David HuntのComputing Cultureレポート
Anatolia 2000 Cyber Cafe
New New Media Art
オランダの遺産と偽物ショップ 'Artificial Geography'
The Universal Pageに関するインタビュー